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These musical practises ensure unity and continuity within the Christian worship from the inception of the Moravian Church to the present day. This also establishes a universal brotherhood and sisterhood among the worldwide congregation of Moravians, irrespective of culture or race. This church continued the tradition and orders of their ancestral church, the Unitas Fratrum Church of the Bohemian brethren. Zinzendorf, a Lutheran of Pietist upbringing, created a unique and original Christ-centred worship tradition, emphasising experience, simplicity and community, which is reflected to varying degrees in the worship followed today in 19 provinces, but which remains the source of its distinctive common features Bradshaw The Moravian hymn books currently in use today, have their origin in numerous collections of hymns spanning many centuries.
Reed Knouse suggests that Moravian hymnody itself had already begun before the 16th century. Reed Knouse further suggests that it has long been claimed as a hymnal of the Unitas Fratrum , but its connection with the Unitas Fratrum is tenuous, although it did contain 11 hymns by Lukas of Prague, the most influential theologian of the Unitas Fratrum. Weinlick and Frank write that the brethren of the Unitas Fratrum memorised and could recite the hymns as they did with the scripture.
According to Weinlick and Frank , a characteristic of the Unitas Fratrum was its singing tradition, which was established long before the first Protestant hymnal of The Unitas Fratrum relied on hymns for both inspiration and teaching. The brethren composed hundreds of hymns and published the first hymnal in Some of these hymns became part of general Protestant worship during the Reformation Settari In addition, some of the hymns of the Moravians date back to the ancient Christian Church of the 4th century.
These Moravian hymns provide more than just a moment for congregational singing; the Moravian hymns often express the Moravian faith better than any creedal statement Fries Christian Gregor — is regarded by Moravians as the father of Moravian music. He is perhaps the most central figure, apart from Zinzendorf, in the development of the musical heritage of the Moravians. Grimm — and Christian Gregor — established the practice, still used by Moravians today, of arranging and numbering the tunes according to the length of the tunes.
This enables more than one tune to be used for a hymn August :ii. To this day, Moravians often sing hymns from memory, especially if they grew up in the tradition of having attended a Moravian school and grew up on a Moravian mission station. The origin of the Moravian Church in South Africa can be traced back to the establishment of a Christian community, by Georg Schmidt, in Genadendal, in the Cape, in the 18th century. The adoption of distinct religious teachings and cultural including musical practices characterised this early Christian congregation.
South Africa - Wikipedia
In , the community in Genadendal welcomed its first organ, which was first played by the missionaries who then later taught a young person from the community so that he could be the church organist. Of further importance for the promotion of church music in South Africa, was the establishment of a seminary in Genadendal in The first director, Francke was a gifted musician who established church choirs first in Genadendal and then at Mamre, another mission station, also in the Western Cape Jooste The seminary enabled the Moravians to train both priests and teachers, which ensured that in the Moravian schools all teachers, male and female, were members of the church.
From to , most Moravian congregations in South Africa, began to have more autonomy and became more independent from Germany and began to establish a rich liturgical heritage, which provided many opportunities for singing and music performances. In , the Rhenish Missionary Society published a hymnal in the Dutch language for its congregations in South Africa and the Berlin Missionary Society followed suit in This hymnal and the other hymnals each had their own style and influenced the development of congregational songs and the religious songs in South Africa Laudate :iv.
The Dutch hymnal dating back to , was re-edited at Genadendal for the first time in and contained hymns. In addition, many liturgies and litanies as well as the special services for Passion Week and other festive times throughout the church year gave the congregations the opportunity to participate actively in worship. Over time, the need for an Afrikaans hymnal was prompted with Afrikaans being used as the vernacular in churches. It was difficult for many congregants to abandon the Dutch hymnals.
Baumbach and the hymnal was published in From , work commenced on an Afrikaans hymnal for the Moravian Church in South Africa which was first printed in and compiled by Rev. It was replaced in by an enhanced edition under the editorial guidance of Bishop P. This hymnal was a work of the Rhenish missionary Rev. In , a special edition of the Moravian Church hymnal known as Jubilate came into use. The German congregations of the United Evangelic-Lutheran Church in Southern Africa progressively started using the Cantate hymnal for their church services Laudate :iv.
The need for a communal hymnal was identified. The goal was that the content and language of the new hymnal would be an improvement on all previous hymnals and it would build on the foundation that was laid by the pioneers. The committee consulted existing hymnals of the churches involved; especially, the rich treasure of the Evangelic hymns of Martin Luther and Paul Gerhardt and their contemporaries.
They also consulted the old and renewed hymns of the Moravian Church and specifically the hymns of Zinzendorf and his fellow workers. In the selection of the hymns of the sister Protestant churches in South Africa, the Moravians received co-operation from the reformed churches in South Africa and the Dutch Reformed Church publishers. Many hymns were also translated into Afrikaans and English Laudate :iv—v.
The tunes were numbered in a similar way to the style of the first Moravian books according to length; numbers up to tune were retained Laudate :xi—xii. The hymns in the hymnal are arranged according to the following categories, 1 church calendar, 2 the church service, 3 praise and prayer hymns for all seasons, 4 hymns for special occasions and 5 hymns for eternity.
