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Journal of Fine Arts Volume 1, Issue 1, PP 14-22

Rethinking Spiritual/Cultural in Christian Making and Consumption: A Study of Nigerian Music

Endong, Floribert Patrick Calvain Department of Theatre and Media Studies, University of Calabar, Calabar-Nigeria *Corresponding Authors: Endong, Floribert Patrick Calvain, Department of Theatre and Media Studies, University of Calabar, Calabar-Nigeria

ABSTRACT There have been multiple revolutions in the contemporary and from observable trends, more paradigm shifts are predictable in this . Some of these revolutions and paradigm shifts (notably cultural/spiritual appropriation) have been controversial, somehow driven by human reasoning and aesthetical moves to copy the world. This discourse argues that genuine making and consumption are assisted or Spirit-led. As spiritual acts, they are spiritually discerned, exclusively by observers “possessed” by the True Holy Spirit. This is in line with the biblical illumination that spirituality is spiritually discerned by spiritual people (2 Corinthians 1:12). Based on this premise, the article castigates the cultural appropriation paradigm in gospel music industry, equating it to the product of human philosophy. Though culturally sensitive, the appropriation tradition tends to offer religion and religious art in a secular mode with the risk of causing gospel artists to adapt to purely secular standards. Keywords: Appropriation Paradigm, Christian Alternative Music, Music, Secularism, Music of the Devil.

INTRODUCTION has been referred to as the “ War”. This Worship War constitutes a prism through which Contemporary Christian Music has, in the the making and consumption of Christian music course of its evolution, witnessed the emergence is defined. The War, for instance, very much of various postmodern traditions or artistic inspires contemporary critics‟ views of alternative philosophies. Some of these traditions, notably Christian music and the cultural-spiritual Christian Alternative Music and the appropriation current. (spiritual/cultural) appropriation movement have received mixed reviews on one hand and As a postmodern genre, Christian alternative informed both debates and controversial theories music has been viewed by most puritanical bordering on Christian music making and observers as a questionable, if not, highly consumption on the other hand. This is in line secular musical tradition. Some sceptical critics with the fact that the issue of music style has (the detractors of the alternative current) have – always been very divisive among . for instance – equated the genre with an Preferred musical styles have most often varied exclusively artistic and emotional experience with respect to personal and doctrinal orientations. which, glaringly neglects or deviates from the In most cases, the apologists of these diverse basic principles of genuine worship ministry. In musical preferences have seriously sought to line with this, Olsen (1995) diametrically spiritually legitimize or justify their positions. contrasts the genre to pure evangelistic or As Mueller (2012) insightfully puts it, instead of spiritual Christian music. He opines that the recognizing these differences as personal alternative music current has mainly insisted on preferences and cultural distinctions, some song lyrics, rather than words and harmonies Christians declare their preferred style of music which are now familiar or imperative in to be the only „biblical‟ one” and by the same contemporary Christian music. Additionally, argument, categorise all other forms of music as while most contemporary Christian artistes have “unwholesome, ungodly, or even satanic”. The been striving to be evangelistic and somehow conflicting traditions and philosophies on music spiritual, alternative artistes have shown a making and consumption have generated what greater willingness to experiment artistically as

Journal of Fine Arts V1 ● I1 14 Rethinking Spiritual/Cultural Appropriation in Christian Music Making and Consumption: A Study of Nigerian Gospel Music well as to compose humanistic songs about the styles during gospel music performances among dark side of life. Based on these premises, Olsen other traditions. brands Christian alternative music as a genre In view of all these revolutionary - if not which is “too worldly for the ” and “deviational” – practices; and the multifaceted thereby indirectly warns Christians against the modernization of the genre, the global gospel consumption of the genre. music industry is most often viewed as a This position notwithstanding, some critics have battlefield, where genuine worship and instead viewed Christian alternative music in a questionable – if