ABSTRACT
THE EFFECTS OF WESTERN INSTRUMENTS ON AFRICAN CHRISTIAN WORSHIP: A CASE STUDY OF WESLEY (METHODIST) CATHEDRAL, ENUGU.
The purpose of this project is to examine the effects of Western instruments on the use of African traditional instruments in the worship of God with special reference to Methodist Church Nigeria, Wesley Cathedral Enugu. The project considered the different kinds of Western and African traditional musical instruments in use during worship. It further examined the role of Western musical instruments in worship and the effects on the use of traditional musical instruments.
What impact have the musical instruments made on worship? Could both (the western and the African traditional instruments) be allowed in worship? If ‘yes’, how? If ‘no’, why not?
The Project endeavoured to answer the above questions within the scope of the research. The effects of Western Instruments in African Christian Worship: A case study of Wesley (Methodist) Cathedral Enugu.
CHAPTER ONE
THE PROBLEM AND ITS SETTING
1.1. INTRODUCTION:
Religion is practiced by every human indicating the belief in a Supreme Being. Music, in general, especially its rhythmic effect, with the instruments, acts as a means of communication between human beings and the Supreme Being they worship. Music acts as a channel of communication between human beings (worshippers) and the Supreme Being (the worshipped). Music and the use of musical instruments are as old as worship itself. In Genesis 4: 21, Jubal (from Cain’s lineage) was said to be the father of all such as handle the harp and organ. The Israelites also used musical instruments in worship in the temple, (2
Chronicles 7:6, 29:25-29). Music promotes worship and the uses of musical instruments attract the participation of all worshippers.
Douglas (1962: 32), in the book titled “Church Music in History and Practice” defines worship as “the eternal activity of redeemed mankind… the offering of all our faculties to the glory of God.”
FOREIGN RELIGION:
All beliefs and practices that are not of African origin are described as foreign religion. There are two major sub-groups: Islam and Christianity.
ISLAM:
According to Omolewa (1986: 142), Islam religion was introduced into Africa by Arab traders in about the 8th Century A.D. It is one of the leading religions of
the world today. It was founded by Prophet Mohammed with its spiritual seat at MECCA IN Saudi Arabia. The followers are known as Muslims or Moslems. They go on holy pilgrimage to Mecca from time to time. Their holy book is known as the Koran. Although the Koran does not forbid music, the prophet’s puritanical followers claimed after his death, that he had regarded music, particularly instrumental music, as a “forbidden pleasure” and proceeded to ban the lute. They likewise use music in worship but to them, the chanting of verses, the undecorated syllabic metrical melismatic hymns, they use in worship are not music.
CHRISTIANITY:
Christianity was founded by Jesus Christ and has Holy Bible as the source book of religious inspiration. It reached Nigeria through Bishop Ajayi Crowther and Bishop Shanahan. They requested for missionaries in Africa and they contributed in promoting European culture.
Christian worship is the respect and reverence paid to God. It is instinctive by means of word and action, solitary or corporate, because it is the worship of the people of God, the worshipping church expressing their inmost nature. There is the fact that religion as a whole and worship in particular, both in their primitive beginning and in their maturest development have never been something an individual can do in isolation from his fellows. Nzewi (1980:11), in his work titled “Folk Music in Nigeria: A Commuion” writes under the subheading “Folk Music as worship” that:
Worship finds it’s most respectful and satisfying mode of address in music: more so when it takes the form of powerful communal invocation… In the ritual of worship, there is usually provision for a communal psychic communion… The Community spirit of the worshippers must be aroused, committed and enhanced through active participation in order to
achieve the reciprocal involvement….
With the mission to lead the people forth to “worship God”, the inspiration of individual man and woman, mainly youth has led to a new depth in corporate worship.
1.2. HISTORICAL BACKGROUND OF WESLEY CATHEDRAL CHURCH, UWANI ENUGU, ENUGU DIOCESE
In an interview with the Very Rev. J.O.I. Okocha, Presbyter, Wesley Cathedral Circuit, he confirms that before the 1920s, the headquarters of Methodist Church in Eastern Nigeria was in Bende. It later shifted to Port Harcourt and, in the late 40s, the Headquarters moved to Umuahia where it remained until Methodist Church Nigeria became one conference in 1962.
At the early stages of Methodism in Eastern Nigeria, Agbani was one of the oldest Circuits, with Enugu Township under it and the Methodist church at Ogui the only one in the entire Coal City. It was at Ogui that the first Ministerial Station was located. The Uwani area was an Enugu extension. The Cathedral building was started from mid fifties.
According to Familusi (1982) the Enugu Archdiocese was inaugurated on 15th May 1976, and its first Archbishop, Most Reverend J. O. David was enthroned. The first Enugu Archdiocesan Lay President was Mr. A. E. Nkpa. The Umuahia Diocese was inaugurated on May 29, 1976 and its Bishop, The Rt. Reverend J. N. Dimoji, enthroned with Chief D. O. Opoko as the first Lay President. In
1977, the Most Reverend J. O. David was translated to Lagos to take over from Archbishop Ladipo in the Archdiocese of Lagos while the then Bishop of Umuahia, the Rt. Rev. J. N. Dimoji, was translated to Enugu, where, in 1978, he became the next Archbishop of Enugu Archdiocese.
The Cathedral building was still under construction. It was managed then by the entire Enugu Diocese comprising: Enugu, Abakaliki, Okigwe zones. The construction witnessed constant knock-down and re-building to suit the present taste till the Archbishop, the Most Rev. J. N. Dimoji handed it over to the Cathedral Church worshippers. This hand over harnessed the building. The encouragement from both worshippers at the Cathedral and well-wishers in the society saw the building to its present stage, where, it has been completely painted at the time of the present Archbishop of Enugu, the Most Reverend M. U. Ogo, who succeeded the retired Archbishop Dimoji in 1998 and became the next Archbishop on 5th January, 1999.
1.3. PURPOSE OF THE RESEARCH:
The purpose of research “The Effects of Western Instruments In African
Christian Worship: A Case Study of Wesley (Methodist) Cathedral, Enugu”,
was to highlight and announce the gradual death of indigenous music and the use of African traditional musical instruments in worship. It was also to arouse remedies to the traditional musical instruments in worship. It was also to arouse remedies to the rescue, revitalization, restoration, and promotion in African worship. It was to provide an insight into the westernization of African worship and the “bat” nature of the Africans. Africans cannot handle the Western instruments purely as the westerners as seen in most churches and yet they neglect the use of African traditional instruments. They are not worshippers recognized to be purely “Westerns” or purely “Africans” – hence, are not animals of the “air” or animals of the “earth”. The research purpose was also aimed and focused on incorporation of African traditional instruments in worship and how best the use of African traditional instruments will assist in worship.
Several of our African music authors have written against the discard and prohibition of the use of African traditional instruments in worship. This research work prompts on revisiting the use of African traditional instruments in worship, hence this topic and focus on “back to the use of traditional instruments in worship”.
This material content is developed to serve as a GUIDE for students to conduct academic research
THE EFFECTS OF WESTERN INSTRUMENTS ON AFRICAN CHRISTIAN WORSHIP A CASE STUDY OF WESLEY METHODIST CATHEDRAL ENUGU
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