the ingalls and spirit of praisE Yong Music and Worship in Global Pentecostal-Charismatic Christianity Edited by MoniquE M. ingalls and aMos Yong THE SPIRIT OF PRAISE EEEdddiiittteeeddd bbbyyy MMMooonnniqiiqquuueee  MMM... IIInnngggaaallllllsss aaannnddd AAAmmmooosss YY Yooonnnggg TTThhHeeE SSSppPiiIrrRiiITTT ooOffF ppPrrRaaAiiISSSeeE MMMuuusssiiiccc aaannnddd WWWooorrrssshhhiiippp iiinnn GGGlllooobbbaaalll ppPeeennnttteeecccooossstttaaalll---CC Chhhaaarrriiisssmmmaaatttiiiccc CCChhhrrriiissstttiiiaaannniiitttyyy TTThhheee P PPeeennnnnnsssyyylllvvvaaannniiiaaa SSStttaaattteee UUUnnniiivvveeerrrsssiiitttyyy PPPrrreeessssss UUUnnniiivvveeerrrsssiiitttyyy Pppaaarrrkkk,,, PPPeeennnnnnsssyyylllvvvaaannniiiaaa Library of Congress Cataloging-in- Publication Data The spirit of praise : music and worship in global Pentecostal- Charismatic Christianity / edited by Monique M. Ingalls and Amos Yong. pages cm Summary: “A collection of essays exploring musical sounds and worship practices within Pentecostal Charismatic Christianity. Combines ethnographic case studies with theoretical reflection informed by social science, musicological, religious studies, and theological approaches, resulting in a multidisciplinary analysis of a global phenomenon”— Provided by publisher. Includes bibliographical references and index. isbn 978-0-271-06662-2 (cloth : alk. paper) 1. Music— Religious aspects— Pentecostal churches. 2. Worship. 3. Pentecostal churches. I. Ingalls, Monique Marie, editor. II. Yong, Amos, editor. ml3921.4.p46s65 2015 264’.2— dc23 2014048713 Copyright © 2015 The Pennsylvania State University All rights reserved Printed in the United States of America Published by The Pennsylvania State University Press, University Park, PA 16802-1003 The Pennsylvania State University Press is a member of the Association of American University Presses. It is the policy of The Pennsylvania State University Press to use acid- free paper. Publications on uncoated stock satisfy the minimum requirements of American National Standard for Information Sciences— Permanence of Paper for Printed Library Material, ansi z39.48–1992. This book is printed on paper that contains 30% post-consumer waste. Contents Preface | vii Introduction: Interconnection, Interface, and Identification in Pentecostal- Charismatic Music and Worship | 1 Monique M. Ingalls Part I: Healing, Renewal, and Revitalization 1 Musical Bodies in the Charismatic Renewal: 1 The Case of Catch the Fire and Soaking Prayer | 29 Peter Althouse and Michael Wilkinson 2 Salvation (Not Yet?) Materialized: Healing as Possibility and 2 Possible Complication for Expressing Suffering in Pentecostal Music and Worship | 45 Andrew M. McCoy 3 Dreaming Urban Indigenous Australian Christian Worship 3 in the Great Southland of the Holy Spirit | 60 Tanya Riches 4 Every Creative Aspect Breaking Out! Pentecostal- Charismatic 4 Worship, Oro Gospel Music, and a Millennialist Aesthetic in Papua New Guinea | 78 Michael Webb 5 Worship Music as Aesthetic Domain of Meaning and Bonding: 5 The Glocal Context of a Dutch Pentecostal Church | 97 Miranda Klaver Part II: Negotiating Traditions in Transition 6 “This Is Not the Warm- Up Act!”: How Praise and Worship Reflects 6 Expanding Musical Traditions and Theology in a Bapticostal Charismatic African American Megachurch | 117 Birgitta J. Johnson 7 Singing the Lord’s Song in the Spirit and with Understanding: 7 The Practice of Nairobi Pentecostal Church | 133 Jean Ngoya Kidula Contents 8 “Soaking Songs” Versus “Medicine Man Chant”: 8 Musical Resonance Among Diné Oodlání (Navajo Believers) | 148 Kimberly Jenkins Marshall 9 “We Can Be Renewed”: Resistance and Worship 9 at the Anchor Fellowship | 163 Andrew Mall 10 Hillsong Abroad: Tracing the Songlines 10 of Contemporary Pentecostal Music | 179 Mark Evans Part III: Media, Culture, and the Marketplace 11 Charismatic Music and the Pentecostalization 11 of Latin American Evangelicalism | 199 Ryan R. Gladwin 12 Blessed to Be a Blessing: The Prosperity Gospel 12 of Worship Music Superstar Israel Houghton | 215 Wen Reagan 13 Music, Culture Industry, and the Shaping of Charismatic Worship: 13 An Autobiographical/Conversational Engagement | 230 Dave Perkins 14 We Can’t Go Back: Liturgies of Worship and Consumer 14 Culture at One African American Church | 247 Will Boone 15 