not spiritually poisonous – good light. Such critics have associated the traditions are opposed. To borrow the language genre with a positive revolution in the growth of of Bulmer (2014: 2), contemporary, Christian Christian music. According to critics such as music – in its multiple facets – is “like the Purcell (2015), the Christian alternative music society it is born from: it is a creation of movement somehow permitted gospel music to oppositional forces [as well as] a mesh of styles catch up with secular music. The movement and ideologies. No other art form is so readily actually seems to have utterly “rectified” or accessible, accepted, and despised”. In the same line of argument, Robin (2014) regards nullified the popular belief/imagination that contemporary music as a way through which Christian music was as much as 5 years behind paganism makes inroads into today‟s global mainstream „secular‟ music. In effect, by the church. “Though sadly, many Christians no early-mid 1990‟s, following the emergence of longer believe music is an area where we need the alternative current, it seemed that Christian to exercise discernment. They have fallen prey music wasn‟t really so behind secular music to a number of music myths perpetuated by the industry. A clear index of such a situation is the godless philosophy of our day”. Robin further fact that some alternative artistes came up with notes that Christians‟ persistent consumption of musical productions that seriously competed “poisonous” is thanks to a with great secular successes. A case in point is number of myths which are grounded on the underground band Nivarna which, with their subjectivism, relativism and carelessness. He alternative grunge record Nevermind (1992), that: spectacularly replaced pop legend Michael Christians will agree with non-Christians that Jackson at number on billboards‟ chart different types of music are better suited to (Purcell 2015). various activities than other types of music. For Another contentious/controversial postmodern example, we could probably all agree that it musical tradition – if not a facet of alternative would be unfitting to play a funeral dirge at a music – has been the appropriation current, a barn-raising or rap music to help a baby get to movement which has sought to literally sleep. It is only when it comes to the activity of “Christianize” hitherto secular traditions. Such a worship that Christians tend to make an “Christianization” has been effected through the exception and say that any type of music is just incorporation of a range of secular artifacts in the melody and lyrics of Christian songs. Some as appropriate as any other type. of the “questionable” traditions recurrently The non-Christian community has no trouble incorporated into contemporary gospel music grasping this general point. If you were to go include the adoption (or rather (mis)appropriation) into a college dormitory and start asking young by gospel singers of contentious – or rather people to suggest a type of music to assist with controversial – rhythms such as hard rock, rock meditation, to work-out to, to create a partying and roll, Rap and Beat (R&B), traditional atmosphere, to invoke a melancholy mood, to African music (rhythms often associated with create a condition of mind appropriate for ancestral worship) as well as the injection of seduction, to hype someone up before a fight, worldly messages in presumably Christian songs most people would be able to match certain as well as the production of versions of styles of music to these activities with a secular songs in which lyrical texts are surprising degree of consensus. But when it Christianised. To this list of contested or comes to worship music, many Christians contentious traditions, one should add the hesitate to say that one style might be more secularization and glaring sexualisation of appropriate for worship than another. While we gospel music performance, often manifested by are all ready to acknowledge that certain styles the adoption of suggestive dance and dress

