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People's Church – People's Music

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People's Church – People's Music Sakari Löytty People’s Church – People’s Music Contextualization of liturgical music in an African church. People’s Church – People’s Music Contextualization of liturgical music in an African church. Cover photo by Sakari Löytty Layout by Lauri Dammert Printed by Hansa Print 2012 Photos by author except of Ongumbiro 2005 by Ilona Sokeila and Ongumbiro in Finland by Päivi Löytty. Doctoral Research Project Development Study Program. Sibelius Academy, DocMus Copyright: Sakari Löytty, Sibelius-Akatemia 2012 EST 25 (ISSN 1237-4229) Sakari Löytty: People’s Church — People’s Music 5 Acknowledgments People’s Church – People’s Music, the title of this book, gives an indication how research was conducted among people and with them. I feel indebted to many. I feel like having walked a long way, meeting many who walked alongside with me and many who, while providing me valuable information, encouraged me with their knowledge to walk ahead. First of all I want to thank my two employers for giving me a chance to conduct field re- search in Namibia: The Finnish Evangelical Lutheran Mission and The Evangelical Lutheran Church in Namibia. I am grateful to all my colleagues, friends and church members in Na- mibia for providing me an inspirational environment for this research and offering multiple opportunities to collect data by partaking in church life. Particularly I feel indebted to the Reverends Eliakim Shaanika, Alpo Enkono, Linus Dama Shimakeleni, Teofilus Nelumbu, Ms Namene Kuugonglewa, Dr David Iileka, Dr Martin Ngodji and Dr Paulus Ndamanomhata for interesting discussions that, if not directly contributing to my research, broadened my un- derstanding on church life and Christianity in Namibia. For the same reason I want to express my gratitude to Bishop emeritus Dr Tomas Shivute and Bishop emeritus Johannes Sindano for their fatherly support. I sincerely thank Dir Mus Magdalena Kambudu for her ideas on contextualization of ELCIN liturgy; the seeds for this research were planted in discussions with her already in 1996. I also want to acknowledge her remarkable work and achievements in developing the church music of ELCIN. I am especially thankful to my supervisors Dr Pekka Vapaavuori, Professor Hannu Saha and Dr Mateus Tshapaka Kapolo for their guidance, encouragement and gentle but firm push- es on my shoulders every now and then to move me ahead. I don’t want to forget to thank Dr Minette Mans, who supervised my Master’s thesis (2005) at the University of Namibia and showed me a way forward for this one. Her advice for field research and teachings in academic writing were indeed valuable all the way. Of my supervisors, Dr Vapaavuori deserves special thanks for countless hours of discussions and ponderings on topics that excited both of us. Without him, I would not have started the endeavor at all. I would also want to thank Dr Erkki Tuppurainen and Dr Jorma Hannikainen at Sibelius Academy for their advice and comments during the project. I am deeply grateful to my preliminary examiners, the Bishop, Dr Shekutaamba V.V. Nam- bala and Professor emeritus Heikki Laitinen for their valuable comments. I must also thank Dr Nambala for encouraging me in the first place to continue my research after completing my Master’s degree. I thank him also for many illuminating discussions touching on Namibian church life, culture and people throughout the years I lived in Namibia. I feel indebted to Rev Jouni Salko for his assistance. He not only corrected my language, but made valuable comments on liturgical and theological issues and details of Kwangali culture 6 Sakari Löytty: People’s Church — People’s Music and church work in the Kavango region. One could not think of a better alternative for a lan- guage consultant for a study with this topic than an authorized translator, a former missionary to Namibia and a theologian. There are a number of people whom I consulted and interviewed and with whom I was in correspondence, and who provided me a lot of valuable information and supported me during the research project. I want to thank all of them equally: Rev Johannes Tolu & Mutana Cul- tural Choir, Edmund Likuwa & Ndingo Cultural Group, Selma Shaningwa & Tshekushwama Cultural Group, Ulla Nenonen, Shilengifa Naimbudu, Joseph Tjinana, Peter Muhomba, Kedra Kinney, Jaakko Löytty, Leena Lampinen, Rev Isak Malua, Rev Markus Ndeutapo, Maria Stir- ling, Andrew Moloi, Dr Riikka Halme-Berneking, Rev Erkki Halme, Tuovikaarina Pennanen, Aune Hirvonen, Gunvor Helander, Rev Alpo Hukka, Raili Seppälä, Bonnie Pereko and the UNAM Choir, Dr Francois Tsoubaloko, Dr Pekka Toivanen, Rev Dr Risto Ahonen, Simo Lah– tinen and the late Rev Dr Pauli Laukkanen. I also feel thankful to Rev Dr Veikko Munyika