Download Holy Brotherhood: Romani Music in a Hungarian Pentecostal by Barbara Rose Lange PDF
By Barbara Rose Lange
Holy Brotherhood: Romani tune in a Hungarian Pentecostal Church is a musical ethnography of a non secular group. After the tip of socialism, varied ethnic teams in Hungary harbored antagonism towards each other. in a single Pentecostal church in Pecs, Hungary, despite the fact that, either Hungarians and Roma (Gypsies) worshipped and made tune jointly. 3 musical repertoires coexisted, every one with a separate old heritage and complicated social meanings: Romani non secular tune; nineteenth-century gospel hymns initially from the U.S.; and modern Christian pop from the us. Church participants accommodated cultural and musical transformations by means of constructing a number of special functionality kinds.
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Example text
These missionaries came from large Evangelical and Pentecostal denominations. They brought many aspects of contemporary religion and popular culture, as well as an ideology of how the East European churches should be worked into the hierarchy of their organizations. Since I was able to observe this firsthand, I will be commenting on how IG members interpreted, appropriated, or rejected this style as well as the missionaries' practices. This directly addresses how the IG constituted itself as a community in the face of pressures with a global reach.
In 1939, one of the most difficult periods for Hungarian Pentecostals began. Hungary's far right political forces, who framed their ideology around national crisis, persecuted the unrecognized churches with the cooperation of the major denominations. At the beginning of World War II, the Hungarian government banned all religious activity except that of the Calvinist, Catholic, Lutheran, Methodist, and Baptist churches. Not only the police but the greatly feared Royal Guards (csendorok) began to threaten Pentecostal believers and leaders with arrest, beatings, or transportation to prison camps (Toth et al.
Older believers sat near the heating stove and knelt to pray; women seated themselves and their children at the front. The musicians plugged their instruments into the amplifiers and set up microphones. Then the congregation started singing. Church members and preachers called out the name of one song after another. Sometimes as they sang the believers felt that "the Holy Spirit descended" (leszdlltaSzentlelek). When first feeling this dldds (blessing), people sang louder. They stood up and clapped to the basic beat.