15 Journal of Fine Arts V1 ● I1 Rethinking Spiritual/Cultural Appropriation in Christian Music Making and Consumption: A Study of Nigerian Gospel Music of music are appropriate or inappropriate for a manner. In tandem with this, the Oxford Advanced barbeque, a birthday party, or a barn-raising, Learner Dictionary defines appropriation as the when it comes to worship Christians will deny act of taking something which belongs to that the concept of appropriateness even has someone else, without permission. However, the coherence. (Robin 2014: 17) conceptualization of appropriation has largely varied with respect to contexts. In the In effect, as noted by Robin, it has long become sociological, anthropological or cultural context clear to some well informed, (particularly for instance, theorists have, designed the term conservative) critics that contemporary gospel “cultural appropriation” to describe a situation music is not wholly holly, Christian or spiritual. or process in which a adopts, borrows or Pagan traditions and worldliness have “steals” specific , rituals, aesthetic systematically robbed some gospel music standards, and behaviours from another culture enterprises of their spirituality, and have thus or . According to Forbes (2011), such made such artistic enterprises not suitable or an appropriation is generally applied when the prolific for spiritual intercourse with God subject culture is a minority culture or somehow (Endong, 2016). As Bulmer (2014:56) insightfully subordinate in social, political, economic, or explains, in its debut, Gospel music was military status to the appropriating culture. This categorically rooted in Christian religious form of “appropriation” also often occurs theology. It was a subject considered without any real understanding of why the “untouchable” by most of the stakeholders of original culture took part in these activities or the music industry, be they artists, fans, record the meanings behind these activities, often producers and executives. “To move a music converting culturally significant artefacts, that was considered “God‟s music” into a more practices, and beliefs into “meaningless” pop- secular realm, and to attach to it messages of culture or giving them a significance that is ecstacy, and sex was considered taboo if not completely different/less nuanced than they blasphemy”. However today, this reverence and would originally have had. elevation to the sacred is no longer that visible Cultural "appropriation" could therefore as postmodern traditions, pertinacity and circumstantially be regarded as a form of hazardous experiments are now driving the "misappropriation" or worse, a form of desecration industry. The injection of sex and other secular especially in situations where in the adoption or artefacts into gospel music has, for instance borrowing of these cultural elements is done in a greatly contributed to the decline of gospel colonial or/and non-deferent manner. In such a music. Such a situation has, of course, called for context, cultural elements are copied from a great caution in gospel music consumption. This minority culture by members of the dominant paper advocates an original form or model of culture, and these copied or borrowed elements spiritual appropriation which may enable are employed outside of their original to conceive both lyrical and melodic context – sometimes even against the expressed contents of gospel songs as theirs. This will wishes of representatives of the originating mean appropriating such musical contents and culture. In the process, the original meaning of using them as their personal sacrifice to God for these cultural elements is often distorted and a fruitful spiritual intercourse with the Lord. In used in a way which may be interpreted as its first part, the paper provides a conceptual disrespectful by members of the originating definition of spiritual appropriation showing culture. Such cultural elements may be reduced how it is manifested in various aspects of the to “exotic” by those from the dominant Christian faith. In its second part, it explores culture. When this is done, the imitator, "who spiritual appreciation in contemporary Nigerian does not experience that oppression is able to gospel music and ends up (in its last part) by 'play,' temporarily, an 'exotic' other, without proposing a model of spiritual appropriation in experiencing any of the daily gospel music consumption. faced by other . In line with culture theorists and anthropologists‟ CONCEPTUALIZING SPIRITUAL conceptualization(s) of cultural appropriation, APPROPRIATION this paper constructs spiritual appropriation as The verb “to appropriate” generally means to the adoption, borrowing or theft of spiritual take something or someone‟s ideas for your own artifacts, (namely what is commonly - though use, mainly without permission or in an illegal arguably – being referred to as “Satan‟s

