Biblio Format	Annotation
Abe, Gabriel Oyedele. "The Influence of Nigerian Music and Dance on Christianity." Asia Journal of Theology 5:2 (1991): 296-310.	Music and dance are prominent and indispensable among the arts in Nigerian culture. This article examines the influence of Christianity on music and dance with respect to Christian beliefs and practices as demonstrated in the act of worship. Starts with OT, then ancient near east, then NT, then early missionary work in Nigeria, and finally contemporary setting.
Agthe, Johanna. "Religion in Contemporary East African Art." Journal of Religion in Africa 24:4 (1994): 375-88.	This article describes three aspects of religious art in East Africa: firstly it examines the artists' personal attitude to and motivation by the Christian religion; secondly, it looks at Christian and Bible subjects in their paintings; and lastly it considers traditional religion and the newer independent churches as motifs.
Balisky, Lila W. "Theology in Song: Ethiopia's Tesfaye Gabbiso." Missiology 25:4 (October 1997): 447-56.	Thousands of indigenous songs have emanated from a deep wellspring of spirituality within Ethiopia during the past 30 to 40 years. Theological and church educators should be encouraged to acknowledge and examine this body of oral theology as being very significant in effectively communicating to the hearts and minds of the broad Christian public. This article examines the songs of one prominent Ethiopian soloist, Tesfaye Gabbiso, and encourages further inquiry into and appreciation for the songs of the people and the power of song in Christian formation, especially in a society with a predominantly oral orientation to life.
Baskaran, S. Theodore. "Christian Folk Songs of Tamil Nadu." Religion and Society (Bangalore) 33:2 (June 1986):	Describes the development of Christian folk literature and songs, which mark a significant phase in the spread of Christianity in India and have relevance to the church in indigenization.
Butler, John F. "The Protestant Neglect of 'Missionary Art'." Missiology 8:4 (October 1980): 489-93.	Reminds us of the need for art as a valid missiological instrument to communicate the gospel message across cultural barriers.
Chenoweth, Vida. "Do Universals in Music Exist?" Evangelical Missions Quarterly 35:2 (April 1999): 161-63.	Based on the author's research, while there is no universal music, a continuum of pitches and their organization in time, melody, and rhythm are posited as universals in all musical systems.
Chenoweth, Vida. "Spare Them Western Music!" Evangelical Missions Quarterly 20:1 (January 1984): 30-35.	Advocates that we can preserve the cultural impact of indigenous music if we 1) recognize the validity of ethnic musics and 2) use appropriate ways to promote their development in Christian contexts. Presents four questions she is regularly asked and deals with them.
Cone, James H. "Sanctification and Liberation: A Case Study on Black Worship." Occasional Essays 5:1 (June 1978): 3-20.	Since the appearance of Black Theology in the late 1960's, much has been said and written about the theme of liberation in black religion. Black theologians are concerned to show the liberating character of black Christianity in our struggle for social and political justice. But in our effort to show that the gospel is political, we black theologians were sometimes in danger of reducing black religion to politics and black worship to a political strategy session, thereby distorting the essence of black religion. In this essay, my concern is to examine the spiritual foundation of black worship as reflected in its components of preaching, singing, shouting, conversion, prayer, and testimony. Hopefully I will be able to clarify the connection between the experience of holiness in worship and the struggle for political justice in the larger society.
Felde, Marcus P. B. "Local Theologies: License to Sing." The Hymn 40 (1989): 15-20.	Why is the landmark Papua New Guinea hymnal Lutu Buk being criticized? Why will it be replaced? Because it is an example of the weakness of the "translation model" for doing theology in the Third World. A way of doing missionary work that was progressive 25 years ago is today being challenged on every side. In Constructing Local Theologies, Robert Schreiter helps us examine a solid alternative. The purpose of this essay is to analyze his proposal and to sketch an application of his observations and principles to a particular practice-the use of hymns in the Lutheran church in Papua New Guinea.
Friesen, Albert W. D. "A Methodology in the Development of Indigenous Hymnody." Missiology 10:1 (January 1982): 83-96.	Basic methodological approach which are helpful even for the non-musical missionary who wants to learn how to promote indigenous Christian music.
Gish, George. "Artists with a Message: Some Recent Trends." The Japan Christian Quarterly 42:4 (Fall 1976): 191-218.	For this survey of "artists with a message," we turn mainly to works completed in the last few years, works that represent the most recent style or trend of each artist chosen. Selection was limited to artists known personally to the present writer or whose works were shown in recent exhibits in Tokyo. Even within this limited scope we have a rather wide variety, one which gives new insights into the contemporary human condition.
