Worship Music & Culture: The Case of the Songhai of Niger

By John R DeValve

Music is an exciting aspect of African cultures south of the Sahara, abounding in creativity and full of life and movement. Christian worship music was added to the music mix by missionaries from Europe and North America in the nineteenth and twentieth centuries, and it has retained much of its Western flavor. This book is a case study of the African Christian community among the Songhai and its worship music. Drawing on extensive research conducted over a six-year period, the author explains the relationships between music, culture, and worship using the Songhai church as a case study. In the process, he builds a model for further research and experimentation in the worship of other Christian communities. Included in the discussion are insights from the disciplines of ethno- musicology, worship study, anthropology, theology, missiology, and history.

• Language: English
• Publisher: Regnum Books International
• Release date: Jul 31, 2020
• ISBN: 9781913363529

Book preview

1. Introduction

‘The person who has not travelled will not gain wisdom.’

Songhai Proverb¹

My Personal Journey: A Liminal Identity

In his book How Musical Is Man?, ethnomusicologist John Blacking describes the posture of two types of people. The first are limited by their cultural understanding, unable to think outside the box of their culturally conditioned concepts of music and musical ability. Such people, Blacking says, mistake the means of culture for its ends and live ‘for culture’ (original emphasis).² The second type of people are those who think and act outside the box of their cultural limitations. Blacking says these people live ‘beyond culture’ (original emphasis). They live in a state of liminality. The Oxford Dictionary of English gives two definitions of ‘liminal’: 1) ‘relating to a transitional or initial stage of a process’, or 2) ‘occupying a position at, or on both sides of, a boundary or threshold.’³ For my purposes, I am relying heavily on the second definition. It is a ‘state of continuity and discontinuity at the same time, a kind of bi-cultural identity.’⁴ To put it another way, it is a condition of living between worlds, or on the borderland between them, where life is unsettling and disconcerting.

The word liminal may be used to describe the state of ‘in-betweenness’ in common Western rituals such as graduation (between finishing coursework and receiving a diploma) or the period of engagement before marriage. Concepts of time such as twilight, noon, or New Year’s Day are liminal, since they are on both sides of a temporal boundary. There are also in-between places, such as planes, country borders, disputed territories, or airports. In addition, the concept of liminality has entered the popular discourse and culture through television programs such as ‘The Twilight Zone’ (1959–2003) and ‘Lost’ (2004–2010), through books like Offshore (by Penelope Fiztgerald [1979]), and through films such as ‘The Terminal’ (2004).

I have lived in a state of liminality most of my life. Born outside the United States, I lived nearly half my childhood outside my passport country. Since 1984, I have lived in Niger, where I have become an insider to the Songhai culture. For 16 years I lived in an isolated area of the country. As a result, I speak the language, wear appropriate dress, and observe many cultural practices and taboos. I eat local foods and bear a Songhai name and identity. I participate with people in their daily activities and rites of passage, share their ordeals, and advocate their cause.

I am what Paul Hiebert calls an outsider-insider.⁵ As the Songhai proverb vividly puts it, ‘Even though a log remains in the water a long time, it never becomes a crocodile.’⁶ I am a white stranger who will always be an outsider to Songhai culture. My passport culture continues to affect my thoughts and actions, even though I understand and appreciate many Songhai ways. While I have resided many years in Niger, my ignorance of Songhai culture comes out at inopportune times. Until I started my research in 2010, for instance, I knew little about Songhai music and had not learned the names of traditional instruments.

My identity as an outsider-insider is often confusing and ambiguous. Am I American or African? Am I more at home in the US or in Niger? I live in a state of continuity and discontinuity at the same time. My status is hybrid and dynamic, and the word ‘home’ is a vague and shifting concept for me. I desire to go beyond the stereotypes that a dominant culture imposes on anyone who is different, but I am limited by my cultural background. I live in a constant state of liminality between insider and outsider, between poverty and riches, between west and south, between the demands of people and the demands of time, between the past and the future, between continuity and discontinuity, between minority and dominant cultures, between the community and the individual. I am on the threshold of three worldviews: my Christian one, the traditional/Muslim/African one, and the secular/postmodern one. Who am I? I am multicultural, living in and for cultures but also beyond culture. I am a person who, like a chameleon, changes color to fit my environment. I am both/and and neither/nor. I am both a stranger and a ‘native’. My identity as both outsider and insider to several worlds has shaped my life and my identity.

