Reception and Makings of African Vocal Ensemble Sounds beyond Binaries

Abstract Since 1877, the Seventh-day Adventist ( SDA ) Church from North America has established its presence in Southern Africa. As with missionization in other denominations, this introduced a variety of primarily Euro-American musical influences into African religious practices. Over the years, Adventist musicians have constantly negotiated a complex relationship to their African contexts, often yielding musical outcomes that cannot be reduced simply to an indigenous vs exogenous or ‘African’ vs ‘Western’ binary evaluation. This intersectional phenomenon is not thoroughly explored in the current scholarship on SDA music. This paper provides background and details on collaborations and exchanges in various repertoires since the 1980s. I argue that these embody intersectional ideas that emerge beyond geographical, cultural, and chronological boundaries. The study is developed from analyzing unstructured interviews and audio recordings to illustrate perpetually blurred boundaries in musical practices that have conventionally distinguished “African” vocal sound.