The hymns for special occasions include hymns for the morning, afternoon and evening; daily bread, occupation and work; marriage, home and family. The hymns for the eternity category in the hymnal are divided into the following subcategories: farewell and death; pilgrimage, coming of the Lord; long for heaven; and new life from now to eternity. The hymns in the hymnal are further divided into three sections: 1 hymn 1— in Afrikaans, 2 hymn — also in Afrikaans and 3 the English hymns from hymn until hymns Hymns that could not be included in the general hymnal were added to the Moravian hymnal with the numbering of the hymns starting at number and arranged according to the same themes as hymns 1— The Moravian hymnal also added 40 English hymns numbered — Laudate While the numbering may seem peculiar, this is how it appears in the hymnal.
Previously, hymns were contained in the first printed tune book, Koraalboek van die Broederkerk the Green Book published in for the Jubilate hymnal and a hymnal, The Laudate , which was published in at a time of ecumenical co-operation within the erstwhile FELCSA. This mutual effort, unfortunately, left the Moravian Church in South Africa without a comprehensive tune or choral book, with the result that the Moravian Church in South Africa had to make use of several tune books.
The colour of the choral book is blue, hence its name: The Blue Tune Book. The previous choral book was green. Some tunes are recent variations by indigenous composers cf. Apolles; C. Hans senior; D. Joorst; D. Ulster and E. The register of the authors appears in the Laudate hymnal on pages —; the register of sources in Laudate, page and a list of melodies from pages — in the Laudate hymnal.
The sources that were consulted for the compilation of the English hymns are:. August as the coordinator for church music and entrusted him with the task of appointing a commission to revise the tune book. Then, he with the assistance of the late J. Hansie Petersen, compiled a first working draft in August as the convenor and editor in These texts were all integrated by Christo van der Rheede, who did extensive transcription and typesetting on the computer. The final product was printed at the Genadendal Printing press August :ii.
The discussion so far reveals that the history of Moravian hymnals is intertwined with the traditions of the related Protestant denominations and the history and heritage of the Moravian Church. Furthermore, the Moravian hymnals in use in South Africa today, including the Laudate, are part of the heritage of modern day South African musicians and composers in so far as they have contributed to the compilation and composition of tunes for congregational worship.
Meskell writes that heritage in South Africa has been called upon to fulfil numerous state-level agendas: on the domestic front, it is to provide social and economic regeneration as well as identity politics for nation-building. In this article, heritage will specifically refer to the tangible and intangible cultural heritage of the South African Moravians:. Where history is the study of the past, heritage is the many ways the past is used in the present.
In this way, heritage can be understood to be an active, dynamic relationship between then and now, formed through an on-going process of renegotiation, reconstruction, and recreation of what we choose to take from the past with us into the future.
SOUTH AFRICA CHRISTIAN DATING & SINGLES
University of Cambridge, n. Weinlick and Frank suggest that church members of any denomination have a certain religious profile derived not just from their own immediate Christian experience but also from the experience of their ancestors. The Moravians believed that musical ability, like every other gift, was to be used in praise of Christ and for the good of the community, not for the benefit of the individual Reed Knouse Moreover, Hall states that the focus of Moravian theology can be found in music making. Hall furthermore points out that the singing of hymns and chorales formed part of the school music.
The Singstunde, a song session was included in every school day. As Caldwell :9 explains, a Moravian congregation, or Gemeine , encompassed all aspects of life, including schools and music. Children growing up in the Gemeine would be educated in its schools by teachers who were Moravians and be given the skills necessary to participate in the Gemeinmusik as singers in the congregation or choir, or as instrumentalists both as children and as adults, whatever their station in life.
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Gemeinmusik embraced ever-widening circles from local communities to the worldwide community of Moravian churches, and to the transcendental communion of saints on the earth and in heaven. Pickel writes that identity formation always involves a struggle between the individual and his or her self-perception, and the categorisation of the individual through others.
In other words, he Pickel states that identity formation is a result of multiple forms of social interaction. By: Henk E. By: Govert J. By: Jerald D. By: Etienne de Villiers. By: Desiree Berendsen. By: Henry Jansen. By: Lourens Minnema. By: Frans Wijsen. By: W. By: Victor van Bijlert. By: Jan Peter Schouten. By: Alberdina Houtman. By: Simon Schoon. By: Christa Anbeek.
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Javascript must be enabled for the correct page display Library. Africa :: South Africa Print. Page last updated on October 05, Flag Description. Africa :: South Africa. All Space Places Landscapes Misc. The reddish-brown Kalahari Desert with its northwest-southeast-trending sand dunes and dry lakebeds stands out in this image of South Africa. Also distinguishable are the westward-flowing Orange River, south of the true desert; the cape ranges of folded mountains near the extreme southern point of South Africa; as well as Cape Town, the Cape of Good Hope, and Cape Agulhas.
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Image courtesy of NASA. Factbook photos - obtained from a variety of sources - are in the public domain and are copyright free. Agency Copyright Notice. Satellite view of South Africa. The rugged Great Karoo semi-desert region makes up much of the central and western part of the country. The brown and orange landscape that surrounds South Africa's northwestern borders is the Kalahari Desert, a vast sand basin marked by dunes and dry savannah vegetation. The southern edge of the desert is defined by the Orange River, which also forms South Africa's northwestern border with Namibia.
Within South Africa is the enclave of Lesotho. Northeast of Lesotho is the smaller country of Eswatini formerly named Swaziland.