THE CONTROVERSIES OF CONTEMPORARY CHRISTIAN MUSIC IN KENYA
(An Article submitted for the Angaza Magazine of the University of Nairobi in October, 2009)
 
BY REUBEN KIGAME
 
 
A lot of ambivalence greets you as soon as you begin to talk about Christian music today. What is Christian music and what distinguishes it from other forms of music? Are some music styles at variance with the Christian faith? Is there anything wrong with a Christian watching or even participating as a “judge” in the Tuska Project Fame auditions? Should “gospel musicians” make money out of their album sales? What are we to make of Award festivals, cross-over lyrics and contemporary artiste costumes worn during public performances, etc? This is a microcosmic representation of the issues that preoccupy both Christians and non-Christians.
 
There are indications that the Church leadership is not adequately prepared to give guidance on the above issues. Ministers themselves are looking for answers. This matter is further complicated by the divergent denominational approaches to music which are driven by tradition and the inclinations of the overseeing clergy. The rapidly changing musical culture of Kenya with an increasing leaning towards the importation of musical traditions does not make the matter any easier. Schools of Theology and Bible seminaries remain a helpless bunch of introverted bastions of denominational speculations and wishes. They neither put out positions in the media, hold public for a nor establish websites to disseminate well-thought material on the controversies.
 
This article is shared as a catalyst to action by all the stake holders who need to offer guidance on Christian music and is intended as a partial contribution towards the resolution of the problem. The Bible and clear reason will determine how the conclusions in our discussion are arrived at. A simple rule will be used: If something contradicts the Bible (the Christian’s ultimate authority) and is illogical, it must be denied influence and must be thrown out altogether.
 
Let us begin by resolving what Christian music is or is not. By simple definition, Christian music must be that music which Christ would appreciate, participate in or approve. If not, we must remove the term “Christian” from it for it must satisfy that prefix, “Christ.” There was an occasion Jesus through some money-changers out of the temple because they had diverted the purpose of the temple from prayer to business. Note that He was not critical of the business per se but in its being conducted at the “house of prayer.” The point here is that music, especially if it is to be called after Christ’s name, just like business, must be done on Christ’s terms. Music is as neutral as a knife or hammer. You can use a knife to cut meat in the kitchen or stab someone. You can use a hammer to drive nails or to hit your enemy with. There are no Christian guitars, keyboard synthesizers or trumpets. Strictly speaking, there is neither a Christian nor a secular vocal chord or mouth. It is the use that defines all of this.
 
So how may Christian music be used? First, it should glorify God according to 1 Corinthians 10:31. Whether the Christian “eats or drinks or whatever he does must be for the glory of God.”. Secondly, Christian music must edify fellow believers by building their faith. This is done to enhance worship. Paul wrote in Ephesians 5:18-20 of the need to speak to one another through music.  Thirdly, Christian music ought to evangelize. The Psalmist wrote in Ps.40:3 that God had put a new song in his mouth; a hymn of praise that many would hear and in turn put their hope in God. Fourthly and lastly, Christian music must entertain. By “entertain” we mean inducing joy and putting someone’s heart at rest. King Saul needed this and hence the calling of David to play for him when he had a troubled spirit.
 
When music glorifies the creature beyond or in the place of God, it is to be rejected or it will shortly wear itself into insignificance. That is why individuals like Elvis Prestly and Michael Jackson and groups like The Beatles and Abba are no longer what they were. If music does not build society it will soon be rejected or wear itself out for its destructive power. That is why albums that promote violence or crime do not sell. If music does not lead people to truth it will soon become irrelevant and if it does not entertain the heart, nobody will want to listen to it. That is the reason why our modern songs which merely induce fun or move people simply to sway do not last the same way Church hymns have lasted.
 
We now turn to styles of music. Just as music is a neutral tool, so are its “packages” of style. Style is the product of culture and technology. Since it is a universal language, it is possible for someone to appreciate a style from a different part of the world, but not everybody appreciates every style. Just like colours and quisine, music styles end up being a matter of preference. This is where most Church leaders are ignorant. They condemn certain styles on the basis of opinion and hear-say and rarely based on fact. The author of this article has written some Christian Reggae songs for which he has been thanked but heard in the same breath condemnations of the said genre by the same pastors who, upon inquiry, it was noticed, did not know what was Reggae and what was not. They condemn Rock music but hail songs like “Celebrate, Jesus Celebrate” as performed by Hosanna Music or Petra’s “Lord I lift your name on high” in the Rock style. It is this kind of ignorance coupled with a lack of enough knowledge of the Scriptures that drove some European missionaries into condemning the use of African musical instruments in worship. The missionaries proscribed the use of such musical instruments in certain worship liturgies without any regard for the instrumental worship encouraged in Psalm 150. They condemned the playing of such instruments for the reason that they were used in pagan rituals and forgot that voices were as much a part of those rituals as the instruments that accompanied them. The Bible has several stylistic directions. (See 1 Chronicles 15:20-21 and several descriptions accompanying the Psalms). This should settle the matter and so we should not fight over styles.
Instead we should query the inspiration behind them, the motives behind using them and whether they fulfill the functions of Christian music. We should ask whether the packaging communicates the message, camouflages it or outrightly distorts it. Most of all, would Jesus be part of it?
 
