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Monique Ingalls Ph. Published in the fields of ethnomusicology, popular music studies, hymnology, and religious studies, her research explores the effects of recent social, cultural, and technological change on Christian popular music worldwide.

In the latter part of the twentieth century gospel music expanded from its origins as a North American religious popular music to become one of the most widely audible, commercially successful and culturally influential forms of popular music in the world.

While the turn of the millennium found gospel and Christian popular music the sixth best-selling genre of popular music in the USA Taylor , a comparison to world markets makes this commercial success seem moderate.

Despite the general worldwide surge in local gospel and Christian music production, the amount of scholarship on gospel music outside North America is vastly disproportionate to its prominence and cultural influence.

At the time of writing , there are two regional exceptions to the vastly under-researched state of international gospel music. The early twenty-first century has seen several significant studies of gospel and Christian popular styles in sub-Saharan Africa Atiemo ; Barz , ; Brennan ; Carl , ; Chitando , ; Gwekwerere ; Kidula , , ; Lamont ; Ojo ; Sanga and the Caribbean Best ; Butler , a, ; Rommen , Drawing from the available literature on local gospel and Christian popular music traditions and supplementing them with internet primary sources, personal interviews and selected non-English language sources, this article constructs a series of broad regional narratives.

Shearon identifies four broad sub-categories of gospel music in North America: northern urban gospel music, southern gospel music, African-American gospel music, and country and bluegrass gospel music.

There has always been some degree of overlap in the music of black and white US Protestants. However, over the course of the first half of the twentieth century separate publishing and recording industries developed to promote artists, songwriters and their music Burnim ; Goff As a result, in the contemporary United States, the genre terms for Christian popular music reflect a racial divide between performers and audiences.

However, there is a third musical category that cuts across these distinctions defined along lines of race and stylistic origin. At once a congregational song repertory and a mass-mediated popular music genre, praise and worship music is performed in a variety of styles in North American churches across lines of race, ethnicity and region see Ingalls ; Johnson , ; Nekola ; Smith Pollard , Although African-American gospel music, CCM and praise and worship music each have their own distinct histories, they share many commonalities.

The several overlaps and intersections between these styles suggest that it would be analytically useful for them to be considered together when exploring the global context. Gospel and Christian Popular Music Goes Global: North America and Beyond Almost as soon as it emerged in the last quarter of the nineteenth century, gospel and Christian popular music from North America began to travel the globe.

Moody and Ira D. These transnational connections were maintained during the first half of the twentieth century primarily through live appearances and print media, as jubilee quartets toured Europe, South Africa and Australasia in the s and s and as gospel songs from North America were spread to churches across the world Boyer ; Butler b; Cockrell ; Darden The routes traveled by black gospel singers such as Jackson, Rosetta Tharp and the Golden Gate quartet paved the way for the later success of gospel music recordings abroad Billboard Though gospel and Christian music have long been popular North American exports, the commercial production of Christian popular music in other parts of the world was fairly limited until the last few decades of the twentieth century.

While the growth and development of gospel and Christian music has been conditioned by a number of factors specific to local contexts, its global development shares several common features. In particular, there are three important factors — in economic, technological and cultural realms, respectively — that have contributed to the global creation of gospel and Christian music. First, several important changes in secular and Christian music industries have enabled the wider dissemination of North American gospel and Christian music.

During the s the largest US Contemporary Christian Music record labels were bought by major label groups, including EMI, Sony BMG and Warner, giving the Christian music industry the resources necessary to access unprecedented production and distribution capabilities and to develop new international markets Curiel ; Cusic ; Ingalls et al.

The corporate buyout of the CCM industry spurred the rapid growth of transnational connections between Christian music industries, particularly in the Anglophone world.

Music industry partnerships and licensing agreements were forged between large churches, nonprofit organizations and recording companies Mall ; Ingalls In the early s praise and worship music was increasingly incorporated into the North American Contemporary Christian Music industry, which created new channels for its dissemination abroad Ingalls ; Ingalls et al.

During the early to mid—s many of the successful North American Christian and praise and worship music companies opened international offices and appointed international marketing and sales teams. Integrity Music, the largest independent Christian music publisher as of which became a division of David C. By the end of the first decade of the new century what began as a unilateral dissemination of North American gospel and Christian music had become a multilateral flow of musical products and influences between these Anglophone Christian music centers in the United States, United Kingdom, the Caribbean and Australia.

The interpenetration is especially pervasive in praise and worship music. According to statistics provided by Christian Copyright Licensing International in , one-third of the one hundred most frequently sung worship songs in the USA originated in the UK, while one-tenth originated in Australia Christian Copyright Licensing ; Ingalls A second factor in the rapid globalization of gospel and Christian music since the last quarter of the twentieth century has been the advent of new media technology.