Journal of Fine Arts V1 ● I1 16 Rethinking Spiritual/Cultural Appropriation in Christian Music Making and Consumption: A Study of Nigerian Gospel Music property” by puritanical Christians), mainly for that these “high calibre” proselytes are expected an evangelistic or salvific purpose. Contrarily to – while being converted – to henceforth be cultural appropriation which is a by-product of vessels in the hands of God. The transformation , capitalism, assimilation of such “satanic” establishments into salvific and oppression, spiritual appropriation is mainly tools and the conversion of iconic figures or motivated by the desire to revolutionize personalities from the world are highly symbolic methods of proselytism. And similarly to experiences in that, they mark the spiritual cultural appropriation (which may imply a conquest of the world, the disarming of Satan cultural war between the subordinate and and the spiritual appropriation of his weapons or subaltern cultures), spiritual appropriation tools. emanates from an “imaginary” spiritual warfare between the forces of Satan/the world and the APPROPRIATION OF “THE MUSIC OF THE Church. In accordance with biblical exhortations DEVIL” AS A POSTMODERN TRADITION IN as in Ephesians 6:1-12, most Christians GOSPEL MUSIC MAKING AND PERFORMANCE (particularly Pentecostals) imagine or consider themselves in a perpetual (spiritual) war against Appropriation in the context of gospel music satanic forces or the forces of the world. In such making and performance is mainly envisaged as a war, Christian structures are to crystallize and an attempt by Christian artistes to reshape, mobilize their forces to win various battles at redefine and re-orient musical artefacts various fronts. Part of the battles is to commonly branded secular or the instruments of (spiritually) conquer the world and vanquish the devil. Headlam (2003:158) refers to the satanic forces, through seizing the very weapons phenomenon as the act of “taking musical and of the “Devil” to henceforth use them against textual elements [of a secular song] and him. Here in comes spiritual appropriation. recombining them in new contexts”. In the same Spiritual appropriation is therefore often line of argument, Echezonachukwu (2015) manifested by the Christians‟ culture or associates the process of appropriation with the tendency of turning establishments such as art and practice of “transmuting a well-known brothels, cinema halls, strip tease establishments, secular song into a religious/gospel song and bars, nightclubs and the like (arguably vice-versa”. He further refers to such a process considered instruments of the devil) into as the “gospelisation” of a secular artefact. In churches and spiritual temples which henceforth line with this, musical performances by famous will be geared towards the salvation of masses hip-hop secular artistes are played in religious (Fakoya 2008). With respect to Pentecostal settings. The secular lyrics of such productions in Nigeria, Servant (2003:54) are circumstantially changed to religious texts in insightfully makes allusion to this manifest view of adapting them to the occasion; while spiritual appropriation when he passionately other elements such as the original deplore the razing of iconic and symbolic instrumentation, rhythm, harmony, and overall cultural establishments as “the Shire” (founded vibes are maintained. These definitions may by Nigerian afrobeat legend Fela) and the arguably suggest that appropriation is more like construction at their respective sites, of various a kind of crafty remix. However, appropriation types of spiritual establishments, particularly is more than that. It is conceived as a spiritual Pentecostal churches. act or process through which those cultural and spiritual artefacts arguably referred to as the Spiritual appropriation may equally take the “music of the devil” or the “satanic way” form of the conversion of influential figures (as (Satan‟s weapons) are used against him, global music stars, famous politicians, actors, principally for a salvific purpose. As noted by and other personalities and opinion leaders). Lauritsen (2011), it is this particular aspect of Being opinion and role models, these figures are the phenomenon – the fact that cultural artefacts often considered – according to puritanical that were hitherto considered to be spiritually imaginaries – weapons of the Devil, so long as harmful could be use for evangelistic purpose – they are gentiles and predisposed to be that spurred some fundamentalist Christian employed by the Devil to concretize his dark quarters to progressively and fervidly support designs. Their conversion is often interpreted by the idea of appropriation. overzealous Pentecostal Christians as an If Christian musicians use what were once appropriation or conversion of Satan weapons. thought of as secular genres to transmit the This belief principally rest on the imagination Christian message, then to many Evangelicals,

