Performing the sacred – Aspects of singing and contextualisation in South Africa

Abstract

After an introduction and views on inculturation (i.e. adapting the liturgy to the context within which it is ‘performed’ or the context influencing the liturgy), the focus shifts to ‘incarnation’ and ‘contextualisation’ in a broader sense, to also include the transformation and adaptation of the ‘sacred’ for the secular or political sphere. Practices of performing faith through texts and music within diverse liturgical, spiritual, cultural and political contexts in South Africa are discussed. Aspects taken into account are the possible influence of landscape or seasons on the expression of faith and the possible sacro-soundscapes that could come from different contexts, such as the impact of the Karoo landscape on Khoisan descendants singing the sacred; performances in a contextualised music idiom, such as the Genevan Psalms in a Khoi music idiom; and celebrating the Church Year in different hemispheres. The discussion focuses also on contextualising within political contexts – that is, where political space is ‘sacralised’ through sacred songs and where sacred songs are given political meaning or changed for the political sphere. The article closes with the possibility of songs from Africa being sung in other countries and the meaning it could have, or could be given. It is argued that contextualisation from one context to another context of the sacred, or from a ‘secular’ to a sacred context, as well contextualising the sacred into the public (‘secular’) or political sphere, could lead to contexts and spaces being changed, enrich the performance of the sacred, stimulate creativity, allow for new processes of attributing meaning, change values and motivate people, form new identities and thus also could lead to changed communities.

The importance of understanding and making sense of Zulu traditional hymns as a symbol of expressing worship: Cognitive hermeneutics and hermeneutics of hymnody theories

“…Consistent with the previous studies (Kloppers 2020;Ngema 2020), the findings of this study reveal that singing an incomplete hymn eradicates the original meaning and purpose of the hymn. The researcher found that although contemporary gospel musicians are inspired by Zulu traditional hymns iCilongo Levangeli, the musicians must examine the context to understand the hymns.…”

“…This finding regarding the context of the composition of the hymns is in line with cognitive hermeneutics theory that promotes the importance of interpreting the text in its original language and within its historical context, artistic and aesthetic experiences and practical life (George 2020;Tönsing 2017). This finding corroborated the results of Osei-Bonsu (2013) and Kloppers (2020). The researchers found that understanding and singing hymns from the composers' perspective are essential because hymns are devoted to God and dedicated to the Supreme Being.…”

“…The study's findings show that contemporary gospel musicians should research and ensure that they sing traditional hymns accurately. Most scholars who have traditional hymns emphasise that traditional hymns are regarded as sacred and should not be misinterpreted (Kloppers 2020;Mzondi 2018;Roberts 1989).…”

“…Thus, contemporary Zulu traditional hymns are typically identified as Christian gospel music and attract many believers. Historically, there is a far greater belief that traditional hymns of all South African tribes are the backbone and cornerstone of authentic worship and modern gospel music (Kloppers 2020;Tönsing 2017;Van de Laar 2000).…”