COLONIAL HYMNS

In my personal experience, hymnals from the United States and Canada demonstrate a recent trend in the past 50 years to include ‘multicultural music’ which often comes from former colonies in southern Africa, east Asia and South America. These faraway locations are often connected to a particular denomination of Christianity because that denomination used to partake in missionary work in those locations centuries ago. These ‘multicultural’ inclusions are made in an effort to present a more diverse hymnody, especially as communities of color and those former colonial spheres overseas are some of the places where Christianity is thriving and congregations are growing. According to a recent survey by Pew Research Center, 70% of white adults identify as Christian, but 79% of Black adults, 77% of Latino adults, and 64% of “Other/Mixed” race individuals identify as Christian. This survey from the United States indicates racial and ethnic shifts in who identifies as Christian (and presumably who is more likely to show up in a pew).

While intentionally incorporating diverse hymn composers and writers is a worthy endeavor, it is also important to consider which hymns likely have ties to imperializing missionary work. Instead of recycling older music entwined in colonial conquest that often perpetuate ethnic stereotypes, the ideal solution would be to include more contemporary composers of color when redesigning hymnals or selecting choral music to ensure that diverse Christian music is represented respectfully.