Africans have the capability to express their primal knowledge to enrich their Christian faith. Their primal spiritual knowledge is expressed through oral means such as singing accompanied by drumming and dancing. The expression of their primal spirituality helps them to present their spirit, soul and body wholly to God. This primal condition of being spiritual is the personal quality prior to any other religious beliefs, such as Christianity. Therefore, African Christianity is how to live the Christian faith and worship God within the African way of life, and not necessarily syncretising different systems of religious beliefs, but the expression of the soundness of Africanness. Hence, the thesis has been grounded in The Concept of Africanness in African Christianity, which is how Christianity would communicate with African cultural heritage. A distinct way of expressing Africanness can be noticed when Agbadza and Bᴐbᴐbᴐ music and the lyrics that are akin to Scripture are engaged in some African churches to worship God. This primal expression is functionally identical in the Apostles Revelation Society, and some branches of the Global Evangelical Church (hereinafter called the ARS and GEC, respectively). Nevertheless, while Agbadza is culturally considered as war music among the Anlo-EƲe, Bᴐbᴐbᴐ music among the EƲedome is also seen as immoral and frown upon. Notwithstanding these mixed feelings towards Agbadza and Bᴐbᴐbᴐ cultural music, majority of Christians get exceedingly excited about the engagements between these cultural music and Christian faith in their churches. The main objectives of the study are to find out why they get excited when these cultural music are being engaged in the churches, and the war and immoral nature of these music. In addition, the theological and ethical thoughts on some selected lyrics are considered. Finally, what would the ARS and GEC do differently to lay bare the impact these cultural music should have on their communities, which guarantee their future and sustainability in the churches. In order to achieve the objectives of the study, theological, ethical, and phenomenological methods are blended as qualitative technique has been adopted in data collection and analysis. The reason why the worshippers get excited about these cultural music had been explored, and the theological and ethical thoughts on the practice were examined.
Table of Contents
CHAPTER ONE Introduction
1.1.Background of the Study
1.2.Statement of the Problem
1.3.Research Objectives
1.4.Research Aim
1.5.Research Question
1.6.The Scope of the Study
1.7.Limitation of the Study
1.8.Methodology
1.8.1. Research Methods of Data Collection
1.8.2. Primary Source
1.8.3. Secondary Source
1.8.4. Sampling and Sampling Procedure
1.8.5. Methods of Data Analysis
1.9. Conceptual (Theoretical) Framework
1.10. Literature Review
1.11. Organisation of Chapters
1.12. The Significance of the Study
1.13. Conclusion
CHAPTER TWO The Concepts of Agbadza, Bᴐbᴐbᴐ, and Christian Music
2.1. Introduction
2.2. The Concept of African Primal Music
2.3. The Concept of Agbadza as Cultural Music of the Anlo-EƲe
2.4. The Concept of Bᴐbᴐbᴐ as Cultural Music of the EƲedome
2.5. The Concept of Christian Music
2.6. The Concept of the Emergence of African Christianity
2.7.The Interface Between Primal Spirituality and Christian Faith
2.8. Christian and Primal Moral Values in Juxtaposition
2.9. The Healing Nature of Cultural Music of the EƲe