As a Christian, of course, I have an identity in Christ that is unchangeable, but I also live in the world as a human being. I cannot completely divorce myself from my local context. It is easy to say that my home is in heaven, but it is hard to live without a true ‘home’ in this world. We all seek a stable home. I live on the margins of ‘home’. That is sometimes unsettling. I live with two types of liminality: the one between my Christian and my human identity, and the one between my differing human identities. I am rooted and grounded in Christ, but my human identities change with time and place.

My Research Journey: The Issue at Stake

Before starting my doctoral research in 2010, I had already acquired many academic and artistic qualifications in the areas of worship, music, and culture. I have extensive cross-cultural training and experience in African, European, and Asian settings. I learned French as a teenager and speak it well. I studied mathematics, theology, languages, linguistics, and the social sciences in secondary school and in university. Later, I earned a master’s degree in intercultural studies at Columbia International University. Involved in church and corporate worship from my youth, I have familiarity with liturgy and different liturgical styles. In addition, I have wide-ranging training and background in musical performance and technique. Taught to play piano at an early age, I played for many church and social functions in my youth. In adult life, I learned to play the acoustic guitar and lead congregational singing. I also have vocal experience in choirs, chorales, and musical ensembles.

When I began working among the Songhai, I quickly observed that most had little interest in singing or playing musical instruments. This seemed odd, especially in Africa south of the Sahara. It is not as if there is no music in the Songhai and related Zarma cultures of West Africa. In fact, they have a rich tradition of music, song, and dance going back at least five centuries. I started asking myself questions. What was going on here? How do the Songhai view music and musicians? Are the Songhai unique in their perspective? Why had I come to work with a people who seemed so ambivalent toward music?

As I got to know the Songhai/Zarma people and language better, I also got involved in the church and made more observations. I noticed that while Songhai Christians love music and singing, they retain some cultural attitudes and ideas toward music. What is more, they rarely seek to incorporate their musical traditions into church worship, relying mostly on borrowed forms of worship music. Very few Christian Songhai have composed worship songs for congregational singing. Almost all songs are translated from other languages and use a foreign melody. This provoked other questions in my mind: Why are the vast majority of worship songs coming from outside the country? Why do Songhai Christians seem so hesitant to use their local expressions of music in worship? How should believers best express their Christian and Songhai identities in music? To what extent is traditional music important to the church? The lack of worship music in the local idiom also seemed odd. Songhai Christians appeared indifferent to adopting new musical ideas and suggestions, for example, while the neighboring Gurmancé people would readily incorporate suggestions and ideas into worship and church functions. The following story illustrates the questions that I wrestled with.

In a church outside of Niamey it is a tradition for each ethnolinguistic group to sing a song in their language during part of the Sunday service. On the day we visited, the Zarma group in the church had just sung a song in their native language, a chorus translated from French entitled, ‘He Is the God of Miracles’. (The reader can hear the song at the following link: http://bit.ly/2lVk3Tl.) While the other linguistic groups like the Tuareg, the Hausa, and the Gurmancé sang original songs employing indigenous melodies and lots of movement, the Zarma had trouble coming up with a song, and their gestures seemed stiff and uncomfortable. When they were done, one of the members of the group made the following comment as a sort of apology: ‘The Zarma do not have any of their own [worship] songs. They are all translated from other languages’.⁷

While what this man said is an exaggeration, his words succinctly summarize the nature and scope of my longstanding questions. By comparison with other cultures in Niger and West Africa, the Songhai/Zarma people have very few worship songs composed by their own people. These sentiments are not unique. Another man had this to say about the current repertoire of music in the Songhai church: ‘A great majority of the Songhai people remain attached to their oral traditions. They can view this way of singing [in the church] as foreign to their reality.’⁸ One Zarma pastor made the comment: ‘Music is not exactly in the … Zarma culture.’⁹ A musician colleague expressed the same frustrations I have felt about the attitude toward music among the Songhai people.¹⁰

Even though they won’t sing or play instruments, the Songhai do appreciate music. They listen and dance to music a lot. I have witnessed their positive reaction to music. Here is another story relating a moment of surprise and inspiration I experienced:

Téra, Niger. December 25, 2002. The four small, recently formed churches in Téra, a large town in Niger, met for their first-ever joint Christmas celebration. It was a rather stiff, formal service. There was some congregational singing accompanied by a jembe and cymbals. Several people read Scripture, and my message, translated from French into Songhai, was rather bland. Each church presented a choral number. I sang a Christmas song with my family accompanied by my guitar. For the most part, it was all quite unexciting, and, I might say, rather boring.