Graber, David. "Experiencing Native American Music: Living with Cheyenne and Crow Indians." Mission Focus 18:4 (December 1990): 62-64.	Chronicles the author's experiences as he learned of the importance of indigenous hymnody in the Native American context.
Hayward, Douglas. "Contextualizing the Gospel among the Saxons: An Example from the Ninth Century of the Cultural Adaptation of the Gospel as Found in The Heliand." Missiology 22:4 (October 1994): 439-53.	In the middle of the ninth century, Christian missionaries among the Germans propagated the gospel by singing the story of the life of Christ in the meadhalls of Saxon warrior-nobles. This article, based upon a new translation and interpretation of that song-text (The Heliand) by G. Ronald Murphy, SJ, examines the manner in which those missionaries sought to adopt the life and witness of Jesus Christ to the life and times of the Saxon people. This author identifies three primary concerns of contextualization in every age, and shows how these were addressed more than one thousand years ago.
James, Wendy. "Uduk Faith in a Five-Note Scale: Mission Music and the Spread of the Gospel." In Vernacular Christianity: Essays in the Social Anthropology of Religion Presented to Godfrey Lienhardt, ed. Wendy James and Douglas Hamilton Johnson, 131-45. New York: Lilian Barber Press, 1988.	The 92 Uduk (Sudan-Ethiopian border area) language lyrics in the hymnal fall into three categories. The first includes straight translations of texts, set to their existing tunes. Some of these are to be found in, for example, Hymns Ancient & Modern, and others are from the American evangelical tradition. Many of the latter may be found in a recent collection, the Gospel Singer's Wordbook, and where I refer to English-language models below, I have taken them from this American source. The second category includes those set to an existing Western tune, but with a fresh lyric bearing little or no reference to any textual model. Finally, in the third category are those hymns with both brand-new words and fresh melody, likely to appeal more directly to the Uduk ear than the standard churchy tunes we know. I might just mention here a certain indigenization of even the most familiar; a visitor's ear cannot at first always recognize a well-known hymn tune when rendered into a five-note scale with harmony in fourths throughout.
Jones, Jr. Morgan W. "How One Tribe Got Its Own Music." Evangelical Missions Quarterly 11:1 (January 1975): 38-40.	The story of how the Trio people of Surinam were enabled to develop their own indigenous Christian music.
Krabill, James R. "Dida Harrist Hymnody (1913-1990)." Journal of Religion in Africa 20:2 (1990): 118-52.	It would be most interesting to know more about the internal life of the Harrist mass movement during the early years of its existence. What, for example, did illiterate preachers with no previous training and no access to the Bible or any other written documents preach week after week for-according to some reports-up to two hours at a time? What did they say in praying? What did these early churches sing? Who created the new musical traditions? And how? Most of these questions are, in the 1990s, extremely difficult to answer with any precision or certainty. It is at this point that the present study is of particular importance, for there does exist one heretofore untapped source capable of shedding considerable light on what took place during the early years of the Harrist movement in southern Ivory Coast. The source to which I refer is the large corpus of hymns composed by the Dida people from 1913 onwards, and transmitted orally with little if any alteration throughout the years in worship contexts up until the present day.
Krabill, James R. "William Wade Harris (1860-1929): African Evangelist and 'Ethnohymnologist'." Mission Focus 18:4 (December 1990): 56-59.	Suggests four stages in the general history of the development of African hymn traditions: 1) importation, 2) adaptation; 3) imitation; and 4) indigenous composition. Notes that not many African churches have reached stage for, and offers discussion on Harris as an example to be emulated.
Küster, Volker. "Accommodation or Contextualization? Ketut Lasia and Nyoman Darsane--Two Balinese Christian Artists." Mission Studies 16:1 (1999): 157-62.	Missiological discussion has evolved a variety of models for the description of the relationship between gospel and culture, a relationship which, however, can be reduced essentially to two basic types: the traditional model of accommodation or adaptation--which at times in Protestant missiology was referred to as the indigenization model--and the model of contextualization. The models of accommodation and contextualization can also serve as categories for the examination of the Christian art in the Third World. This shall be demonstrated in the following by the example of the works of two artists from Bali, Ketut Lasia and Nyoman Darsane
Küster, Volker. "Images of Christ from Africa to Asia." Mission Studies 12:1 (1995): 95-112.	In interpreting contextual art as well as in dealing with contextual theology, mainly two questions become crucial: First, what is new about the iconographic transformation and the theological message? Second, which. criteria may be stipulated to judge whether this innovation represents a legitimate interpretation of the Christian faith or whether it is no more than a syncretistic mutation of it? In the following text I will trace the influence of Christianity on art in the Third World by means of images of Christ from Africa and Asia. As a secret guideline I take the thesis that in both cultures the portrayal of individual suffering is not present iconographically From the perspective of the history of religion this coincides with the observation that the idea of a suffering God is totally inconceivable. A crucified God was considered a foolishness already by the ancient Greeks, which stood at the beginning of the long way of the Christian faith through the cultures. How then are African and Asian artists visualizing the Jesus event?
