The global tapestry of Christian music in the twenty-first century is weaving the strands of our lives together in stunning new ways. In the music of worship, the narratives of our lives are gathered up together as one before the throne of God. Centuries ago, the Psalmist declared, “All nations will come and worship before you, O God” (Ps. 86:9). Increased travel, large numbers of immigrants, and the changing sociological make-up of the evangelical church in North America make the Psalmist’s long-anticipated reality one that is literally emerging within our churches as never before.
The question for every local church is, what does this mean for us as a worshipping community in our local setting? Perils and opportunities exist, leaving the church faced with critical decisions. Here we consider key factors that should influence our decision-making and questions to guide us. We begin with an initial definition of global Christian music.
Defining Global Christian Music
Global Christian music is defined as any music found in the Christian Church worldwide. Particularly, it specializes in cultural musics from the non-Western world where songs are often sung in vernacular languages and performance practices remain fairly loyal to their surrounding music traditions. In the evangelical church in North America, for example, there is a growing trend for hymnals to include global songs and indigenous songs that arise out of the burgeoning churches in the Southern Hemisphere. These songs are from church communities who have recently discovered their musical voices. Likewise, musical instruments, such as the West African djembe (hand drum), have become standard components of many contemporary worship bands. Siyahamba, the popular 1990s choral anthem from South Africa, launched many choirs into searching for additional anthems from the burgeoning church in the southern hemisphere1.
Three principles of global Christian music to keep in mind as we prepare to worship follow:
1) Music is intimately linked to a people and their culture. Global Christian music reflects the pluralistic and multicultural era that defines our lives. Music is intimately bonded to people, functioning as an expressive element of each particular cultural grouping. When multicultural groups gather in worship, the need exists to enter into worship that is meaningful for a variety of people groups. At a recent Christmas music program in a large Southern California church, a Nigerian Christmas carol was sung and performed on twelve djembes. As the song was announced, an African cry of excitement pierced the air in the filled-to-capacity 5,000-seat auditorium. Nigerian Christians were among the celebrating worshipers, responding with joy to the opportunity to worship in their own musical language.
2) Global music sounds and traditions are expanding the church music repertoire. We are seeing the introduction of musical sounds and traditions from around the world. What were formerly considered exotic sounds are more common placed. God’s Word and faith statements are expressed in a broadening array of cultural musical styles and performance praxis.
3) New theological expressions contained in global song lyrics engender a more expansive understanding of the nature of God. One of the richest contributions of global Christian music lies in the theological content of song lyrics. For example, the Thai song below reveals the value for showing respect to God:
Released by love to share new life, we bow respectfully to God.
The melody we play and sing is from deep within our soul,
The harmony we have in Christ leads to service sincere and sure.
Let us make God’s worship our one goal.2
In performance, the content of the text is profoundly embodied and visualized through a respectful dance that evokes honoring God in majesty and holiness.
Pursuing Unity in Diversity as We Worship
The Church at worship needs to realize that global Christian music provides a platform for creating unity in the midst of diversity. It is imperative to take bold new steps towards fleshing out unity in the midst of diversity through the thoughtful appropriation of global Christian music in worship. We need to ask:
- Does our music express and reflect the diversity of peoples who worship with us?
- Does our church music encourage each cultural or socio-economic segment of believers to authentic worship?
- How do we incorporate global Christian music in ways that go beyond tokenism or exploitation of exotic sounds?
- How do we employ global Christian music in ways that are respectful and honoring to Christ and his bride, the Church universal?
In conclusion, we minister in an era moving toward John’s eschatological vision of peoples purchased by God “from every tribe and language and people and nation” (Rev. 5:9) coming before him in worship. May we faithfully interweave the musical tapestry of global worship and intentionally pursue new configurations of church music that focus God’s people on the Lamb, the one who is worthy of our worship.
