Encouraging Local Expressions of Christian Worship in a La Paz
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FAN THE FLAMES: ENCOURAGING LOCAL BOLIVAN EXPRESSIONS OF CHRISTIAN WORSHIP IN A LA PAZ CHURCH COMMUNITY A MASTER'S THESIS PROPOSAL SUBMITTED TO THE GRADUATE FACULTY LIBERTY UNIVERSITY BY STEPHANIE COOK IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY April 9, 2018 Copyright April 9, 2018 by Stephanie Cook Acknowledgements When I think about the many people who have invested in me during the completion of this project through encouragement and prayer, the list is too long to note in this brief acknowledgement. However, I would like to thank a few people by name for their continued support through this lengthy process. I want to thank my mom and dad for all the ways that they encouraged me, prayed for me, proofread my work, and reminded me to keep pursuing God’s plan for my life with perseverance, even in the midst of obstacles and discouragements. This acknowledgement would not be complete without thanking my professors at Liberty University, specifically Dr. Morehouse and Dr. Neto, who graciously invested in me during the completion of my thesis. Each professor, in various ways, with each class I took, helped to make me think about music, culture, and worship in new ways. It was here that I saw a love for learning matched by a love for people. It was through Dr. Morehouse that I was introduced to ethnodoxology and a passion began to grow in my heart to serve local churches around the world with diverse members. Finally, I want to thank the members of Iglesia en La Paz, who not only welcomed my project with enthusiasm, but who also welcomed me as their sister in Christ. With all my heart, thank you to each of you for the ways that you encouraged, cared for, and prayed for me! God has and continues to use you all in my life. Abstract When the members of a church in La Paz participated in a songwriting and arranging workshop, along with corresponding research into perspectives on local music used in worship, the results were mixed. An analysis of the songs used in the church’s worship shows a predominance of imported, predominantly Western or Western-styled songs. Similarly, observations of worship events in the church do not incorporate any local rhythms or instruments, even though there are musicians in the church who are skilled in Bolivian styles of music. While there is an interest by musicians and leadership in the church for locally written worship songs, many members in the church relate local styles of Bolivian music to activities and lifestyles that are considered “sinful.” Some also see imported worship music as more worshipful, because it does not have the social lifestyle and indigenous associations. The songwriting and arranging workshop, which took place over several days, demonstrated a few things. First, it showed that there is little to no interest in arranging existing worship songs in local Bolivian styles of music, or with local instruments. Second, there needed to be more thorough and lengthy instruction for the entire congregation on the theology of worship and how it can be applied to cultural music expressions, without the association of the music being considered “sinful.” Finally, the participants in the songwriting workshop needed to be instructed on the characteristics own local music styles, as well as time to explore those styles in their worship songwriting. Even though one of the songs written was in the tinku rhythm and was performed using local instruments, such as the charango and zampoña, a combination of the workshop results, surveys, and interviews suggest that the issue of incorporating local music styles into this church in La Paz is complex and requires continued research and conversations with local church members. An analysis of worship observations, a survey, interviews, and the iii results of the songwriting workshops indicates that while some leaders and congregation members have a desire to see local music incorporated into their church worship, there is also a hesitancy by others to do so because Bolivian music is perceived to be less worshipful than imported worship songs. Ultimately, this project demonstrates a need for further encouragement and equipping for locally composed songs in Bolivia, as a demonstration of God’s love not only for the world in general, but specifically for Bolivians. iv Contents Glossary ......................................................................................................................................... vi Chapter 1: Introduction ....................................................................................................................1 Chapter 2: Literature Review .........................................................................................................12 Chapter 3: Methodology ................................................................................................................32 Chapter 4: Research Findings ........................................................................................................44 Chapter 5: Summary, Conclusions, and Recommendations ..........................................................65 References ......................................................................................................................................78 Appendix A ....................................................................................................................................84 Appendix B ....................................................................................................................................87 Appendix C ....................................................................................................................................92 Appendix D ..................................................................................................................................107 Appendix E ..................................................................................................................................108 Appendix F...................................................................................................................................139 Appendix G ..................................................................................................................................140 v Glossary Altiplano. The large, high-elevation plateau within the Andes mountains that extends across the borders of multiple South American countries, including Bolivia. Amerindian. A word used to collectively refer to indigenous people groups in the Americas. Aymara. A term that refers to one of the largest Amerindian people groups that reside in Bolivia and are the predominant indigenous group in the city of La Paz. This term can also refer to the language spoken by the Aymara people. Campesino. A term historically used to identify to Amerindians in Bolivia that translates to “peasant,” in reference to the rural, farming lifestyle of many indigenous groups. Chacarera. This dance music genre has its origins in Argentina; however, it has been adopted into traditional Bolivian music. Cueca. Originally a traditional Chilean genre of dance music, this style is also popular in Bolivia and has a set structure of fourteen lines divided into three sections – the “quarteto,” “siguiriya,” and “remate.” Huayño. A traditional Bolivian genre of music, originally used for dancing, that is accompanied by a traditional Bolivian aerophone, chordophone, and one or more membranophones. Indio. A term historically used to refer to Amerindians by ethnicity rather than lifestyle (see “Campesino”). Mestizo. A term that can be used in a variety of ways in Bolivia. First, it can be used to refer to Bolivians living in urban areas. Second, it can refer to the urbanized music and culture present within Bolivian urban spaces. Finally, it can also be a way of referring to an individual from a multi-ethnic background that includes indigenous heritage. Música Folklórica. Music that rose in popularity during the Bolivian nationalist movement beginning in the mid-20th century and seeks to return to the ethnic “roots” of Bolivian culture. Quechua. A term that refers to one of the largest Amerindian people groups that reside in Bolivia. This term can also refer to the language spoken by the Quechua people. Tinku. A traditional Bolivian rhythm and genre of music, originally used for dancing, that is typically accompanied by a traditional Bolivian aerophone, chordophone, and one or more membranophones. vi Chapter 1 Introduction Bolivian music culture can be described as representing cultural clashes and convergences, at times violent and filled with tension, but also intricate and vibrant (Béhague and Baumann 2011; Stobart 1996, 302-19). Spanish, African, and indigenous elements collided under the rule of colonialism and the cultural effect was a combination of ancient tradition intermingled with new expressions, which is often represented in Bolivia’s music (Ibid.). Additionally, Henry Stobart (1996), along with Gerard Béhague and Max Baumann (2011), notes that the modern Bolivian context over the past century has continued to bring in music from across surrounding South American countries, as well as the effects of modernism, which at times has both sought to glorify and resist elements of Western popular music. Bolivian music culture represents both what Mark Slobin (1996) referred to as “continuity” of old music genres and traditions paired with how Bruno Nettl (2015) described the cultural “fluidity” of constant