Lehmann, Thomas. "African Ethnomusicology and Christian Liturgy." In 32 Articles Evaluating Inculturation of Christianity in Africa, ed. Teresa Okure, Paul van Thiel, et al. 201-10. Kenya: AMECEA Gaba Publications, 1990.	Each subculture has its own mode of expression and liturgy reflects this. In terms of music praxis this means encountering such diverse styles, as formerly traditional vernacular hymns, plainchant, modem songs somewhat influenced by popular music, polyphony, music that finds its home more readily in contemporary "art" music, different styles and languages, which reflect different subcultural groups. While this movement is welcome, one cannot help feeling that sometimes it is encouraged by a patronizing attitude, rather than by being seen, as a fundamental necessity for authentic expression. Well-intentioned people (often led by well-intentioned musicians) tolerate many of the popular styles, while awaiting the day when a new form of "good" music will become the norm. While such a position cannot be too easily dismissed, it does raise many interesting questions, which should not be ignored: such as the nature of art, and musical language, "good" music, relationship between art, culture and the liturgy, and so forth. Suffice it to say that the main danger is a refusal to recognize subcultural pluralism, on the assumption that all music "systems" employ the same technical vocabulary and emotional language, and, therefore, an insistence upon the use of one set of evaluative criteria. There is evidence to show that on occasion, such an attitude has been transferred--and not always unconsciously--to certain parts of the African continent, by those engaged in the proclamation of the Gospel. It is to address this difficulty that I offer the following reflection.
Loh, I To. "Toward Contextualization of Church Music in Asia." In Doing Theology with Asian Resources, ed. Choo Lak Yeow, 181-203. Singapore: ATESEA, 1993.	Ever since the introduction of the Christian mission in Asia, churches not only accepted what the missionaries had to offer, but also at various times made attempts to express their Christian faith in Asian forms. Except in India the use of Asian lyrics, and melody was limited. Beyond local congregations musical efforts won little attention. It was not until 1964, with the publication of the East Asia Christian Council (now Christian Conference of Asia) Hymnal, that Asian hymnody as a distinct genre became recognised, both in Asia and in the other parts of the world. Probably because these hymns were translated into English, the collection has been well known and more widely used in the West than in Asia where, if used at all, it is almost always limited to international gatherings. Few Asian Christians realize an Asian hymnal exists. Of those that do, ironically a majority enjoy singing Western hymns more than their own, not to mention those of neighboring countries. Nevertheless during the last two decades, there has been a growing local interest in Asian church music. More serious composers have begun to experiment ways in which they could create music that would both express their ethnic character and communicate effectively with modern men. Seen as a process, this can be called "contextualization," an important issue today. Before considering this area in detail, it will be instructive to review how our Asian hymns have been presented over twenty years ago.
Loh, I-to. "Toward Contextualization of Church Music in Asia." Asia Journal of Theology 4:1 (1990): 293-315.	Consideration of the contextualization of music in Asia starting with a review of how Asian hymns have been presented 20 years ago.
MacInnes, George. "Understanding the Arts of Africa." In 32 Articles Evaluating Inculturation of Christianity in Africa, ed. Teresa Okure, Paul van Thiel, et al. 230-34. Kenya: AMECEA Gaba Publications, 1990.	When we speak of "the arts of Africa", we refer to an incredibly rich and varied body of both 'plastic' (mainly sculpted) and performed arts. Should one attempt to survey all the plastic and performed arts of even one segment of this continent (east, west, central or south), he or she would still be overwhelmed by both the diversity and sheer quantity of output. For that reason it is necessary for the writer on African art to select and choose. However, one should select certain important themes common to large groups of culturally related peoples, themes such as: ancestor veneration, initiation rites or masks and masquerades. One must emphasize certain prominent examples, which are representative of the best works of art produced in a given cultural area. Such important themes and representative types may of themselves afford us insight into some general principles underlying much of African art, as well as some of the motives accounting for such prodigious output. The student of African art must survey a broad spectrum of prominent examples from the art of nomadic pastoralists to the art of settled agriculturalists. He or she must consider the palace art of the great kingdoms as well as the religious art of ritual, magic and the secret societies.