17 Journal of Fine Arts V1 ● I1 Rethinking Spiritual/Cultural Appropriation in Christian Music Making and Consumption: A Study of Nigerian Gospel Music that particular music can and should be therefore literally becomes the crossroads, appropriated for religious purposes […] the facilitating the union of the human and the emphasis here is that Evangelicals believe it divine. Any performance of the rock genre should be used for religious purposes. That is to perfectly replicates exoteric scenarios in say those Evangelicals who once opposed the Abomey, , where specific calibres of [secular] style of music now embrace the deities (vodums) speak through humans. The medium because it promotes a Christian word voodoo is derived from this vodum, and it message that carries with it Christian values. is Voodoo that must be regarded as the roots of Even certain contemporary musicals […] are contemporary . Ventura further being embraced by the Christian community to explains that: get younger people excited about Christianity. (Lauritsen 2011:14) The Voodoo rite of possession by the god A good discussion on the phenomenon of became the standard of American performance in rock „n‟ roll. , , appropriation in gospel music making and Jerry Lee Lewis, , Janis Joplin, performance should therefore starts with an Tina Turner, Jim Morrison, Johnny Rotten, exploration of some of the cultural and spiritual Prince-they let themselves be possessed not by artefacts commonly referred to as the “weapons any god they could name but by the spirit they or tools of Satan/the world”. A number of felt in the music. Their behaviour in this popular musical cultures have arguably been possession was something Western society had branded “satanic”, “nefarious” and secular/pagan. never before tolerated. And the way a possessed In line with this, terminologies and coinages devotee in a Voodoo ceremony often will such as the “music of the devil”, “poisonous transmit his state of possession to someone else music”, “contaminated music”, “pernicious/satanic by merely touching the hand; Western music”, “alternative music”, “bad music” among performers transmitted their possession through others are commonly employed in Christian their voice and their dance to their audience, parlance. In this more or less arguable – and even through their records. (Ventura 1987:32- highly questioned – spiritual (re)definition and 33) (re)branding of music, specific rhythms such as The origin of the in particular is rock and roll, hard rock, metal, rap, raga and often brandished by detractors of the rhythm as R&B, forms of traditional music among others, an evidence or sufficient justification to strongly have been demonized in highly conservative demonize it. It is even believed or argued that Christian circles. Rock and Roll is for instance, the term (“Rock and Roll) is a metaphor of the often “maltreated” and pejoratively defined by a sexual act (and particularly a metaphor of number of negative myths and Christian fornication – thus a sin). The term Rock and imaginations. One of these myths is that the Roll” is, in effect, a ghetto term that was often rhythm is a satanic design, geared towards employed within the Black community in derailing the youths and making them first hand reference to premarital sex performed in the advocates and instruments of the Antichrist. The back seat of a car. On such a questionable detractors of this music style have mainly origin, the rhythm has been relegated by some associated it with voodoo and satanism. In line puritanical critics to an antithetical force to with this, Ventura (1987:30-31) associates the Christian musical ideals. While associating the rock musical style with rituals or exoteric rhythm with a number of negative , practices of pagan (African) religions. Rock, Yusko and Prior (2013) pointedly note that rock according to him, perfectly replicates animistic and roll is highly unsuitable for any spiritual musical enterprise. To this duo of researchers, forms of religion, particularly voodoo rituals of religious rock and roll is “like the frog and the possession which have as principal objective to water”. Its sexual connotation, and negative “experience the intense meeting of the human legacy in ruining the lives of teenagers through world and the spirit world”. He contends that in suicide, drug abuse, immorality, perversion, typical animist rituals involving music and Satanism, strongly motivates critics to sideline it dance, performers are spurred by the holy from the prolific tools usable for effective drums. Being deep in the meditation of the worship. Unfortunately, “we live in a day where dance, they (the performers) are “literally many Christians and church leaders are allowing entered by a god or a goddess”. Their body this demonic music into their churches, claiming

