A short study on R.L. Kamlala as a composer of Mizo Christian Hymns.

I. Introduction[1]:

Mizo literature as a product of a contact with the Christian world since the British rule[2] has come a long way to be recognised as a fast evolving literature. This is made possible by the hard works of the missionaries, followed by the first generation English educated Mizo Christians, and with due recognition and incentives provided by the state. With the coming of the gospel in the hills, the first two missionaries translated and re-composed a few Christian hymns/songs from 1894 onwards[3].

Not being content with the translated hymns of the western composers, many gifted Mizo poets like R. L. Kamlala and others came up with songs written in their own idioms and in tune with their own indigenous ethos and conception of Christianity. Such songs of worship are called Lengkhawm Zai and are sung in the traditional Mizo way with a drum. In style and profundity these songs are dearest to the hearts of the Mizos and are original contributions to the wealth of Mizo literature. Many composition of Christian literature appeared right from the turn of the 20th century from the hands of early Christians and that of missionaries.

R.L. Kamlala provided us a Mizo typical genre of music called Lengkhawm Zai with deep theological expressions decorated beautifully with Mizo idioms. This act localized Christianity for Mizos. And the works of the early composers of Mizo Lengkhawm Zai songs must, of course, be considered agents which made Christianity a Mizo religion.

II. Short Biography of R.L. R.L. Kamlala

R.L. Kamlala is one of the greatest Mizo Christian song composers. He was born in 1902 at Ngurlen Village. His father was Lalzathanga. He completed his Upper Primary course in 1921. He worked as a Primary School teacher till 1925.

He underwent a charismatic experience in 1932 and could not continue his teaching vocation and left his teaching job. He started to compose songs in the year 1922 till 1950. He composed 65 songs in Mizo dialect and 23 in Ralte dialect and other 9 secular songs.[4] His songs are mainly classed under a traditional Mizo tune which I would explain a little more detail in the followings.

He died in 1965 May 25, and was buried in Bualpui village, which is situated in the northern part of Mizoram.[5]

II. Gist of the song of R.L. Kamlala-

“Aw ropui ber, Halleluiah!”[6]

We praise you, Halleluiah!, Oh! Almighty, Immanuel, all the praises, honour and glory are eternally yours.

No spiritual music or Angelic voice can tell the mystery of the depth of your wisdom your great love.

Oh! Please unveil the mystery of how a manger and an ill-fated Cross are linked together with the crown of heaven. Also Eden with the new Jerusalem.

By of the ransom you paid by your own blood, every nation, every tongue are united with the heavenly beings. And the golden street has become ours.

Halleluiah, Amen!

III. Musical Genre of the songs of R.L. Kamlala:

The earlier Mizo Christian Hymns were mainly translated by Wales Missionaries from English or Welsh Hymns. By the end of 1899 the first ever Mizo Christian Hymn Book was published by the Missionaries comprising of 18 songs with 36 pages[7]. All the songs included in this Hymn Book were composed or translated by the missionaries with the help of some early converts. Even the songs of early converts were mainly composed in the western tunes till the emergence of a Revival in the year 1919.

Revival, which broke out in Mizoram in 1919, really paved the way for the emergence of the so called “Lengkhawm zai” which is a typical musical genre of Mizo Christian way of singing. [8] As the traditional way of singing were considered worldly or demonic. But, this Revival brought along the demand of songs which are in tune with Mizos sentiments. Mizo composers like R.L. Kamlala came out with Lengkhawm Zai to meet the demand of the hour. So, the genre of R.L. R.L. Kamlala’s songs could be classed under a Mizo Christian Lengkhawm Zai.

IV. The theological messages of the songs of R.L. R.L. Kamlala:

1) Praise and adoration:

We can say that R.L. R.L. Kamlala is greatly overwhelmed by the glory of God and most of the songs talk of the praises to the glory of God. To R.L. Kamlala, the Glory of God lies in his salvific act through the Son Jesus Christ. In the song given above the author beautifully states how Eden, the place where people fell into sin, is linked with a manger which brings us to the cross which is damned and with the heaven. It is love which let God take initiative to let us free. It is because of that salvific act that God has to be praised.