In addition to ecstatic spiritual practices and dynamic worship services, a defining characteristic of these new Pentecostal and charismatic churches is their reliance upon media technologies to gain adherents and broader societal influence Cox ; Hackett ; Marshall-Fratani ; Steigenga and Cleary Gospel and Christian music plays many roles in the lives of these congregations, including serving as a potent tool for proselytism, encouraging dynamic worship and resourcing the construction of distinctive local, regional and national Christian identities.

North American gospel and Christian music has been and remains influential on other forms of Christian popular music around the world; however, its influence is increasingly conditioned by these cultural, political and economic factors that have encouraged indigenization of gospel and Christian musical styles, which have then exerted a growing amount of influence on the development of other gospel and Christian musics. The ensuing sections of this article provide an overview of the development of gospel and Christian music in several broad geographical regions.

These regional overviews, often focusing on case studies from individual countries, chronicle the specific stories of global gospel musics and highlight the central issues faced by the creators of gospel and Christian music around the world.

Africa As of the second decade of the twenty-first century, gospel music is one of the most widespread and lucrative musical genres in sub-Saharan Africa. The beginnings of gospel music in Africa can be traced to a combination of two musical influences: North American and European gospel hymns introduced by Christian missionaries, and African-American spirituals performed by traveling choirs and jubilee quartets Barz ; Chitando ; Collins ; Cockrell ; Erlmann As a result of over a century of varied influences and independent development, gospel music in Africa today is markedly diverse, drawing from North American sacred and secular genres and local vernacular and popular styles alike.

Many, if not most, African gospel music scholars claim that African gospel music knows no stylistic boundaries and should solely be defined by its Christian-themed lyrics, the motivations of its artists, or the religious commitment of its audiences Chitando and ; Atiemo ; Kidula ; Kidula and Mitter A more detailed sketch of gospel music in Africa will focus on case studies drawn from Southern, Eastern and Western Africa to chronicle the development of gospel music in these regions and to explore common issues, such as the complex interrelationships between sacred and secular domains, between religious communities and popular entertainment culture, and between music, media and modernity.

Southern Africa: The Birthplace of African Gospel Music South Africa Over the course of their international tours, nineteenth-century jubilee choirs and quartets first introduced African-American sacred music to South Africa, where it has perhaps enjoyed the longest and most enduring influence.

Their tours popularized the style of the spirituals and combined with Christian missionary hymnody to influence the development of a new, indigenized church music within African separatist churches Butler b; Cockrell ; Erlmann The popularity of touring gospel quartets also influenced the rise of various secular styles, including the male a cappella vocal genre isicathamiya in South Africa in the s Erlmann In recent decades, these century-old South African gospel-influenced music forms have achieved international renown on the world music market.

Since their beginning in the Soweto Gospel Choir has popularized widely the indigenized South African gospel choir music, touring globally and performing with North American gospel musicians and secular acts alike Soweto Gospel Choir Since the late s white South African gospel music in English and Afrikaans has developed a strong following due both to growing charismatic church networks and to strengthening ties to the broader Anglophone Christian music industry. Maranatha Record Company and Music Publishing, currently the largest gospel publisher in South Africa, developed in the mids to produce Christian music in English and Afrikaans.

Large-scale, national Christian conferences and events in the s have propelled several South African artists to national and international prominence Ireland Juanita du Plessis, an Afrikaner gospel artist who performs in country and pop styles, became one of the top-selling recording artists in both secular and sacred music in South Africa. Afrikaner praise and worship leader Piet Smit, who has recorded worship albums in Afrikaans, English and Dutch, has toured internationally and developed a strong following in the UK and the Netherlands Ireland Zimbabwe The international and regional popularity of South African gospel music has greatly influenced the development of gospel music in neighboring regions as well.

South African choirs were one of the primary influences upon the development of Zimbabwean gospel music in the s, where church networks provided a ready-made fan base for the music Chitando Zimbabwean gospel music pioneers Jordan Chataika and Machanic Manyeruke modeled their guitar-based music on commercial South African and North American models but began incorporating local popular styles, particularly sungura.

With the mass production of cassettes, gospel songs that had been confined to church services and special concerts became music for entertainment at social gatherings Chitando Many popular secular artists, including Oliver Mtukudzi, recorded gospel albums in the s, and after undergoing conversion experiences, some devoted their careers to gospel music exclusively Chitando ; Makwenda Gospel music continued to top the Zimbabwean charts in the early to mids, disseminated broadly through television, radio, cassette and CD production, and local and international tours of its artists.