All that changed, however, when the choir from a nearby village church got up. The people of this village are mostly poor, semi-literate farmers and are not Songhai. The choir was composed mainly of women, with a male leader and another man playing a small drum. The song was a simple, call-and-response chorus with the leader singing a line and the choir responding to his lead. They sang in Gurmancéma, a language unknown to most Songhai present.

As soon as they started, the congregation erupted. Drooping heads snapped up. Eyes lit up with a new glow. People began clapping and swaying to the beat. To my outsider eyes and ears, there was nothing remarkable about the song. The choir was neither swaying nor dancing. They were standing in place and singing rather quietly. They did not even seem to be together on the same note. The only movement was the occasional lifting of the arm of the leader as he stabbed the air to make a point and the tapping of the drum by the drummer. Nevertheless, the audience was standing, clapping, and dancing to the beat. Women began ululating. The tumult increased dramatically. People rushed forward and placed coins and bills at the feet of the choir or pressed them to the forehead of the leader, a sign of appreciation and encouragement.

As I stood watching, fascinated by the spectacle, I sensed that here was an authentic African expression of Christian worship. It meant very little to me, but it obviously meant a lot to those present, even though most did not understand the words. I wondered if this kind of music could be developed for worship in the Songhai language using Songhai musical styles and instruments. Would it be accepted? Would people enjoy it? Would they sing it? What effect would it have on believers and non-believers? Would urban churches like such music as well as rural churches? What was preventing the Songhai church from creating music like this? Would worship feel more comfortable and less alien to both believers and unbelievers if it contained some elements from the Songhai musical culture? What do I as a musician have to offer the Songhai, if anything? What kinds of music and song are appropriate for the Songhai in a worship setting? What model should be used for singing in Songhai churches?

Map 1-1: Western Niger Showing Major Cities and Research Sites

(Credit: Perry-Castañeda Collection, University of Texas Libraries Public Domain)

This incident and the questions it provoked were a catalyst to propel me into my research journey. In order to better understand the Songhai church, I conducted research from 2012 to 2016 in seven different locations in Niger: Niamey (the capital city), Téra (a town about 200 km from Niamey where I lived from 1992 to 2008), Damana, Kollo, Sarando, Tillabéri, and Dosso, as well as in northern Benin (see Map 1-1). I also interviewed one Songhai man from Mali and several expatriates who have worked among the Songhai in Niger, Benin, and Mali.

One of the key aims of my research was to go behind the scenes to discover the attitudes and perceptions of people toward music in the culture and in the church. My intention was to determine why it is so hard for the Songhai to create music using indigenous styles and instruments and why what has been created has had such limited impact. In my thesis, I examined the factors that limit Songhai Christians from creating worship music for church and put forward some ideas to move beyond the current limitations. Part I of this book will summarize my research findings.

The research journey took eight years. There were many interruptions, delays, and disappointments along the way. I spent many hours eliciting answers to my questions; transcribing interviews; reading the literature on worship, music, and culture; analyzing the mounds of data collected; and writing up the results in a thesis with an impossibly long title. During the process, I conducted 80 interviews, observed the worship service in 23 churches, studied 3 churches in depth, and learned to play a traditional instrument called a moolo. In the end, I came away with a deeper appreciation for both the Songhai traditional and Protestant music-cultures. As a stranger and alien, I am more of an insider than ever before.

Rationale for the Book

There are two types of scholarship that are often overlooked by students and researchers of Africa and the Christian church. The first is musicological research and writing about Africa. The lack of scholarship in this area hampers the ability to understand and analyze African life. Since questions of identity are so keenly played out in music, it is necessary to study the music-cultures of Africa.¹¹ There are a few scholars who have examined West African musics ¹², but, to my knowledge, no one has attempted to portray a comprehensive survey of Songhai music. Most scholars have generally focused on one dimension of the Songhai music-culture or referred to it in relation to other aspects of society.¹³ My research was an attempt to fill this gap and provide an overview of the Songhai traditional music-culture. This book will give a brief outline of Songhai music (see Chapter Four). One caveat is in order. Writing about music is a challenging and limiting task. How does one put on paper what one hears and feels and performs? While both prose and music are related to speech, neither is the same as speech. Often, the experience of music gets lost in writing about it.