Of his 61 songs “Joy” and “Joyful” are used 110 times, words about “light” are also used 37 times[9]. One of his songs is entitled “I cannot but be joyful”. So, we can say that R.L. Kamlala looks at a place where there is an eternal joy where the saved will praise the saviour. He urged us to praise God out of our joy because of his salvific works for us.

2) Sinful nature of human being:

The songs of R.L. Kamlala are greatly influenced by the sinful nature and petitions for forgiveness. R.L. Kamlala is assured of the desperate conditions of the world without God that he does not even dare to think of being left by God. He said,

“The world is a place of death;

If you are not with me,

Even the heaven will be a place for my crying without you;

So, please be always with me.”[10]

We can also observe from his songs that this world is- a place where the sun of joy never shines upon, enslaved by sorrows, a quiet and a damned place. We can see that he employed words of sorrow 35 times; “cloud” which he used symbolically for sorrow 15 times; “weeping” 21 times; “darkness” 25 times.[11]

V. Literary contributions:

1) The contributions of R.L. Kamlala and his contemporaries in the field of Mizo Literature could never be under estimated. Especially R. L. Kamlala left us a deep Mizo Lengkhawm zai which is decorated with Mizo poetical words. He came out in a time when the Church did not want to use drums. But, one’s own identity is intertwined with culture which is decorated by songs. The songs of R. L. Kamlala have a good expression of our Christian faith and beliefs in accordance with typical Mizo sentiment and spirituality; which are so safe to be employed inside the church with complete difference in lyric and form from the traditional songs which are sung along with drinks. Because of the works of him and his contemporary composers that many churches began to reinforce the use of drums in Christian worship.

2) If we look at the hand works of modern composers we can see that most of the songs lack Mizo poetic words (or Mizo idioms). But, fortunately, R.L. Kamlala had preserved for us and kept it for us in an unbreakable pot that is “in the form song or hymn.”

3) The emergence of this type of Mizo Lengkhawm Zai was really helpful for the newly converted Mizos that translated hymns or newly composed hymns in western tune did not really get in to their ultimate sentiments and spirituality. So, Lengkhawm Zai acted as “faith nurturer” and “solidifier” for Mizo Christianity. On the other hand a good thing is there was no tendency to suppress or oppose the translated western hymn or Mizo-composed western tuned hymn by the emergence of Mizo Lengkhawm Zai which has really been an important factor in shaping Mizos singing.

VI. Conclusion:

R.L. Kamlala is of course one of the greatest Song/hymn composer in Mizo history. Personally I admire him most because of his riches in his employment of Mizo poetical words in his songs and expression of deep theological speculations. Gospel does not have to shoo away the culture and identity of the people where it is preached. In order to let that happen there have to be instruments. So, for Mizos, R.L. Kamlala was one of the pioneers of indigenizing Christian songs for Mizo Christians which, at some points, Christianity as Mizos’ own religion. He will never be forgotten in Mizo Christian world and Mizo literary world.

BIBLIOGRAPHY:

Khiangte, Laltluangliana Thuhlaril: Literary Trends and Mizo Literature, Aizawl: College Text Book Editorial Board, 2005.

Khiangte, Thanmawia, R.L., Mizo Poetry, Aizawl: Din Din Heaven Publication, 1998.

Lalthangliana, B. Zoram Encyclopedia (Zoram Tinreng Bu), Aizawl: Remkungi, 2003.

Lalvunga, K.C. Zikpuii Pa Hnuhma: A Collection of Zikpuii Pa Essay, Aizawl: MCL Publications, 2000

Synod Literature and Publication Board, Kristian Hla Bu, Aizawl: Synod Literature and Publication Board, 2005.

Tlanghmingthanga, Zorimawi-Music: Ministry of the Mizos, Aizawl: L.T.L. Publications, 1994.

WEBLIOGRAPHY:
http//:www.tuivar.com/search/label/article

http//:www.Mizokhawvel.com/search/label/article

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[1] I know that introduction is too long but, there are so many things which need to be clarified along with the paper; but are not directly appropriate to be included in the main points. I do hope that this introduction acts as a further clarification of the main Topic.

