Music and Spirituality in Africa: Gospel Music, Spirituality, and Everyday Meaning-Making in Nigeria
This article explores gospel music as one of the ways people negotiate spirituality and everyday meaning-making in Lagos. Beyond sonic spheres and analysis, this article provides insight into ways in which people ‘perform’ spirituality and negotiate wellbeing amidst Nigeria’s social, political, and...
| Authors: | ; |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
2022
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| In: |
Religions
Year: 2022, Volume: 13, Issue: 12 |
| Further subjects: | B
music and spirituality
B Animism B Africa B music and wellbeing B Nigerian gospel music |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a This article explores gospel music as one of the ways people negotiate spirituality and everyday meaning-making in Lagos. Beyond sonic spheres and analysis, this article provides insight into ways in which people ‘perform’ spirituality and negotiate wellbeing amidst Nigeria’s social, political, and economic uncertainty through a focus on the ‘celebrity’ character and self-fashioning of one of Nigeria’s gospel music stars, Tope Alabi. Gospel music and its infrastructures of modernity constitute one of the ways Nigerians negotiate wellbeing and respond to global economic tensions ‘from below’. We explore the nexus between gospel music and how the ‘spirituality’ it facilitates shapes people’s subjective ideas of social and economic wellbeing. We ask: what is the link between gospel music, spirituality, and people’s everyday meaning-making and self-making? Using Harry Garuba’s animist unconscious’, we explore ways in which the social life and superstar image of Nigerian ‘celebrity’ gospel musicians constitute sites where people negotiate spirituality and everyday subjective happiness, and social and economic wellbeing. We argue that spirituality, ‘being spiritual’ or the understanding thereof does not only manifest at the intersections of sound and emotion. Instead, we suggest that people’s subjective idea of spirituality or ‘being spiritual’ in a place such as Lagos can also be understood through a focus on the social life and the self-fashioning of gospel musicians. The self-fashioning and superstar image of gospel musicians become a medium through which the everyday idea of spirituality and meaning-making is negotiated, staged, and performed, and a channel through which these processes of meaning-making can be explored and understood. | ||
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