Indigenizing Navajo Hymns - In Depth Notes

Context of Elizabeth Bryant and Virginia Graymountain
- The fame of Elizabeth Bryant and Virginia Graymountain's hymn-singing duo reflects a shift in the Navajo musical landscape.
- In 2003, they experienced a surge in popularity, evidenced by demand through radio stations and their presence within the community.
- Their music, although enjoyed, is an anomaly within the predominately African-American-inspired praise music of Navajo-led tent revivals.

Definition and Importance
- Indigenization allows local communities to create a socio-spiritual experience by integrating cultural characteristics into Christian theology (Sherinian, 2005).
- The process is often complicated by power dynamics between cultures.
- Local populations may fully assimilate Christianity, making it no longer appear as foreign.
Musical Indigenization
- Ethnomusicologists study the integration of Christianity through the lens of musical styles and aesthetics (Scruggs, 2005).
- Elizabeth and Virginia's success stems more from changes in performance practices rather than changes in musical style.

Elizabeth and Virginia's music symbolizes a shift from traditional congregational hymn singing to a performance enjoyed passively by audiences.
Hymns intended for communal worship have become an avenue for personal enjoyment, transforming their associated meanings (e.g., from rational modernity to anointing power).
Contrast with Historical Hymnody
- Originally, hymns aimed to convey Protestant doctrine, while Elizabeth and Virginia's performances emphasize spiritual experiences and healing.

The introduction of hymns into Navajo culture was initially a part of an assimilation project by Protestant missionaries.
Throughout the 20th century, the rise of neo-Pentecostalism brought new practices that moved away from hymnal traditions toward more expressive forms of worship.

Pianos in missionary contexts symbolize Western modernity and control and were not often found in traditional Navajo homes, limiting their musical practices.
Elizabeth and Virginia use the piano to retain connections to historical mission churches while presenting hymns within a contemporary context.

Overview
- The Oodlání movement, emerging post-1950, signifies a shift to independent, charismatic, and often anti-rational forms of worship among Navajo Christians.
- Focused on mobile worship experiences (e.g., tent revivals), this movement enhances local control over religious practices.
Impact on Elizabeth and Virginia
- Their performances at revivals adapt traditional hymns into a format that supports the revival aesthetic, allowing for a dynamic exchange between performers and audiences.

Elizabeth and Virginia blend disparate musical backgrounds:
- Elizabeth has informal training and experiences rooted in the neo-Pentecostal movement.
- Virginia has formal training from Anglo-run denominational contexts, contributing arrangement and harmonization skills.

Elizabeth's charismatic stage presence and improvisational skills enhance audience engagement, while Virginia focuses on harmonic support and musical structuring.
Their approach to rehearsal and song adaptation reflects a fusion of traditional and contemporary musical practices, allowing hymns to resonate with new generations.

Elizabeth and Virginia's version of hymn singing illustrates a successful indigenization process not reliant on aesthetic or stylistic changes but on the adaptation of performance dynamics.
This demonstrates how local forms of practice can retain foundational elements of earlier traditions while evolving to meet the spiritual needs of contemporary Navajo Christians.
Overall Significance
- Their music offers insights into the complexities of cultural fusion within a specific socio-spiritual context, exemplifying how musical practices can be transformed through performance alone, maintaining connections to history while adapting to modern expressions.