[2] This may be referred to as the latter part of the 19^th Century where Mizoram faced invasion from the East India Company because of the invasion of the workers of Tea plantation at the present Assam state in January, 1871. There they killed James Winchester, a British citizen and worker of Tea plantation and brought home his daughter Mary Winchester. The Expedition came to take back Mary Winchester to Mizoram in January, 1872. . (For detail see K.C. Lalvunga, Zikpuii Pa Hnuhma: A Collection of Zikpuii Pa Essay (Aizawl: MCL Publications, 2000) p. 74.) As a consequence since 1890 Mizos fell under the British direct regime.

[3] Christianity came in to Mizoram only in the year 1894, January 11^th. The first Missionaries were from Wales being sent by Arthington Aborigines Missionary Society. After three years of their stay in Mizoram they were called back to Wales by the commissioners. The Welsh Calvinistic Methodist Church took over the Mission and sent another Missionary in the year 1897 followed by other missionaries. The Welsh Calvinistic Methodist changed its name to Presbyterian Church of Wales, then, subsequently the Mizoram Church also became Mizoram Presbyterian Church.

[4] B. Lalthangliana, Zoram Encyclopedia (Zoram Tinreng Bu), (Aizawl: Remkungi, 2003) p. 220.

[5] Ibid.

[6] Synod Literature and Publication Board, Kristian Hla Bu (Christian Hymn Book) (Aizawl: Synod Literature and Publication Board, 2005), No. 71.

[7] Laltluangliana Khiangte, Thuhlaril: Literary Trends and Mizo Literature (Aizawl: College Text Book Editorial Board, 2005), p. 198.

[8] Laltluangliana Khiangte, a specialist in Mizo literature, says, “Lengkhawm zai is not actually the original Mizo traditional way of singing. It is rather a synthesis of Mizo typical way of singing and the western way of singing hymns.” (See Laltluangliana Khiangte, Op. cit., p. 202).

In Lengkhawm Zai a song is sung in a single part even by males or females with usually two drums; one of the drums is smaller and is keeping the tempo of the singing and the bigger drum comes in each alternative beats and rolls when the drummer feels necessary. The mood of singing highly depends upon the drummers. And I think if a person who has never heard of Lengkhawm zai may identify it as a softened form of western humn so as to make it correspond to Mizo sentiment.

[9] B. Lalthangliana, op. cit. p. 221.

[10] Synod Literature and Publication Board, op. cit., No. 377.

[11] B. Lalthangliana, Op. cit. p. 221.

ELECTRONIC MUSIC IN CHRISTIAN WORSHIP: A STUDY AND CRITIQUE.

I. INTRODUCTION:

As the theme of the topic says the paper will mainly focus on Electronic Musical instruments as there are a number of musical instruments which are not electronic but are used in Christian Worship. Moreover, there is a wide time gap between the use of non-electronic and electronic musical instruments inside Christian worship. There can also be a great deal of diverse opinion as to how to make a clear cut distinction on making a mark up to which sort of worship is to be regarded as Christian worship. Furthermore, I would like to focus mainly on electronic musical instruments like electronic keyboards, Electronic guitars, use of musical tracts, electronic drums- as there can be another musical instruments used by various contemporary Christian worships.

II. ELECTRONIC MUSIC IN CHRISTAN WORSHIP:

One of the most recent innovations to musical genre occurred in the 60's with the birth of the first electronic keyboard. Electric organs were the first to appear and become widely used, electrically amplified pianos soon followed and, of course, the Mellotron, which was a kind of a pioneer sampling device (we can probably say it as the former form of modern music tracts) came to be used by different beat groups. Soon it developed to use of different forms of music some being electrified from traditional usages and others being newly invented.[1]

By the middle of the 20^th century, the guitar (usually the steel string guitar) began to appear in churches and youth meetings. Its portability was soon recognised as a marked advantage, although it was never completely satisfactory for accompanying the older hymns. Nevertheless, thousands of praise choruses were composed with the guitar in mind, both for Protestant and Catholic churches. Later, electronic instruments like synthesizer[2] and sequencers[3] appeared in many contemporary worship services, delighting the youth while often distracting their parents.[4]

