Singing the "Wondrous Story" in Portuguese: The First Official Brazilian Baptist Hymnal, Cantor Cristão
This paper discusses the history of Cantor Cristão, the first official Brazilian Baptist hymnal, published in 1891, revealing important aspects of the development of Protestant hymnody in Brazil. It also exposes a web of long-distance connections, multiple linguistic and cultural elements, and disti...
| Main Author: | |
|---|---|
| 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: 1 |
| Further subjects: | B
gospel hymns in translation
B Brazilian Baptist hymnody B musical localization B mission hymnody |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a This paper discusses the history of Cantor Cristão, the first official Brazilian Baptist hymnal, published in 1891, revealing important aspects of the development of Protestant hymnody in Brazil. It also exposes a web of long-distance connections, multiple linguistic and cultural elements, and distinct perspectives of those who chose to do missionary work and those who chose to welcome them. More specifically, I describe and reflect on the contributions of Solomon L. Ginsburg, an Orthodox Jew from Poland, converted to Christianity in England, and turned Evangelical missionary, who played a crucial role in the history of Cantor Cristão as publisher, author, and translator of hymns. In my analysis, I adopt a historical ethnomusicological perspective and utilize the concept of musical localization, as well as the complementary notions of negotiation of proximity and ethics of style as interpretative lenses. I am drawn to a more nuanced view of the legacy of the mission enterprise, one that is not blind to issues of power, ethnocentrism, and wealth, but makes room for a robust examination of all sorts of capital transfers and investments (economic, cultural, and social), and the real phenomena of musical localization and individual agency. | ||
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