- The Oxford Handbook of Music and World Christianities
- Music, Convert, and Subject in the North Sumatran Mission Field
- Mission Music as a Mode of Intercultural Transmission, Charisma, and Memory in Northern Australia
- Coexistence of Causal and Cultural Expressions of Musical Values among the Sabaot of Kenya
- Indigenous Innovations on Music and Christianity at Ratana Pa
- Music as Shared Space in Mennonite Development Work in Chad
- Are Western Christian <i>Bhajans</i> “Reverse” Mission Music?
- Drums in the Experience of Black Catholicism in Minas Gerais, Brazil
- Chant as the Articulation of Christian Aramean Spirithood
- The Politics of Pronunciation among German-Speaking Mennonites in Northern Mexico
- Hidden Histories of Religious Music in a South African Coloured Community
- Music and Religiosity among African American Fundamentalist Christians
- Songs of <i>Oru Olai</i> and the Praxis of Alternative Dalit Christian Modernities in India
- The Renaissance of the Corsican Confraternities and Their Musical Negotiations
- Local Music Making and the Liturgical Renovation in Minas Gerais
- The Survival Story of Syriac Chants among the St. Thomas Christians in South India
- Russian Church Music, Conundrums of Style, and the Politics of Preservation in the Emigre Diaspora of New York
- Parading Protestantisms and the Flute Bands of Postconflict Northern Ireland
- Everyday Musical Ethnicity and Roma (Gypsies) in Hungarian Pentecostalism
- Transnational Connections, Musical Meaning, and the 1990s “British Invasion” of North American Evangelical Worship Music
- Negotiations of Faith and Space in Memphis Music
- Tropes of Continuity and Disjuncture in the Globalization of Gospel Music
- Mainline Protestantism and Contemporary versus Traditional Worship Music
- Negotiating the Tensions of U.S. Worship Music in the Marketplace
- Contingency and the Symbolic Experience of Christian Extreme Metal
- Palestinian Christmas Songs for Peace and Justice in Sacred Place and Politicized Space
- The Diffusion of Gregorian Chant in Southern Italy and the Masses for St. Michael: To Barbara Haggh and to the Memory of Michel Huglo
- Performing Pannkotis Identity in Haiti
- Christianity and Korean Traditional Music
- Congregational Singing, Orthodox Christianity, and the Making of Ecumenicity
- Afterward: Sound, Soteriology, Return, and Revival in the Global History of Christian Musics
Abstract and Keywords
This chapter contrasts the contextualization of the Hindu bhajan in Christian churches in North India with its recontextualization as a medium of worship in North America. The author discusses his engagement with “Yeshu bhakti,” a North Indian Hindu modality of devotion (bhakti) focused on Jesus Christ (Yeshu) as the “God of choice.” The band Aradhna, composed of the children of missionaries to India and Nepal, draws on its members’ multiple musical backgrounds to present a “third” religious domain, derived from Hinduism and Christianity. The chapter shows how Aradhna’s music tries to draw together different religious traditions, focusing on their points of conversion. Addressing possible problems of cultural and religious ownership in the band’s practice, the author notes that Aradhna aims to create a new religious space, a meeting place of musics and religions that is something new—and an alternative to Eurocentric Christianity.
Christopher Dicran Hale was raised in Nepal and India where he began studies in sitar. He studied jazz guitar and classical composition at Berklee College of Music, graduating with a BA in composition in 1990. Following college, Christopher formed a rock band together with Indian friends in Lucknow, India, that included Indian devotional music in its repertoire. In 1999, returning to the West, Christopher formed the devotional fusion band, Aradhna (aradhnamusic.com), with Pete Hicks. The band released six albums between 2000 and 2012. Christopher is based in Toronto, and travels extensively, teaching and performing sitar and Indian vocal music (christopherhalesitar.com).
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