Another type of scholarship that gets neglected is studies about Christian worship. Until recently, missiologists have concerned themselves more with cross-cultural apologetics and theological thinking about mission than studies on prayer and the celebration of the sacraments. This omission is scandalous when one considers that corporate worship is a central practice of the Christian faith. It is an activity that expresses what people believe about God, humanity, salvation, ethics, and time. Worship is important to the identity of Christians. According to Felix Muchimba, very little has been written about African Christian music.¹⁴ This lack of documentation can lead to marginalization and disempowerment.¹⁵ Many scholars have thought that church music was little more than an importation, or, worse, an imposition by Western missionaries and not authentically African. As such, it was not worthy of concentrated study. It is true that Western hymnody dominated the African church until the 1950s, but since then, Africans have begun composing their own music for church.¹⁶ I agree with Jean Kidula, who disputes the notion that Christian music in Africa cannot be authentically African. She says that a recognition of African Christian musics starts with analyzing African forms and realizing that music is important in identity construction.¹⁷ This book will summarize some of my research into Songhai Protestant worship practices (see chapter 6).

The movement toward creating indigenous music in African churches has not reached every corner of the continent. Some communities have barely started down that road. The Songhai are one people who have made little headway in welcoming locally created worship music, making Christianity seem foreign. This phenomenon will be documented in this book.

Let me state here at the outset that I do not advocate discarding the repertoire of songs currently used in the Songhai church, insisting that colleagues and friends exchange Western songs for ‘indigenous’ ones. That would be inappropriate and paternalistic. On the contrary, I affirm and support the decision of churches to use whatever music is meaningful to them. During the research, I also was not trying to create new worship music. Rather, my purpose was to stimulate discussion, reflection, and action regarding worship and music in the Songhai church.

North Americans and Europeans often demonstrate an appalling lack of knowledge and understanding of Africa and Africans. As a result, we are prone to an exoticism and a sensationalism that highlight differences and reinforce stereotypes about Africa.¹⁸ In this book, I want to avoid getting caught up in a kind of ethnocentric prejudice that overdramatizes my experience in a ‘faraway land’.¹⁹ Rather, I describe and analyze Songhai cultural and church music in its richness and diversity without drawing unnecessary attention to differences between North American/European and African musics. I see music among the Songhai not as a static, exotic oddity, but rather as a living, changing art form with cultural roots.

Key Concepts and Tools

One of the key issues uncovered in my research was the issue of identity. Music is an important factor in identity construction. One issue facing Songhai Christians is how to integrate their Songhai (local) and Christian (global) identities. This highlights a persistent problem for all Christians. They live in a particular context in the world, but they also have a citizenship beyond this world. How do they sort out these two identities? They are often in tension and sometimes in conflict. In order to get a grasp on issues of identity and cultural bias, I have borrowed two concepts from the literature on missiology and anthropology to help analyze and interpret the insights I gleaned in my study of Songhai church music. The first concept comes from missiologist Andrew Walls. He writes that there are two competing tendencies within the church. The first is the tendency to accept people as they are and make people feel at home. He calls this the ‘localising’ or ‘indigenizing’ principle. The second is the realization that this world is not our home and that the Christian is part of a much bigger kingdom made up of many peoples. He calls this the ‘globalizing’ or ‘pilgrim’ principle. Both are important, he says.²⁰ His insights help us understand and resolve some of the tension between our local and global identities. They also have bearing on the musical choices and preferences of the church.

The second concept is grid/group cultural theory. Proposed by anthropologist Mary Douglas in the late 1960s, it is a method of classifying cultures and explaining cultural similarities and differences. Thus, it is another way to sort out issues of identity and cultural bias. This is important because Christians often feel not only the clash between their local and global identities but also between several competing local identities. During my research, I discovered five historical and cultural factors influencing the choice and preference of music in Songhai churches. These factors come with competing worldviews and biases and create a confusion or a profusion of clashing identities. I will explain this theory more in Chapter Seven. It is enough to say here that musical identity among Songhai Christians is a construct of these multiple cultural and historical encounters and interactions.