and the entire Munyika family for their friendship and inspiration, and particularly to Aveshe Munyika for assisting me in numerous ways, especially with some Oshiwambo translations and technical assistance in the UNAM Choir recordings. I thank my brother Mikko Löytty for playing bass on The Namibian Mass, Markus Bons- dorf for his assistance in the final mix and mastering of the music, and Lauri Dammert for the layout of this book. I thank Sibelius Academy, the Finnish Evangelical Lutheran Mission and Tieteen ja taiteen kristillinen tukisäätiö for their financial assistance to my research. Finally I want to thank my family: my children Elina, Johannes, and Matilda and their fami- lies, my parents Kirsti and Seppo Löytty and all my brothers for their support. Mostly I feel grateful to my wife, Päivi Löytty, who always encouraged me, stood by my side and believed in me being able to accomplish this mission. And, thank God, I did! In Tampere on the sixteenth of March, 2012 Sakari Löytty Sakari Löytty: People’s Church — People’s Music 7 Definition of terms and abbreviations CCN Council of Churches in Namibia Chorus A short catching African kind of collective song, often performed with call and response technique AAPC Anna and August Pettinen collection DTLP Dhimba Translation and Literacy Project DTSM Diaries of the Training School for Missionaries. Mieslähetyskoulun päiväkirjat DMTI Diaries of the Missionary Training Institute. Lähetysopiston päiväkirjat EEE Elongelokalunga enene epe. The New Liturgical Melodies of ELCIN. Eh Ehangano. ELCIN hymnal published in 1987. ELC Emil Liljeblad Collection at the University of Helsinki Library ELCB Evangelical Lutheran Church in Botswana ELCF Evangelical Lutheran Church in Finland ELCIN Evangelical Lutheran Church in Namibia ELOC Evangelical Lutheran Ovambo-Kavango Church, name used for ELCIN before national independence ELST Evangelical Lutheran Church in Tanzania ELS Eglise Luthérienne du Sénégal ELCRN Evangelical Lutheran Church in the Republic of Namibia FELM Finnish Evangelical Lutheran Mission FMS Finnish Missionary Society (the former name for FELM) Free communal harmonization A four part singing technique used by an Ovambo congregation collectively, and by heart, to harmonize the hymns and other songs IELA Igreja Evangélica Luterana de Angola LTB Lutheran Bible Translators LMS London Missionary Society LWF Lutheran World Federation MRC Martti Rautanen Collection NSWC Lutheran World Federation Nairobi Statement on Worship and Culture PHI Palvelkaa Herraa iloiten. Jumalanpalveluksen opas. The guide for the worship manual of ELCF published by the Church Council in 2000 RMS Rhenish Missionary Society TCGG Tupanduleni Cultural and Gospel Group UNAM University of Namibia. 8 Sakari Löytty: People’s Church — People’s Music Sakari Löytty: People’s Church — People’s Music 9 Contents Acknowledgments .................................................................................................................5 Definition of terms and abbreviations .......................................................................................... 7 Abstract .............................................................................................................................15 1 Introduction .............................................................................................................................17 1.1 Background ....................................................................................................................17 1.2 Statement of the problem ..............................................................................................20 2 The structure and content of the final project .....................................................................21 2.1 Liturgical perspective .....................................................................................................21 2.2 Anthropological and ethnomusicological perspective ..............................................22 2.3 Musical and artistic input ..............................................................................................23 3 Research and working methods ..............................................................................................25 3.1 Ethnomusicological study on Namibian indigenous music .....................................25 3.1.1 Literary references ............................................................................................25 3.1.2 Field research ....................................................................................................25 3.2 Theoretical and practical studies on church music ....................................................26 3.2.1 Literary sources and liturgical studies ...........................................................26 3.2.2 Practical
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