In the fifties the Twentieth Century Light Music Group initiated a significant change. This group of priests, chaplains, musicians and school masters suggested that:

… not only the great and lasting music of the past but also ordinary and transient music of today-which is the background of the lives of so many-has a rightful place in our worship.[5]` Most large churches have solved the “which instrument” riddle simply incorporating all of them. In the more youthful churches, these ensembles are called praise bands, though more sophisticated churches refer to their “orchestra.” The heterogeneous ensembles work very well for a variety of worship styles, especially in those fortunate churches where every musician does not insist on playing every song![6]

The most prevalent uses of Christian music are at worship or other religious services. Most Christian music involves singing, whether by the whole congregation (assembly) or a specialized subgroup—such as a duet, trio, quartet, madrigal[7], choir, or worship band frequently accompanied by instruments—such as an organ, piano, guitar, or other solo instrument, and occasionally by a band or orchestra—but some denominations or congregations still prefer unaccompanied or a cappella[8] singing.

In the West, the majority of Christian denominations use instruments of various types to accompany their worship. But some (such as some Exclusive Brethren, the Churches of Christ, the Primitive Baptists and the Free Church of Scotland) have historically not used instruments, citing their absence from the New Testament.

Some worship music may be unsung, simply instrumental. During the Baroque period in Europe, the chorale prelude (for organ) was widely used. Up to the present time, various composers have written instrumental (often organ) music as acts of worship.

Then, the contemporary worship phenomenon emerged from the Jesus Movement in North America in the 1960’s and the “Charismatic Renewal Movement” in Australia and New Zealand during the 1970’s and 80’s. The function of music in services, the style of songs, their performance, the explicit theology of the lyrics, and the theology implied by these aspects distinguish “contemporary worship” from traditional worship in practice, and theological background.

Most of the new church music follows the popular musical idioms of our time-country, western, folksong, blues, rock and so on. Some of this music, of course, has been more than remotely inspired by every “square” style: baroque and even Gregorian chant. Part of the appeal of the newer music is that it is already familiar. Much of this music, though not all, is a strong rhythm that pulls the body into the act. Older people still remember when this was true of church music until they were taught to be ashamed of it. Much of the new music is also readily singable.[9]

Theologically, contemporary worship music is influenced by Pentecostal and evangelical theologies. However, the phenomenon has influenced all major denominations to some degree. There is a wide variety in practice between churches.

It has been, to some modern worship thinkers, felt necessary to adopt a style that is acceptable to everyone, and in recent years the term 'blended worship' has been created to signify the use of both traditional and contemporary elements. Those elements may include but are not limited to the use of different instrumentation.

Most churches adopting contemporary worship therefore have a worship leader, a musician with good singing ability leads the congregational singing and a worship band or praise band[10] to provide music during their services. Worship bands are most common in evangelical denominations, but can also be found in other Protestant churches as well as in Roman Catholic worship.

III. CRITIQUE:

1) Resistance to Change:

Some disagreements on the use of Electronic Music in Christian worship have primarily been resulted from a resistance to changes to the accustomed style of worship[11].

2) Influence of Pop-Music:

The use of electronic music in Christian worship is influenced by popular music, and the use of modern instruments is commonplace. Objectors feel that this style of music is 'worldly' and associated with an immoral lifestyle.

3) Lyrics from some particular groups:

Use of modern electronic music inside the church bring into the church lyrics which differ from traditional hymnody and often reflects a charismatic theology. The increasing influence of this music is seen as introducing charismatic teachings by the back door.

4) The simple wording of many contemporary worship songs sound banal and lack depth from theological or doctrinal point of view:

Songs, especially which are sung inside the church have to bear theological or doctrinal message so as to lead the people to reaffirm their faith through the song they sing.

5) It can lead the worship service to mere 'entertainment':

The increased amounts of music (often played by a band) create the atmosphere of a concert or performance. This can be an act of sacrilege because one of the most important duties of the members of the church is to keep up the sanctity of the church. Even if electronic music is employed inside the church care should be taken not to hamper the sanctity of the church which can bring about a very bad influence to the present and the coming generations.

