"Appear as crucified for me" : sight, suffering, and spiritual transformation in the hymns of Charles Wesley

Early Methodist laypeople often described their conversion experiences in terms of seeing the suffering of Christ. This article considers this theme within early Methodist culture by examining the relationship between sight, suffering, and spiritual transformation in the hymns of Charles Wesley. Many of Wesley's hymns depict the suffering of Christ in evocative detail, encouraging the singer or reader to imagine and respond to this suffering in particular ways. I argue that Wesley presents the sight of Christ's suffering as having profound transformative power, at the heart of Christian experience. In doing so he constructs Methodist spirituality in a way that draws upon both the ancient Christian tradition of Passion devotion and contemporary eighteenth-century convictions about the power of the sight of suffering.

'The suffering members sympathise' : constructing the sympathetic self in the hymns of Charles Wesley

For the first time in history, this timely landmark volume brings together contributions from the leading scholars working on the life and work of Charles Wesley.

Missionaries, music and method - dissemination of tonic sol-fa in Asia-Pacific countries during the nineteenth century

The Tonic Sol-fa method of teaching choral singing and its system of music notation was developed in England by John Curwen and propagated throughout the British Isles as a means of both enhancing Christian worship and achieving social reform. Tonic Sol-fa may be identified as an entirely foreign musical practice introduced to indigenous people in many British colonies and in other overseas countries during the nineteenth century as an instrument of Christian evangelism as well as of European cultural imposition. Nevertheless, indigenous communities were introduced to other aspects of European musical culture including a choral repertoire consisting of four-part hymnody and masterworks by Handel, Bach, Mozart, etc which sometimes resulted in the emergence of a school of indigenous composers writing in Tonic Sol-fa notation and using the tonal harmonic style. The result has been that in several countries-such as South Africa and Fiji for example-Tonic Sol-fa has been so fully assimilated into the ethnic culture that it has been "indigenized" and may now be said to represent a significant exogenous aspect of the musical culture in these countries.

Tonic Sol-fa was most commonly introduced to countries in the Asia-Pacific Region -as in Africa - by Christian missionaries who sought to exploit the attraction of hymns, particularly when sung in four-part harmony, as a means of evangelizing indigenous people who frequently regarded this aspect of missionary activity as a form of "magic". In particular, the Tonic Sol-fa method and notation gained a significant foothold in what were referred to as the South Sea Islands--especially in Fiji where today, the Fijian Hymn Book (1985 edition) is notated exclusively in Tonic Sol-fa. The vast majority of the Fijians are literate in Tonic Sol-fa notation and congregational singing in four parts is the norm in Fijian churches.

This paper will draw on data from nineteenth century journal sources, particularly The Tonic Sol-fa Reporter (1853-1888) and The Musical Herald (1889-1920), and will document the introduction and dissemination of Tonic Sol-fa in several Asia-Pacific countries where, unlike Australia and New Zealand, the indigenous population has maintained its own cultural and demographic predominance. Countries to be considered will include India, China (including Hong Kong), and Pacific Island nations. There will also be a consideration of the contemporary usage and applications of Tonic Sol-fa in the region, with specific reference to Fiji. It will be argued that countries where Tonic Sol-fa notation has become the norm should resist any external pressure to transfer to the standard staff notation merely for the sake of conformity. In the case of Fiji, almost universal music literacy has been achieved through Tonic Sol-fa and this should be recognized as an enviable social and cultural asset.

Pain, passion and faith : revisiting the place of Charles Wesley in early Methodism

Pain, Passion and Faith: Revisiting the Place of Charles Wesley in Early Methodism is a significant study of the 18th-century poet and preacher Charles Wesley. Wesley was an influential figure in 18th-century English culture and society; he was co-founder of the Methodist revival movement and one of the most prolific hymn-writers in the English language. His hymns depict the Christian life as characterized by a range of intense emotions, from ecstatic joy to profound suffering.

Water in the Indic Traditions

The essay critically discusses the predominant role played by water in the lives of people from Vedic times to the present day, in the Hindu world. A number of ceremonies both happy or auspicious-making and secular have been associated with water. Several hymns of the Vedas, Brāhmanas, Mahābhārata, Āgamic and Purānic texts are drawn upon to bring out the legends and myths, and genuine beliefs, connected with water that underscore the sacred and profane, purificatory, healing and resuscitating dimensions of water. The essay treats readers to many ancient motifs concerning the pervasive value and utility of water. These comprise, variously, sacrifice, fertility rites, water-medium birth, divine metamorphosis, self-conceiving cosmic birth, totemism life-cycle rites, sanctifications, consecration and installation of icons and edifices, food rituals, monsoon rites, to pacifications, possession and exorcism, death, after-life and rebirth rituals. Reference is also made to the ecology of water resources, the economy of water scarcity, ‘war-wars’ or water imperialism, and water justice in the socio-political arenas of post independent India, in a rapidly liberalising and globalising world. In that regard practical applications of the knowledge-base are explored through the work of NGOs and Water Swamis in the subcontinent.