In the late 1990s and early 2000s, our churches were made of bamboo cane intricately woven to form walls with a reinforcing pattern. The acoustic infrastructures used were modest, typically consisting of solitary microphones affixed to a stand or red and white megaphone speakers. These auditory apparatuses were used during church fellowships, processions, and, notably, during Christmas. Our churches used nontraditional construction materials, such as bamboo cane, instead of stone, sand, or steel. Hence, the sound emitted from these speakers permeated through the porous holes of the bamboo wall- into neighborhoods and even public spaces. Churches were small, with hardly three rows of pews, and the volume of sounds generated most of the time remained within the reception of the congregations. Supplementary speakers would be employed only during Christmas to augment the auditory experience- playing music for performance, enactments, and entertainment. The pervasive presence of cassettes, decks, and tapes in almost every household facilitated the dissemination of Christmas songs (BoneyM in particular) at elevated volumes. While saturating the sound landscape, this practice made it practically impossible to converse in regular pitch due to the heightened decibel levels. The same music and volume mark the days of Christmas decorations- “because there should be some energy”- and that energy comes with the deliberate emphasis on elevated volumes of music. Therefore, for the longest time, Christmas, to the then-young populace, was marked by the resonance of BoneyM’s songs, the amplification of sound, and the resultant energetic ambiance it created. It was never to me that it was problematic for people to depend on sound and volume to encapsulate, enhance, and feel the energy of Christmas.
Now, reflecting on the global scenario, I am thinking about it. It’s transparent that churches are increasingly fixated on creating elaborate auditory, sensory, and sonic experiences. I recently came across a short Instagram reel with compelling visuals and a point of view (POV). This reel had a video of one mega-church with extremely opulent aesthetics, sophisticated infrastructure, and technology, and an oversized screen prominently displayed the appellation JESUS. The musicians of this church were suspended aloft using metal rods and wires, playing instruments orchestrating performance and spectacle, producing resounding musical articulation. On this video screen was written, “Jesus arrives on earth quietly in a small town” against the ostentatious grandiosity of modern “mega-churches.” The juxtaposition of the reel’s visual, sound, and caption gives a sweeping look into the contemporary sonic culture. Churches like this and many others are invested in congregational entertainment by displaying arts compounded by sounds produced by rich technologies- prominently during Christmas. It is common for churches to incorporate musical instruments like Drums, electric guitars, pianos, and substantial speakers as integral components of their worship. A particular instance comes to mind when I attended a church service, during which the youth group led the congregation in praise and worship. The instruments’ loud sounds resulted in an auditory imbalance, overshadowing the vocal rendition, and making the lyrics indiscernible for the congregation. I remember many friends who were frequent singers for such praise and worship complaining about the same. Meanwhile, those in the front pews had to physically block their ears because of the pronounced loudness. This raises considerations regarding the acoustical dynamics within religious settings and the potential impact on congregational engagement.
In the evolving landscape of the expansive ecclesiastical structures characterized by the utilization of the finest sound systems, a noticeable shift exists in managing auditory output. Earlier, as I mentioned, sounds emanating from churches transcended the structural confines through the holes of bamboo walls into the public’s ear; now, advanced technologies have facilitated the containment of sounds within the church premises. Earlier, the sounds from the churches would make people in the neighborhood aware of the fellowships, the carol performances, and even preaching. The advent of advanced soundproof technologies, implemented to mitigate echoing, has further contributed to this containment. Because contemporary churches are all concrete, the bigger they are, the finer and more prosperous the sound system and management. Only recently have cassette decks become obsolete and easily replaceable by better sound-generating technologies. Despite these advancements, the resonance of festive noise, particularly during the Christmas season, persists as an enduring auditory phenomenon within this evolving auditory landscape. In our time, Christmas reflects the vitality associated with Diwali. The profligate indulgence in loud noise and firecrackers by Christians during Christmas and affluent individuals spend a substantial amount in procuring them, ostensibly to create an atmosphere/energy that they believe is of Christmas while producing noise and pollution. In the context of our locale, a distinctive auditory tradition emerges during Christmas Eve, wherein Christmas songs permeate the night of the 24th of December. This ritual, deeply ingrained in the local culture, involves playing Christmas music throughout the night in a communal space where Christmas festivities are slated for the following day. While this practice engenders a celebratory atmosphere for many, it concurrently imposes a sleepless night upon others. This dichotomy prompts contemplation on the potential disconnect between the ostentatious celebrations and the intended spiritual significance of Christmas. The biblical scriptures, particularly in Psalms 47:1, 33:3, 150:5, and 98:4-6, as well as Joshua 6:1-21, prominently feature references to sound as a medium of expression associated with worship, praise, adoration, and divine power. The account of the destruction of the walls of Jericho is emblematic in this context, wherein the culmination of this event is marked by the convergence of human voices and instrumental sounds (Joshua 6:16). The pivotal moment in which the divine intervention of dismantling the wall transpires is precipitated by the collective and resonant sounds generated by both people and instruments (Joshua 6:4). This underscores the significance attributed to sound as a means through which divine works are manifested and praised in biblical narratives. So, what kind of sound are we collectively producing to celebrate the birth of Jesus? And what if Jesus doesn’t hear all this cacophony of festive sounds/noise doesn’t and goes to a quiet village to have a quiet Christmas?
Akishe L Jakha
akishejakha6@gmail.com
Nagaland Post Launch on 30 Dec 1990 is the first and fore-most english daily newspaper of Nagaland.
© 2021 Nagaland Post. All Rights Reserved.