Maskaran, S. Theodore. "Indigenisation in South Indian Churches: Some Issues." Religion and Society (Bangalore) 36 (1989): 38-52.	Baskaran describes the cultural alienation that took place when missionaries made converts and introduced Western forms of worship with hymns and chants translated from the original European languages, besides many cultural practices such as those related to festivals and weddings exactly as practiced in the west. He points out that when we promote indigenization of worship and music the cultural forms used are those of the Hindu Sanskritic tradition. The folk arts and folk religion are ignored.
Minz, Nirmal. "A Theological Interpretation of Modern Kuruky Christian Bhajans." In Culture, Religion and Society: Essays in Honour of Richard W. Taylor, ed. Richard W. Taylor, Saral Kumar Chatterji, and Hunter P. Mabry, 154-76. Bangalore: The Christian Institute for the Study of Religion & Society Bangalore, 1996.	I am using two small song books Ish Bhajan, Part I and Part II, for this article as basic material for analysis and interpretation. The purpose of this article is to interpret the theological insights in these bhajans written by a contemporary Kurukh Christian composer and singer, Sri Justin Ekka. These bhajans provide source materials for the indigenous tribal theological understanding of Christian faith in contemporary tribal India.
Molyneux, Gordon. "The Place and Function of Hymns in the EJCSK." Journal of Religion in Africa 20:2 (1990): 153-87.	Building on a case for oral theology being an important component of the total theology of a church, Molyneux examines the hymnody of the Kimbanguist church, including history, the method of hymns being recognized, and theological elements in the hymns.
Morse, R. LaVerne. "Ethnomusicology: A New Frontier." Evangelical Missions Quarterly 11:1 (January 1975): 32-37.	Early article in Evangelical circles on ethnomusicology in which the author shows how the basic components of Western music are a hindrance to reaching people in many parts of the world, and calls for a conference to tackle the problem.
Muller, Alfons. "Message Becomes Incarnate in Song: Church Hymns in the Diocese of Kenge." Mission Studies 7:1 (1990): 76-86.	As one cannot dance without music, so there is no music without dancing--so goes the popular thinking in Zaire. The Zairean Catholics have shown in the past admirable patience to imported European melodies and imposed language structures and their songs, robbed of their natural rhythm, were stilled until vernacular liturgy was approved in 1965. There is now music in the land, rich in the variety of various African traditions. The Catholic Church in Zaire is at last able to express itself in its own culture, and the Christian message becomes incarnate in songs and hymns.
Neeley, Paul. "Noted Ministry." Evangelical Missions Quarterly 35:2 (April 1999): 156-60.	Music has a unique ability to get to the depth of the human heart, and to express those depths in outward form. Every culture has a unique music system, just as it has a unique language and set of customs. Redeeming part of a culture's music for God can be an important part of redeeming people for God. Let us encourage the nations to "be glad and sing for joy" (Psa. 67:4).
Nelson, David. "Crossing the Music Threshold." Evangelical Missions Quarterly 35:2 (April 1999): 152-55.	Advocates the use of culturally attuned music to enable communion with God in culturally relevant idioms.
Nicholls, Kathleen D. "Tell the Story Powerfully in Local Cultural Forms." Evangelical Missions Quarterly 19:4 (October 1983): 298-306.	An appeal for communicating the Gospel through traditional poetry, music, drama, puppetry, dance, and painting.
Noiret, Francios. "The Faith in Tune: Christian Folk Songs in the Betsileo (Madagascar)." Exchange 20:1 (April 1991): 46-55.	Case study of ethnomusicology in Madagascar.
Ojo, Matthews A. "Indigenous Gospel Music and Social Reconstruction in Modern Nigeria." Missionalia 26:2 (August 1998): 210-31.	Nigerian Gospel music emerged In the 1970s as a distinctive genre when choral groups moved their performance from the liturgical setting in the churches Into the public domain. This transition adapted Gospel music for entertainment and commercial purposes. The texts of the songs are based on biblical and traditional Christian concepts, but their performance combines both western and traditional musical instruments. Though the improvisation of themes and diction, indigenous Gospel music has been utilized as a tool for social and political commentaries, as a means of verbalizing the aspirations of millions of helpless Nigerians, and it has been directed at achieving social restructuring in the Nigerian society.
Oyer, Mary K. "Evolving African Hymnody." Mission Focus 18:4 (December 1990): 52-56.	Traces in historical perspective the development of hymnody in Africa, including multiple examples of indigenous music from around the continent.
Sahi, Jyoti. "Art and Ashram Life." Religion and Society (Bangalore) 33:3 (September 1986): 3-17.	Explores the development of art (including poetry and song) in India arising out of rural settings as a foundation for his own art. Deals with images of the Trinity, the Spirit, Christ as Guru, and art and meditation.
Sahi, Jyoti. "Trends of Indigenisation and Social Justice in Indian Christian Art." The Indian Journal of Theology 31:2 (April-June 1982): 89-95.	Traces the development of Christian art in India. Concludes: Can Indian Christian art bridge the gap between a search for national identity, deeply tooted in Indian culture, and a search for a new society which will not reject whole sectors of humanity and which will be committed to social justice and freedom? This is, I feel, the great question which modern Indian Christian art poses.
Steenbrink, K. A. "Music in African and Asian Churches." Exchange 20:1 (April 1991): 1-45.	Historical overview with strategies followed in Africa and Asia and closing examples from Indonesia.
Tarus, Abraham. "Music in Christian Worship." Africa Journal of Evangelical Theology 15:2 (1996): 114-127.	Following is an excerpt from the Theological Advisory Group (TAG) book, 'Worship Guide: How to Improve Worship in the Africa Inland Church." Each topic in this book includes three sections: Africa Inland Church Belief and Practice, Biblical Teaching, and Practical Suggestions, how to improve a particular aspect of worship.
van Thiel, Paul. "African Music in Christian Worship." In 32 Articles Evaluating Inculturation of Christianity in Africa, ed. Teresa Okure, Paul van Thiel, et al. 165-68. Kenya: AMECEA Gaba Publications, 1990.	Concludes; If you have read the above carefully and studied the quotations from the various papal documents concerning adaptation of church music in different mission countries of the African continent, you must duly come to the conclusion that we, the preachers of the Gospel, have kept asleep for too long and not turned the divine message into really "joyous" tiding, If you realize that some of the above advice and directives have been published already for over 80 years, you must accept that the Catholic Church In Africa, on this particular point, has for too long been alarmingly behind Consequently, it is high time to wake up.
Wermter, Oscar. "African Art for Christian Symbolism." In 32 Articles Evaluating Inculturation of Christianity in Africa, ed. Teresa Okure, Paul van Thiel, et al. 235-40. Kenya: AMECEA Gaba Publications, 1990.	The reality of the person of Christ is for ever the same. But, whenever a new generation of artists, especially from a culture previously unacquainted with the traditionally known figure of Christ, contemplates upon him in faith, and portrays him, using the stylistic patterns of artistic tradition hirtherto unknown to the rest of us, we may expect a new Christ-image to emerge. Unluckily, this was not what happened after the missionaries introduced the people of this country to Christ. For a long time the African Christians' imagination was fed upon imported European art, mostly second-rate 19th century devotional art. Many of these plastercast statues and cheap colored prints are still to be seen in some of our churches. The ordinary Zimbabwean Catholic has no quarrel with such sugary, cream-colored devotional pictures, sometimes representing the Jesus of Nazareth, as an effeminate juvenile, and even today still gives them a place of honor in his home. It must be remembered that religious art is not just for the professional connoisseur, who visits art galleries and museums, i.e., for a small elitist minority. African art is "not art for art's sake". It is there for a purpose, and is meant to achieve this purpose for the very mixed congregation, attending Sunday service: men, women and children; for the non-literate and the school educated, the imaginative and the dull.
Wermter, Oscar. "Zimbabwean Art in Christian Symbolism." AFER 31 (1989): 161-67.	Advocates the development of Christian art in Zimbabwe, noting the ways in which the development of contemporary African art of Christian subjects has been inhibited by the tradition of the missionaries as well as by the indigenous population's perceptions of what Jesus should look like. Concludes: Our highly competitive educational system puts all the emphasis on absorbing information and reproducing it, according to set patterns; it does not encourage creativity. We need to correct this onesidedness, Church schools would render a service to art in Zimbabwe, if they could encourage artistically gifted students. Creativity is a gift of the Creator, who is beyond our imagination, and yet is the origin of all our images. Art, even if the subject is not explicitly religious, re-creates creation, and denounces the destruction of creation. The church has often been a patron of the arts. May religion and art meet once again, here in Zimbabwe.
Zemin, Chen. "Inculturation of the Gospel and Hymn Singing in China." Chinese Theological Review 11:2 (1995): 85-100.	Hymn singing never fails to bless a church with vibrant life, and to attract newcomers to be" touched" by the gospel. I am not belittling the importance of the sermon, the Scripture and prayer in the life of Christian communities nor the need for inculturation in all these aspects. In fact, all these must be contextualized or inculturated in order to be effective if the Gospel is to change the life of a community or individuals. In this paper I want to focus on hymn singing and try to examine how it has been (or has failed to be) inculturated in the contemporary Chinese context.