Zimbabwean gospel music continues to play an important role in local identity politics and in national self-representation. The Zimbabwean government appointed gospel musician Machanic Manyeruke a cultural ambassador in the late s, sending him to perform as an official state representative in Asia, North America and Europe Chitando Gospel music has also provided a way to navigate political and social pressures. Gospel music not only provided a means for Zimbabweans to express their anger and frustration with the government, but also, in creating a public forum for commentary on social issues, served as a resource promoting social change.

Gospel music has also enabled the formation of an interethnic, pan-Christian identity, presenting a united front for Christianity over and against African traditional religions on the one hand and secular modernity on the other Chitando ; Makwenda West Africa: Negotiating Sacred and Secular through Gospel Music in Ghana and Nigeria Between and the early s gospel music in the West African nations of Ghana and Nigeria has risen from relative obscurity to arguably the most commercially successful music genre in the region.

Like southern Africa, gospel music in West Africa is predated by a near century-long tradition of Christian church music. The first commercially successful gospel music performers were church choirs and university-based gospel singing groups Ojo Florian Carl n.

With strong support from Pentecostal and charismatic churches, gospel music flourished through exposure through multiple venues, including cassettes, live performances, evangelistic conferences and retreats, and performance in weekly church services. This combination of media and live performances in local and regional contexts helped to build a solid fan base for fledgling gospel industries in Nigeria and Ghana. Churches in Ghana formed gospel music associations and award shows to spur the careers of gospel artists Collins The success of Ghanaian gospel music has created significant opportunities for female singers.

Once prohibited by their conservative families from gracing secular dance music stages, women have been afforded freedom within the sacred space of gospel music performance and currently dominate the genre of gospel highlife in Ghana Collins Like gospel music in southern Africa, West African gospel is a synthesis of North American, local and national popular styles, and is increasingly multi-stylistic and multi-lingual.

By far the most popular style of gospel music in Ghana is gospel highlife, a popular dance music style that is itself becoming increasingly diverse stylistically and linguistically. Donkor frames her stylistic inclusivity in terms of a desire for international appeal Dela Anglanu Pentecostal-charismatic congregations in Ghana and Nigeria also employ praise and worship music, drawn from international but particularly North American models and local styles alike Hackett ; Carl Ghanaian praise and worship music is sung mostly in English and is characterized by use of Western electronic and brass instruments Gifford , Slower worship songs are characterized by unmetered or slow tempos and instrumentation and vocals that often resemble the sentimental ballads.

Through the s and s the gospel music industry in West Africa grew dramatically. This popularity has encouraged the development of partnerships with North American gospel musicians.

Ghanaian and Nigerian gospel groups maintain active links to the West African diaspora. West African immigrant groups are both keeping alive their distinct gospel traditions within Europe and North America and finding new audiences for their music. Ghanaian gospel highlife is the most popular form of music among the Ghanaian diaspora living in Holland, Germany and the Netherlands, and several Ghanaian gospel artists are thriving in the diaspora, selling records, receiving internet radio airplay and conducting concert tours both in the countries of their birth and in their adopted homelands Atiemo ; Carl The accessibility of Ghanaian gospel music on social media platforms such as YouTube Carl n.

In Ghana, these processes are uniquely conditioned by the close relationship between gospel and highlife music. During the oppressive regime of the late s, a combination of excessive taxation, migration and night curfew nearly destroyed the live performance culture of Ghanaian highlife Collins , ; Gifford As a result, during the s and s, live highlife performance moved from the secular domain of popular entertainment into the church.

Pentecostal and charismatic churches became de facto patrons of highlife: tax-free zones in which artists could practice their trade Collins Many churches refused to play it because of its partisan associations Carl n.

For instance, after popular Nigerian juju artist Ebenezer Obey converted to charismatic Christianity, several aspects of his performance and image changed markedly. In East Africa, the first commercially popular Christian music was kwaya choir music, with a few touring choirs becoming popular in the s Barz ; Parsitau ; Mitter and Kidula Begun in and airing on the sole Kenyan TV station, this program was developed to promote a gospel music style influenced by local Kenyan popular styles.

Televised gospel music programs launched the careers of several gospel artists, the earliest and one of the most successful being Tanzanian Faustin Munishi, an accordionist and singer who rose to national prominence after being featured on two Christian television shows in Mitter and Kidula By his self-recorded and self-marketed cassette was selling 1, copies per day Kidula When the Kenyan government relinquished its monopoly on television and radio media, Pentecostal and charismatic churches stepped in and bought broadcasting corporations and FM stations.

During the s gospel music in Kenya built and maintained a close connection to youth culture, offering a Christian and economical alternative to urban night life. Churches became spaces of popular entertainment for teenagers, featuring evening meetings that were combinations of gospel concerts and worship services.

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