After an introduction and views on inculturation, the focus shifts to ‘incarnation’ and ‘contextualisation’ in a broader sense, to also include the transformation and adaptation of the ‘sacred’ for the secular or political sphere. Practices of performing faith through texts and music within diverse liturgical, spiritual, cultural and political contexts in South Africa are discussed. Aspects taken into account are the possible influence of landscape or seasons on the expression of faith and the possible sacro-soundscapes that could come from different (...) contexts, such as the impact of the Karoo landscape on Khoisan descendants singing the sacred; performances in a contextualised music idiom, such as the Genevan Psalms in a Khoi music idiom; and celebrating the Church Year in different hemispheres. The discussion focuses also on contextualising within political contexts – that is, where political space is ‘sacralised’ through sacred songs and where sacred songs are given political meaning or changed for the political sphere. The article closes with the possibility of songs from Africa being sung in other countries and the meaning it could have, or could be given. It is argued that contextualisation from one context to another context of the sacred, or from a ‘secular’ to a sacred context, as well contextualising the sacred into the public or political sphere, could lead to contexts and spaces being changed, enrich the performance of the sacred, stimulate creativity, allow for new processes of attributing meaning, change values and motivate people, form new identities and thus also could lead to changed communities. (shrink)

Glass in the image – image in glass. Preaching in fragments and fragments of preaching... The view that the sermon is an ‘open work of art’, promoted the awareness that the ‘meaning’ of a sermon is not fixed, but that possibilities are presented for the listeners to ‘assign meaning’. ‘Assigning meaning’ does not mean something fully ad libitum: ‘meaning’ is formed within the guidelines of the text from which a sermon stems. Visual works of art could also be based on (...) Biblical texts or stories, analysed and interpreted by the artist. The artist could mould the encounter with the Biblical text into various forms of art, proclaiming the gospel in ways similar to that of a spoken sermon: a work of art could present possibilities for assigning meaning related to faith. In this article the new stained glass windows, symbolically depicting the Liturgical Year, in a Dutch Reformed church in Pretoria, are discussed with a view to the possibilities they present to form part of experience-based religious education in ‘bringing home’ stories from the Bible and aspects of the Liturgical Year. Also asked is how they could function as visual ‘sermons’, speaking and communicating the ‘Word of God’ to the people inside the church, as well as to people on the outside. (shrink)

The role of singing in the formation and building up of the community of faith. Faith is communicated through participation in various actions and rituals in a dynamic process of socialising into the Christian community. Worship is the prime locus for growing into the community of faith. The singing of hymns in worship is important for people to participate in the faith, to socialise into the Christian community and to strengthen the identity of the faith community. Flowing from worship and (...) back, singing and making music, as gifts of the Holy Spirit, are relevant in all activities of the church: to celebrate, to proclaim the gospel, to teach the faith, to comfort and support people pastorally, to open up the opportunity for participation, to give space for communication, to reach out, to bring people together, to form community and foster koinonia – and in doing so, to contribute in building up the community of faith. The community of faith is sung into being. Making music and singing together therefore need to be a part of the encompassing program of a congregation and a church. Ministers need a thorough liturgical-hymnological training as a sound theological base for working with others in actively building up the community of faith through music. (shrink)

In the year 2017, the 500th anniversary of the Reformation is commemorated in countries all over the world. The Reformation was an ecclesiastical and theological renewal movement, but through congregational singing, the ideas of the Reformation spread rapidly through many countries. It was thus also a singing movement. The commemoration year offers an opportunity to explore the ecumenical possibilities of singing and to search for new perspectives. In this article, the exegesis of a hymn text provides the opportunity for a (...) theological discussion on various dimensions of space opened up by worship. They are, among others, the space to meet God, to meet other people and to meet oneself; the space for God’s work; the space to live the faith; the space for memory and a space to get new perspectives – thus presenting the opportunity to ‘change space’. The space created by music is space for praising God, for proclaiming, hearing and believing God’s Word, together with other possibilities. In the hymn that is analysed, the six main spaces or areas of the church’s work within which music and singing could function, come into play. The Gattung, Liedpredigt, opens the possibility for sermons based on hymns – an important ‘use’ of hymns since the time of the Reformation. It is a possibility that should be emphasised anew in the commemoration year. The performative function of the hymn as it is experienced concretely in the performance, is discussed briefly. A need for new sacred spaces and sacrality in spaces provides new space for traditional hymns and for the organ as an instrument traditionally associated with worship – provided they share the space with other instruments, fill the space with new colours of sound and allow for new forms of singing. The tradition should be re-interpreted constantly, to sound the faith anew in each space where it is voiced and heard. (shrink)

The public sphere, in which religion is lived and in which religious singing functions, is briefly discussed and related to manipulated truths and ‘fake news’ regarding the use of spiritual songs and hymns as religious and cultural offerings, with reference especially to texts displaying a disregard for responsible hermeneutical principles. A plea is made not only for a practical theology that engages critically with the fundamentals of the current culture and the use of religious symbols in public, but also for (...) a sounding theology that reflects on communication through singing and other forms of art in the public space of worship as well as in the more ‘visible’ public sphere whilst creating beauty in the process of reflection. Through this means, spaces of resonance could be opened where people become participants drawn in into a performance of practical theology, reflecting together on the religion they live and finding new ways of voicing their faith in the public sphere, unveiling aspects of authenticity and truth. Contribution: From an interdisciplinary perspective fitting the scope of the journal, it is shown how hymns, texts and music draw people into a performance of a practical theology reflecting on lived religion, while finding new ways of performing the sacred in the public sphere – in the process thus opening up aspects of truth in a world of fake news. (shrink)

Te Deum Laudamus – Grosser Gott, wir loben dich. A discussion of translations in Afrikaans. The German hymn ‘Grosser Gott, wir loben dich’, written by the Catholic priest, Ignaz Franz, is based on the ‘Te Deum’, one of the oldest hymns in the Christian tradition. The ‘Te Deum’ and the original German text of ‘Großer Gott’ are discussed and a short overview of the reception of the text is given. It is followed by a discussion of translations into Afrikaans: a (...) text in a Lutheran hymnal, the two versions included in the second official hymnal of the Dutch Reformed Churches in South Africa, and another version, also included in the current official hymnal, Liedboek van die Kerk. Theological and hymnological aspects, as well as connections and similarities with the ‘Te Deum’ and the original text in German are investigated.Contribution: The background and reception history of the hymn Grosser Gott, wir loben dich are given, and various translations into Afrikaans are discussed with regard to differences and similarities to the original text. It is shown that changes to texts could contribute to hymns being used to promote strange issues. (shrink)