Foundations, Goals, and Objectives

There are two disciplines that lie at the heart of my original research and which form the backbone of this book. They are the disciplines of ethnomusicology and worship study. I will use two chapters in the first section to explain more clearly these disciplines and their contributions to this book. My main interest, however, lies at the intersection between the two. Specifically, I am exploring an issue that concerns both ethnomusicologists and worship specialists: the relationship between the traditional musical culture and Christian worship music. Some in the Christian community call this topic ethnodoxology, ‘the theological and anthropological study, and the practical application of how every people group might use their culture’s unique and diverse artistic expressions appropriately to worship the God of the Bible.’.²¹ Whether one uses that term or not, both disciplines were important to the research and lay a foundation for this book.

My purposes in this book are fourfold. First, I speak to musicians, church members, pastors, and theologians who deal with issues of church worship. I want to stimulate further discussion and thought about music, culture, and the church. It is my prayer that the ideas presented here will generate fresh ideas about appropriate worship music in local contexts. Second, I want to present key results of my examination into the worship music of the Songhai church. These results may help others look with fresh eyes at their own church communities. Third, I present a model or case study for examining and renewing church worship, especially worship music. With the Songhai church as an example, I encourage people to use the methods and ideas presented here in their own contexts. They may serve as a catalyst or an example for others to adapt to their circumstances so they can evaluate and renew their worship practices. Fourth, my hope is that this will be a goad to action. I do not want this to be an exercise in thought only. I do not want to see more committees formed to think about worship with little fruit. Deep thought is necessary, but it should lead to renewed commitment to action.

This book is about worship, music, and culture, and the intersection of all three. In examining and analyzing the Songhai traditional and church music-cultures, I will demonstrate how I came to better understand the beliefs and practices of another community of believers. In the process, I will introduce tools that may help worship leaders, pastors, and missionaries examine and understand the worship practices of their own community and those of other Christian communities.

Book Summary

What I present here is a case study of Christian worship music in a particular community. I approach the subject holistically, trying to get an understanding of the big picture through the examination of its parts. While many of the ‘parts’ of this study (musical instruments; musical occasions; musicians; Christian worship events; cultural and subcultural forces; and issues such as identity, community, and change) have been treated elsewhere, bringing them together helps inform and renew the dialog about worship in the Protestant church. While few of the insights from my research will constitute new information for the Songhai/Zarma, the juxtaposition of the elements of the research will shed new light on the subject for insiders and help outsiders understand and analyze the issue of the suitability of worship practices in different cultures.

The book is divided into three parts. The first will deal with historical, cultural, and theoretical foundations. In this part, I will first sketch the history and culture of the Songhai people. Second, I will outline the disciplines of ethnomusicology and worship study, with each chapter followed by a related one describing the Songhai traditional music-culture and the Songhai Protestant music-culture, respectively. In a final chapter, I will summarize grid/group cultural theory, and present the five cultural and historical factors that inform the identity of Songhai believers.

Part II is an in-depth look at Songhai/Zarma Protestant church worship using grid/group theory as a framework for analysis. I will look more closely at the five cultural and historical factors that influence the choice of and preference for certain kinds of music in church worship. These factors come with a certain worldview and values that influence musical preference and practice. I will devote one chapter to each cultural factor and explore how its cultural biases affect the worship and music of the Songhai church.

The third section of the book is an application of the method and theory to different situations and church communities. Here I will deal with concepts of change and the mixing of identities that often happen in our urban, interdependent world. I will flesh out another model for grid/group theory that takes into account these changes and mixed identities. Finally, I will suggest ways one could take my research and adapt it to analyze the worship practices of other communities.

¹ Hassimi Oumarou Maiga, Balancing Written History with Oral Tradition: The Legacy of the Songhoy People (New York: Routledge, 2010), 76.

² John Blacking, How Musical Is Man? (Seattle, WA: University of Washington Press, 1973), 5–7.

³ Catherine Soanes and Angus Stevenson, eds., Oxford Dictionary of English, 2nd, revised ed. (Oxford: Oxford University Press, 2010).

⁴ C Michael Hawn, ‘Worship That Transforms: A Cross-Cultural Proposal’, Journal of the Interdenominational Theological Center 27, no. 1–2 (1999): 118–19.

⁵ Paul G Hiebert, The Gospel in Human Contexts: Anthropological Explorations for Contemporary Missions (Grand Rapids, MI: Baker Academic, 2009), 198.

⁶ Yves Bernard and Mary White-Kaba, Dictionnaire Zarma-Français: