NOVEMBER 2022 C
onsider this a “how-to” and “why-to” guide for incorporating African American music into the liturgy. Notice I didn’t say “the” guide, for
there are certainly many approaches. It’s like cooking a chicken. Tere are many different recipes for cooking chicken. Is there any one way? No. What it really comes down to is your personal taste and what works for you and the people to whom you’re serving the chicken. I offer that the same methodology and rationale should be used for your particular parish situation. I’m just saying that chicken is good and invite you to put it on the menu if you don’t already. Perhaps there will be something in this article that will spark your creative juices, offer new possibilities, or suggest ways to adapt what you’re already doing or add a twist. Te important thing is that you’re including chicken on the menu… I mean, including music of the African American tradition in your parish celebrations. Now, let’s get started!
Te Why
Why should we adapt our liturgies to include music from the African American experience? Well, the Church says it is right and just. Te Church acknowledges that people outside of the Western tradition “have their own musical traditions, and this plays an important part in their religious and social life. For this reason, their music should be held in due esteem and should be given a suitable role, not only in forming their religious sense but also in adapting worship to their native genius” (Sacrosanctum Concilium, no. 119). Te term “native genius” assigns and recognizes value in the music and culture outside that of the Western tradition. Time and space prohibit me from going into greater detail here, but the history, development, and evolution of Black sacred music is rich and vast. Implementation of its canon will enrich all who partake, not just African Americans.
Filipino monk, liturgist, and theologian Anscar J. Chupungco speaks about liturgical inculturation —the inclusion of other cultures into the Roman liturgy— in this way: “Liturgical inculturation… is a process whereby pertinent elements of a local culture are integrated into the worship of a local church. Te immediate aim of inculturation is to create a form of worship which is culturally suited to the local people, so that they can claim it as their own. Its ultimate
aim, on the other hand, is active and intelligent participation in worship, which springs from the people’s conviction of faith” (Chupungco, 77).
Adapting the liturgy to incorporate elements of the culture of another is also a form of hospitality. Incorporating the culture of others can make them feel seen, heard, represented, respected, valued, and welcome. Simply put, it is a matter of hospitality. In the case of liturgical inculturation within a local community, the Church has already clearly stated it is what we are to do.
In their statement on diversity, the U.S. Catholic Bishops not only quote Gaudium et Spes, espousing the value of respecting the culture of others, but go further to say, “to take away a person’s culture is therefore to damage human dignity grievously” (Welcoming the Stranger Among Us, 31).
Te What
What are the qualities of African American music and idioms/culture? Te music and culture of African Americans is inherited from African culture, as it adapted to the life and culture of the United States beginning in the period of slavery. Of great import is the recognition that in African culture, all celebrations incorporate the elements of dance, drum, and song. Tis trio of expression is present in all aspects of life, including ritual. (Floyd, 19) Equally important to note is that in African culture there is no distinction between the sacred and secular as it exists in Western culture. In African culture, that which is seen as spiritual is part of all things, part of all existence.
Enslaved Africans brought with them to the new world the importance of and respect for community. African culture and music are therefore participatory. With the emphasis on and reverence for the drum comes music that is very rhythmic. When use of the drum was forbidden, enslaved Africans found other ways to infuse rhythm into their music-making with their hands and feet and by turning ordinary items such as washboards and tubs into percussion instruments. African music is antiphonal and makes great use of call and response. It is repetitive and usually simple in form, thus allowing for the community to easily participate. It is improvisatory, and it is expected that music leaders will add verses and music
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