2.9.1.Medical Healing
2.9.2.Spiritual Healing
2.10. The Impacts of Christian Faith and Primal Worldviews
2.11. Conclusion
CHAPTER THREE Theological Thoughts on Agbadza and Bᴐbᴐbᴐ Lyrics of the ARS and GEC
3.1. Introduction
3.2. Theological Thoughts on Agbadza Lyrics in the ARS
3.3. Theological Thoughts on Agbadza Lyrics in the GEC
3.4. Theological Thoughts on Bᴐbᴐbᴐ Lyrics in the ARS
3.5. Theological Thoughts on Bᴐbᴐbᴐ Lyrics in the GEC
3.6. A Comparative Study on Agbadza and Bᴐbᴐbᴐ of the ARS and GEC
3.7. Christian Mission Engagement with Agbadza and Bᴐbᴐbᴐ Music
3.8. Conclusion
CHAPTER FOUR Ethical Thoughts on Agbadza and Bᴐbᴐbᴐ Lyrics of the ARS and GEC
4.1. Introduction
4.2. Eco-Ethical Facet of Agbadza Lyrics “Aƒetᴐ Yesue, Va Đem Kaba”
4.3. Eco-Ethical Facet of Agbadza Lyrics “Anyigba Le Dzo Le Ge”
4.4. Eco-Ethical Facet of Bᴐbᴐbᴐ Lyrics “Nuvᴐ Gbe Si Medze Si La”
4.5. Eco-Ethical Facet of Bᴐbᴐbᴐ Lyrics “Elabe Ewua Gbᴐgbᴐ”
4.6. African Christian Eco-response to Creation Care
4.7. Conclusion
CHAPTER FIVE Presentation of Data and Findings of Responses
5.1. Introduction
5.2. Presentation of Responses
5.3. Interview with ARS Pastors Kwashie and Kudzo
5.4. Interview with GEC Pastors Yaotse and Yesunyo
5.5. Interview with Dumega V and Mamaga II
5. 6. Participant Observations on ARS and GEC Church Music
5.7. Responses of ARS Love Church Elders
5.8. Responses of ARS Joy Church Elders
5.9. Responses of GEC Global Chapel Elders
5.10. Responses of GEC Mercy Chapel Elders
5.11. Responses of ARS Love Church Youths
5.12. Responses of ARS Joy Church Youths
5.13. Responses of GEC Global Chapel Youths
5.14. Responses of GEC Mercy Chapel Youths
5.15. Findings of Responses
5.15.1. The Salvation Stance of the ARS and GEC Informants
5.15.2. Agbadza and Bᴐbᴐbᴐ music reveal culture
5.15.3. Agbadza and Bᴐbᴐbᴐ Music are Beneficial
5.15.4. Agbadza and Bᴐbᴐbᴐ Lyrics are Scriptural
5.15.5. Agbadza and Bᴐbᴐbᴐ are Affecting Spiritual Growth
5.15.6. Agbadza and Bᴐbᴐbᴐ Music have a Future
5.16. Conclusion
CHAPTER SIX Discussion of Findings
6.1. Introduction
6.2. Discussion of Key Findings
6.2.1. Findings on Excitement of Agbadza and Bᴐbᴐbᴐ Music
6.2.2. Findings on Theological and Ethical Thoughts on the Lyrics
6.2.3. Findings on War and Immoral Nature of Agbadza and Bᴐbᴐbᴐ
6.2.4. Findings on Sustainability of Agbadza and Bᴐbᴐbᴐ Music
6.3. Conclusion
CHAPTER SEVEN Summary, Major Findings and Recommendations
7.1. Introduction
7.2. Summary
7.3. Major Findings
7.4. Fulfilling the Objectives
7.5. Recommendations
7.5.1. Recommendation to ARS and GEC
7.5.2. Recommendation to Educational Institutions
7.5.3. Recommendation to Environmental Protection Units
7.6. Contribution to Scholarship
7.7. Conclusion
Research Objectives and Themes
This study aims to investigate why members of the Apostles Revelation Society (ARS) and the Global Evangelical Church (GEC) exhibit significant excitement when Agbadza and Bᴐbᴐbᴐ music are engaged in worship, while considering the theological and ethical implications of these practices within an eco-theological framework.
- The relationship between African primal spirituality and Christian faith within the context of indigenous music.
- Theological and ethical analysis of the lyrics of Agbadza and Bᴐbᴐbᴐ music.
- The impact of cultural music engagement on environmental awareness and creation care (eco-theology).
- The future sustainability and integration of these cultural forms within the GEC and ARS.