Now we turn to the problem of the Christian’s participation in secular music events. This is tearing the Kenyan Church apart at present. When Helen Mtawali, a born-again music teacher, Alvan, a worship leader andJoseph Elon, a Sax player, have been seen serving at Kenyan reality television show, Tuska Project Fame (TPF), numerous Christians have been critical of it. Why? Primarily because these men and women have previously epitomized separation from the world’s lure into alcoholism, sensual music and lewd lyrics, things that the TPF unashamedly promotes in the name of musical talent. In short, these are viewed as bad examples of the faith they profess. The criticism is not on the basis of their exercise of talent, but what is viewed as the promotion of compromise. This is the same criticism that has driven the Church’s position on Esther Wahome’s appearance on billboards promoting Malta Guinness and Kanji’s regular gigs at the Carnivore in the name of evangelism.
 
Here we will narrow our concern to what is meant by “secular” rather than a response to the crisis. The Latin word “seculum” is the root for our English term “secular.” It refers to that which pertains to the pattern of the world. Its sister word is “mundane”. 1 John 2:15-17 carries the blueprint for judging that love for the systems of the world should not drive the Christian’s involvement in music. Paul put it well in Romans 12:1-2 when he wrote that we should not conform to the pattern of this world, but instead be transformed by the renewing of our minds while offering our bodies a living sacrifice, acceptable and pleasing unto God. The issue, thus, becomes settled if we ask what the ultimate goal and fruit of any involvement musically would be. For TPF, it is not musical talent as many perceive since promotion is different from a feeling of popularity. It is not economic benefit for the artiste who gets 5 million Kenya shillings over/against the many millions the liquor company will get from phone services, advertizing  and the sale of its brews. The question still remains, would Jesus do it or approve of it?
 
Related to this is the question of selling Christian music in a bid to make a living. We argue here that selling Christian music is as neutral as selling Bibles, hymn books or cabbages. It does not make or unmake one a Christian. Making Christian music solely for the purpose of selling, however, does not meet the goals we talked about earlier and, no doubt, will not always bring economic returns. Writing songs that people simply want to hear works for popularity, but does not work for the Gospel. It rings of the same sound as “prosperity preaching” and outright cultic deception which distorts the truth in order to win a following or obtain profits. If not abandoned, it will frustrate in the long run, anyway.
 
 
Music awards are fleeting on this same basis. They cheat when they are determined on the basis of fan votes. The truthfulness of something is never on the basis of how many believe it. Never mind that some majority votes during awards are in view of someone being able to vote many times. What a lie! Once again, awarding the artiste for musical value or contribution is not the issue. It is how the process is done that turns them into useless money-gazzlers and an artificial point of reference for the growth of Christian music. It is popularity that drives the movement and, sadly, it is the very popularity platform that ends up being the undoing of award ceremonies. Musicians will do everything to become popular, including the writing of cross-over lyrics which are used to appeal to both Christian and secular audiences. The commonest theme to be abused in this light is the theme of love. Cross-over lyrics are never clear on what love is meant in song. The same song is supposedly meant for God even though it never mentions Him, but it could also be sung to a boyfriend or girlfriend. This is nothing but clever trickery and, if one was asked, it is not really clever.
 
 
We close with consummation in contemporary music. Without belabouring this point too much, let us simply ask the question, who makes the costumes and why? We can argue until we are horse on how this is nothing but a matter of cultural preference and spiritual maturity, but always ignore the impact of such costumation. We will simply echo the reminder that God cannot be mocked. You do not need to be a rocket scientist to read into the motives of someone dressing a particular way. Anyone who puts on a suit is probably doing his best to look official or smart. Anyone who puts on gloves has some health concerns or may be keeping himself from freezing for the same reason one puts on a sweater. If you expose your body, you are basically inviting us to view or admire it. This is not a musical issue because people do not sing or play an instrument better on the basis of how much body is visible to the audience. Once again, let us not mock God nor assume that the people we minister to are immune to interpretation, feelings and opinion.
 
So, there we are. We have only added our voice to this controversy. The discussion must continue.