6) It destroys creativity:

Electronic Music of today’s world is so sophisticated. Instruments like- Electronic Keyboards and other synthesizers carry along the so called workstation with them. Using these means a musician can synchronize sounds of different musical instruments in a single instrument and has became called a Muusic Track. This really ruins the creativity of our musicians[12].

IV. CONCLUSION:

To conclude my essay, let me sum up my paper with what James F. White has said,

“In An age where everything else seems to be undergoing rapid change, church music may need to be in flux even more than it is at present. Just because some tunes and texts have been preserved so well in hardbound hymnals does not make them honest, sincere, and relevant today. Hymnody is not something to be preserved throughout time like the gospel, but a form through which the gospel is conveyed. The gospel fits into many containers but never can be confused with any of them. Of the new church music some bits may well endure. But most of the rest can and ought to slip away, unnoticed and unmourned except by those who collect royalties.”[13]

BIBLIOGRAPHY:

Cusic, Don The development of gospel music in The Cambridge Companion to Blues and Gospel Music edited by Allan Moore, Cambridge: Cambridge University Press, 2002.

Kavanaugh, Patrick The Music of Angel: A Listener’s Guide to Sacred Music from Chant to Christian Rock, Chicago: Loyola Press, 1999.

Schalk, Carl Key Words in Church Music: Definition, Essays on Concepts, Practices and Movements of Thought in Church Music, St. Louis: Concordia Publishing House, 1978.

White, James F. New Forms of Worship, New York: Abingdon Press, 1971.

Wilson-Dickson, Andrew The Story of Christian Music: From Gregorian chant to Black Gospel an Authoritative Illustrated Guide to all the Major Traditions of Music for Worship, Oxford: Lion Publishing plc, 1992.

WEBLIOGRAPHY:

http://en.wikipedia.org/wiki/Antiphon

http://en.wikipedia.org/wiki/Organ_%28music%29

http://www.essortment.com/all/churchmusich_rksc.htm

http://www.calvin.edu/worship/luce/2002/bios.php#kroeker

Kevin L Keele, Developing Criteria for Choosing Music in Worship: A Consideration of Theology and Music (Cf. http://www.eskimo.com/~keele/developing_criteria.html#6)

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[1] Patrick Kavanaugh, The Music of Angel: A Listener’s Guide to Sacred Music from Chant to Christian Rock, (Chicago: Loyola Press, 1999) p. 200.

[2] Synthesizer- Electronic musical instrument- a device that generates and modifies sounds electronically, especially a musical instrument. Encarta Dictionary, “Synthesizer”

[3] Sequencer- Electronic device for storing music-music an electronic device or piece of software that digitally stores sequences of musical notes, chords, or rhythms that can be transmitted to an electronic musical instrument. Encarta Dictionary, “ Sequencer”

[4] Patrick Kavanaugh, op cit., p.198.

[5] As quoted in Andrew Wilson-Dickson, The Story of Christian Music: From Gregorian chant to Black Gospel an Authoritative Illustrated Guide to all the Major Traditions of Music for Worship, (Oxford: Lion Publishing plc, 1992) p.240.

[6] Patrick Kavanaugh, op cit. p. 200.

[7] Madrigal- a song with parts for several usually unaccompanied voices that was popular in England in the 16th and 17th centuries

[8] A capella- a song presented without instrumental music accompaniment.

[9] Andrew Wilson-Dickson, op cit.

[10] Other terms such as worship team, worship group, praise team, or music group are also used.

[11] But I don’t think that to resist anything just because of accustomed to the ongoing process is the best idea at all. This can lead to stagnation of the Church. Care should be taken not let the church lag behind the fast growing cyber world. Meanwhile I do not mean to say that everything the world has offer has to be assimilated.

[12] It is good to hear and consumes a much lesser time and also saves a lot of money instead of buying all the musical instruments which are required. But, it also destroys the creativity of the youth and let them look for an easy way which is ethically, biblically and theologically unsound.

[13] James F. White, New Forms of Worship, (New York: Abingdon Press, 1971) p.131.