Excerpt from the Book
2.3. The Concept of Agbadza as Cultural Music of the Anlo-EƲe
During the pre-Christian epoch, little appears to have been known about the authentic ideas about Africa’s primal views. Already in chapter one, we have the dichotomy of likes and dislikes between cultural music and deeds of excitements that typifies African Christianity. As I delve assiduously into this important research, it is pertinent to state that the people of EƲe in general see music as a performance that is so basic to their socio-religious and cultural lives. In addition, they see it as a connecting link between them and God, and one another.
Mbiti defines culture as “the way people live, behave and act, and their physical as well as their intellectual achievements, art and literature, dance, music and drama, the styles of building houses and of people’s clothing, in social organisation and political systems, in religion, ethics, moral and philosophy, values, beliefs, in the customs and institutions of the people”. Mbiti did his extensive research among Africans and gave a comprehensive definition of African culture. Thus, culture is a way of life lived by a group of people. It is what holds people together in a community.
Summary of Chapters
CHAPTER ONE: Provides the foundational background, problem statement, research objectives, and the methodological approach of the study.
CHAPTER TWO: Explores the conceptual relationship between traditional EƲe music (Agbadza and Bᴐbᴐbᴐ), Christian music, and emerging African Christianity.
CHAPTER THREE: Examines specific theological thoughts embedded in the lyrics of Agbadza and Bᴐbᴐbᴐ music used by the ARS and GEC.
CHAPTER FOUR: Offers an eco-ethical analysis of selected lyrics to determine their relevance to environmental and creation care themes.
CHAPTER FIVE: Presents the qualitative and quantitative data gathered from interviews, questionnaires, and participant observations within the selected churches.
CHAPTER SIX: Discusses the findings regarding the excitement of worshippers, the morality/nature of the music, and the sustainability of these practices.
CHAPTER SEVEN: Summarizes the major research findings, offers recommendations to churches and educational institutions, and concludes with the significance of the contribution to scholarship.
Keywords
African Christianity, Agbadza, Bᴐbᴐbᴐ, Primal Spirituality, Eco-theology, EƲe, ARS, GEC, Creation Care, Indigenous Music, Liturgy, African Theology, Ethics, Cultural Heritage, Evangelism.
Frequently Asked Questions
What is the core focus of this dissertation?
The study primarily investigates the theological and ethical significance of using indigenous Agbadza and Bᴐbᴐbᴐ music within the Apostles Revelation Society (ARS) and Global Evangelical Church (GEC) in Ghana.
What are the primary themes analyzed?
Key themes include the excitement experienced by congregants during these musical performances, the theological contents of the lyrics, and the potential for these songs to address moral and environmental issues.
What is the central research question?
The overarching question explores why members of the ARS and GEC experience such high levels of excitement when indigenous music, translated into Christian expressions, is utilized in worship.
Which methodology is adopted?
The research adopts a qualitative approach, blending theological, ethical, and phenomenological methods, supported by quantitative data from questionnaires and interviews.
What is the primary contribution to environmental ethics in this work?
The author highlights the eco-ethical potential of traditional lyrics, arguing that these songs go beyond praise and should be reinterpreted to address current environmental crises like "galamsey" and deforestation.
How is "Africanness" understood in the context of this study?
Africanness is viewed as the expression of living the Christian faith authentically within an African way of life, rather than syncretizing different religions, by valuing one's indigenous cultural heritage.
What prompted the author to focus on Agbadza and Bᴐbᴐbᴐ music?
The author noticed a, "bewilderingly complex" behavior where worshippers express deep spiritual excitement for these musical forms, which are often historically labeled as "war" or "immoral" music.
What is the proposed recommendation for the future of these music in the church?
The author recommends that church leaders integrate these cultural forms with robust, mission-focused teaching that highlights their scriptural consistency and their role in promoting environmental creation care.
- Citar trabajo
- Ron Macaulay (Autor), 2024, Primal Spirituality of Indigenous Songs in African Christianity. A Theological and Ethical Analysis of Some Selected Lyrics of Agbadza and Bobobo Music, Múnich, GRIN Verlag, https://www.grin.com/document/1494399