Gospel Funk: Pentecostalism, Music, and 15 Popular Culture in Rio de Janeiro | 262 Martijn Oosterbaan Conclusion: Improvisation, Indigenization, and Inspiration: Theological Reflections on the Sound and Spirit of Global Renewal | 279 Amos Yong List of Contributors | 289 Index | 293 vi Preface This has been an enormously rewarding journey for us as coeditors. The gen- esis of this volume now lies amid a triangulating convergence of trajectories: Amos sensing that the theme of global renewal music and worship needed sustained and interdisciplinary consideration; Monique’s scholarly research, which engaged with renewal music and worship themes, and her conference organizational work, which produced a network of enthusiastic contributors; and Amos finding Monique through what could only have been a series of providential events and their discerning a compatibility of interests, exper- tise, and work ethic. The result is that we have both been blessed to have navigated this path together, each learning a great deal about topics that the other knows much about. We could not have predicted, when embarking on this journey three years ago, how smoothly it would go and how remarkably complementary we would be for this interdisciplinary undertaking. We also could not have predicted how well this volume would fit into and exemplify the increasing cross- pollination of our disciplines more broadly, as religious and theological studies increasingly seek ways to integrate sound and music stud- ies approaches, and as ethnomusicologists express a renewed and sustained interest in sacred and religious musical traditions. Illustrating this convergence of interest are the two parallel conferences from which many of the chapters in this volume arose: the 2011 American Academy of Religion’s Pentecostal- Charismatic Movements Group session on music (co- organized by Amos) and the 2011 Christian Congregational Music: Local and Global Perspectives conference at Ripon College Cuddesdon, Oxford (co-o rganized by Monique). We are also grateful to the contributors of this volume for their diligent and timely efforts. Patrick Alexander at The Pennsylvania State University Press was the one who initially expressed interest in publishing the book, and Kathryn Yahner at the press has been a wonderful and responsive editor. Both editors and contributors are thankful to Julie Schoelles for her thorough and constructive comments during the copyediting process. Vince Le, Enoch Charles, and Ryan Seow, Amos’s graduate assistants, have helped variously in the editorial process, including with the index. Introduction: Interconnection, Interface, and Identification in Pentecostal- Charismatic Music and Worship Monique M. Ingalls The latter half of the twentieth century witnessed the rapid growth of pente- costalism as the public face of Christianity in many parts of the world. With adherents currently estimated at five hundred million— nearly one- quarter of the world’s total Christians— pentecostal growth shows no signs of abating as the twenty- first century progresses. Diverse yet recognizable expressions of corporate worship and music making are hallmark features of pentecostal spir- ituality across the broad reach of the movement. Music and worship practices have long served as key elements in the global reach of pentecostal Christianity, often accompanying conversions on a large scale, transforming existing insti- tutions, and influencing churches across the spectrum of Christian belief and practice. Moving along pathways formed by mass mediation, migration, and missionization, pentecostal music and worship evidence and spur on religious globalization, as songs from influential pentecostal churches— and the record companies and media industry to which they are often intimately connected— make their way into in churches across denominational lines. “Praise and wor- ship,”1 a term that refers both to a segment of pentecostal church services and to the musical practices and songs used within it, has become one of the most widely diffused Christian congregational worship styles and song repertoires worldwide. These songs and their associated worship practices travel around the world to be adopted, adapted, or resisted by Christians in a variety of local communities within and outside pentecostalism. 1