Journal of Fine Arts V1 ● I1 18 Rethinking Spiritual/Cultural Appropriation in Christian Music Making and Consumption: A Study of Nigerian Gospel Music that the music is holy and sanctified because the mere entertainer. I will say 40 percent of us are lyrics are changed to include some 'religious' guilty of this […] We have shifted our eyes words”. from the one who called us and are now chasing after money” (Quoted by Dayo, 2014, 19). In the same line of argument, African rhythms inviting listeners to suggestive dance styles such It equally goes without saying that the as Makossa, Mapuka, Zouklou, Couper-decaler, appropriation paradigm is clearly an attempt to Ndobolo and other folkloric and postmodern accommodate to secularism and to a rhythms have been demonized, often on way hybridise ritual sounds with commercial arguable grounds. In Present days Nigeria, the concerns. The appropriation tradition should phenomena of religious Shoki, Makossa and therefore be viewed within the broader context Azonto – a number of suggestive musical and of the Body of (Christian artistes), dance styles – are fuelling vexed debates in venturing outside the church-gates and mingling religious circles in Nigeria. Despite this in the affairs of the marketplace to attempt to demonization, alternative artistes and give concrete form to the Christian witness. appropriation apologists have not hesitated to Pannenberg (cited by Brown 2016: 34) employ rock, makossa, azonto, shoki and other insightfully outlines the subtle iniquities of this evangelistic strategy as he notes that appropriation contentious rhythms as “instruments of worship and alternative music constitute one of the or praise”. Popular Nigerian gospel artistes such absolutely worst ways to respond to the Frank Edwards, Lara George, Ada, Buchi challenge of secularism as they involve that among others have made rap, rock and Christian musicians somehow adapt to secular traditional Nigerian music dominant rhythms for standards in language, thought and way of life. their musical compositions. In their use of Pannenberg argues that “if members of a rhythms such as rap, these artistes often place secularist society turn to religion at all, they do particular emphasis on imitating popular secular so because they are looking for something other rappers. Frank Edwards is for instance noted for than what culture already provides. It is imitating the performance styles of rappers such counterproductive to offer them religion in a as Pulpit (a popular American rapper). secular mode that is trimmed in order not to Appropriation apologists so much believe that offend their secular sensibilities”. using secular music styles such as rock, rap, Though culturally sensitive, such a worldly makossa, shoki and the like – types of music accommodation philosophy is visibly not Spirit- that are associated with worldliness – is led. Secular musical traditions such as shoki, equivalent to “conforming to the world” on one Azonto and Makossa have been designed to hand and confronting Satan on the other hand, produce in the listeners specific ungodly turning his weapons against him (Elmer feelings including warm sentimental feelings or 1997:59). However, the tradition has been a very hard emotional feelings. It is therefore complex system with multi-dimensional spiritually absurd that such feelings be functions. Some Nigerian gospel artists visibly associated with worship. The so called popular use appropriation as a capitalistic instrument to secular styles were not conceived to deepen fashion their musical production according to prayer, lead people to worship or open the soul the dominant market preference and secure to the sacred. They were designed “to produce commercial success (Endong 2015, 2016). shallow emotions about love and romance at Secular musical styles have always been in best, and lust and sex at worst” (Dwight 2014). vogue making secular music presumably more Though post-modern, the idea of appropriating lucrative than gospel music in Nigeria. Such a them is not new. In his book The Spirit of the scenario has motivated many Nigerian gospel Liturgy, Pope Benedict XVI (cited by Dwight artistes to adopt the “gospelisation” of popular 2014) acknowledges that down through the ages secular songs and mainstream alternative this has been a recurring problem in the Christian music. In her diagnostic of the gospel religious music industry. writers have music industry in Nigeria, gospel artiste cultivated the habit of putting Christian “words Ayansina Adefolawe (cited by Dayo 2014:19) to beer drinking songs”. In some other times posits that “Our message has been they adopted the popular operatic style. Now contaminated. You‟ll even see a so called gospel they adopt such spiritually aggressive traditions artiste changing secular lyrics to a church song such as light rock, hard rock, and virtually every just to get people dancing. What we do now is other secular style.

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So long as these demonized rhythms will be constraints grounded on biblical or divine defined according to socio-cultural frameworks injunctions/interdictions. De Albatrus (2013) and personal musical philosophies, there will makes allusion to such a scenario in his never be a consensus on the spirituality or non criticism of “music as Christian entertainment” spirituality of appropriation. What we mean here philosophy. He notes that this paradigm utterly is that most proponents – like some detractors – challenges the holy concept of music which of appropriation approach the whole phenomenon defines music in worship as an “accompaniment of Christian music from the angle of personal of instruments joined to the voices of the doctrine and human construction/philosophy; singing worshippers”. In accord with the Music meanwhile the phenomenon of Christian music as Christian Entertainment paradigm, most must be analyzed with the help of the Holy audiences are made to believe that entertainment Spirit. In Colossian 2:8, the implicitly is the primary essence of gospel music warns against human philosophy and human experience. And of course, the next step is that reasoning as they are susceptible to derail man. “any kind of cross-over entertainment is OK as Our argument here may sound unrealistic and long as it is flavoured with fundamentalist inapplicable to committed scientists but jargon”. However, it is clear that in such a Christian music is a spiritual phenomenon and context, music consumption is basically for on such a premise, its genuineness or spiritual personal sensual pleasures, the same as in a danger can only be spiritually discerned. This is context of (un)contaminated secular music based on the biblical illumination that consumption. Consumption here is greatly spirituality (spiritual things) can only be dependent on consumers‟ musical preferences spiritually discerned (1 Corinthians 2:14). Only and may not integrate intuitive or deliberate the True Holy Spirit can guide the gospel artiste meditation over the lyrical texts by the towards determining the spiritual weight or consumers. The consumer is made to dance and defectiveness of any musical tradition and any left spiritually untouched. This point is version of appropriation s/he wishes to proffer. buttressed by Nigerian gospel artist Busayo Most apologists of the two “heresies” of Odutayo (cited by Ekpo 2014:12) in his alternative gospel music and appropriation will comparison of secular and gospel music. readily claim to be moved by the Holy Spirit Every other kind of music, except [genuine] (the Spirit of God). However, given the gospel, focuses on making the listeners to dance. sustained bi-dimensional opposition between There is very little emphasis on message. But them on one hand and between them and gospel music is not like that. Ideally when detractors of these heresies on the other hand, people, especially worldly people, listen to real one is left to wander how the same source (the gospel music, they should feel a strong urge to Spirit of God) will author contradictory turn away from sin. If the music is right, it theologies. One actually wonders how God will should inspire them to question the way they inspire them concurrent philosophies, concurrent have been living. Only gospel music has the theologies and instructions on music. As we power to ignite such feelings and this is what have strongly argued elsewhere, it is clear that makes it different from other styles. not all gospel musicians are guided by the “True” Holy Spirit. Thus the guidance of the Consumption of gospel music for systematic authentic Holy Spirit is imperative for healthy and fruitful intercourse with God, on the other gospel music making and consumption. hand, is more organised and delicate as it is a “virtual” sacrifice which must be offered with RETHINKING APPROPRIATION IN MUSIC utmost diligence. Such a diligence, as we know CONSUMPTION it, must primordially be exercised in the We envisage gospel music consumption to be of selection of gospel songs and cultural artefacts two principal typologies: (i) consumption for to use for worship. In line with this, De Albatrus purely carnal motivations and gratifications and (2013) underlines a number of indicators that (ii) consumption for systematic and fruitful may guide audiences towards a healthy spiritual intercourse with God. The former consumption of gospel music. He posits that the typology is liberal, open and more embracing in type of music to consume in such a context that it is not shaped and strictly conditioned by should have the following characteristics: (i) the consumer‟s spiritual consciousness. their lyrical contents should be true to Consumption, in this context, deliberately or (which means that they should lyrically be inadvertently disregards existing or potential inspired by the bible), (ii) the music should not

Journal of Fine Arts V1 ● I1 20 Rethinking Spiritual/Cultural Appropriation in Christian Music Making and Consumption: A Study of Nigerian Gospel Music remind people of the world or copy the world in observable trends, these revolutions are not at one way or the other, (iii) the music must their terminal stage. More paradigm shifts can honour and glorify Christ in everything be predicted in the and (iv) the authors of such musical production most of which driven by human reason and must be so dedicated to the Lord that they will visible drive to copy the world. This paper has do everything possible, including dress and counted the cultural/spiritual appropriation music style, not to attract attention to paradigm – as manifested in the current themselves or the world but to magnify the Lord Nigerian music industry – as one of these Jesus. Their lifestyles should advertise them as multiple fruit of human reason. It advocated for role models. To these guidelines it may added another type – or model – of spiritual appropriation the necessity nay imperativeness for the True in gospel music consumption which enables Holy Spirit to validate the gospel song selected Christians to conceive both lyrical and melodic for consumption. As earlier underlined, gospel contents of gospel songs as theirs. music making and consumption are, par The paper also strongly argued that genuine excellence, two inter-related spiritual gospel music making and consumption are Holy experiences. They are spiritually discerned and Spirit assisted or Spirit-led. As spiritual acts, assisted. In line with this, a more healthy they are spiritually discerned, exclusively by consumption of gospel music is Holy Spirit assisted. Indeed, only the True Holy Spirit may observers “possessed” by the True Holy Spirit. guide one in his/her selection of gospel music This is in line with the biblical illumination that for consumption. This is accord with the biblical spirituality is spiritually discerned by spiritual illumination that the Holy Spirit guides in all people (2 Corinthians 1:12). Based on this truth (John 16:13) premise, the article castigates the appropriation paradigm in gospel music industry, equating it Consumption for systematic and fruitful to the product of human philosophy. Though spiritual intercourse with God is in itself having culturally sensitive, the appropriation tradition the same spiritual weight as the composition and tends to offer religion in a secular mode with the performance. This entails and follows from the risk of causing gospel artists to adapt to purely premise that the consumer is compelled to secular standards. appropriate the song of the and performer in that unique context. This is REFERENCES partially effected by meditating over the lyrical [1] Albatrus, A. (2014). Are drums suitable to contents of the song and by firmly assuming in worship God? Music and faith. New York: one‟s heart that such lyrical contents reflect Sacred Book Ltd. one‟s frame of mind, prayer and offering to the [2] Azezonachuku, N. (2015). Gospelizing the Lord. No doubt Colossians 3:16 enjoins secular: The Sarkodie and Chidinma paradigm. Proxemit Magazine, December 13 Edition, 32- Christians to sing “with grace” in their heart to 35. God. By this biblical recommendation or [3] Bowens-Wheatley, M. (2009). Cornrows, injunction, gospel music consumption must be Kwanzaa and confusion: The dilemma of accompanied with spiritual appropriation of the cultural and misappropriation. Cultural totality of the musical production. It should be Misappropriation. Retrieved May 11, 2016, at noted that appropriation here is different from http:www.uua.org/leaderslibrary/cylturalmisap the model described in the preceding sections of propriation/37852shtml. the article. The fruitfulness of spiritual [4] Bulmer, J. (2010). Devil music: Race, class and appropriation here is conditioned by the divine rock and roll. New York: Openly Classist. origin of the gospel songs selected by the [5] Dayo, E. (2014). Some gospel artistes now use consumer. In tandem with this, appropriating a secular lyrics for upbeat. Newswatch Times, No 11, 19. “gospel song” packaged in a worldly mode may just be spiritually unproductive. This is why [6] Dwight, L. (2014). Why is “Christian” music so awful? Patheos, 23(1), 13-24 serious scrutiny is needed in the selection of [7] Ekpo, N. N. (2014). Gospel music ignites music to consume. feelings unlike secular music songs – Bussy CONCLUSION Crown. Nigeria Film Com. Retrieved May 12, 2016 at http://www.gospel-music-ignites-feelin There have been multifaceted revolutions in the gs-unline-secular-music-songs/nigeria-ilm.com. contemporary Christian music and from

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