- 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 explores how Maori innovated on the music and religion that European colonialists brought to Aotearoa/New Zealand, constructing a synthesis that transcended both the European and the native. For Maori, Christianity was conceived within a framework of “cultural economy,” in which cultural misunderstandings served as resources in a process of cultural selection involving the preservation of some elements and rejection of others, to enhance power among Maori. The chapter focuses on the Ratana Church, founded by the visionary prophet T. W. Ratana in the early 20th century. Ratana purposefully used music and performance in forging his syncretic brand of Christianity, creating new repertoires aligned with his project of finding a place for Maori in the new nation. This vision continues to be celebrated each year at the powhiri (ceremony of encounter), where Aotearoa New Zealand is performed through the confluence of diverse cultures, traditions, and worldviews.
Harold Anderson teaches cultural anthropology at Bowie State University in Maryland and works as a documentarian, researcher and curator for a number of museums and organizations. His clients have included the Virginia Foundation for the Humanities, Maryland State Arts Council and Maryland Traditions, Arlington County Cultural Affairs and the Smithsonian Center for Folklife and Cultural Heritage. He was a Mozart Fellow at Otago University in New Zealand—a prestigious residency for composers—and earned his Ph.D. in ethnomusicology at University of Maryland College Park. His focus is on traditional, indigenous and maritime cultures including Pacific peoples, African-American watermen and communities in the Chesapeake region of Maryland as well as urban destinations for peoples in diaspora. His research languages include Maori and French. He has written numerous reports on endangered folkways for prestigious national institutions like the Smithsonian, and has done extensive fieldwork both in the United States and in New Zealand. Harold is also an award-winning composer and accomplished jazz bassist.
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