AbstractIn this study, I explore particular aspects in which the relationship between Pentecostal music and secular music has become prominent in Kampala, Uganda. Particularly, I examine how Pentecostal music artists have drawn inspirations from secular popular music scene particularly in the style of singing, dance movement, recording, marketing and the general performance context. The study examines the nature of Pentecostal music introduced by the European missionaries, the process of making Pentecostal music, and tries to establish the factors responsible for the similarities between Pentecostal music and secular popular music. The study seeks to find out the meaning and significance of the changing Pentecostal music to a popular style. It also traces the origin and growth of Pentecostalism and its sacred music, focusing on how this sacred music has changed over time specifically in Uganda. This ethnographic study has been developed using research findings, literature related to Pentecostal movements in Uganda and Pentecostalism in general, Pentecostal music and the secularization and sacralization processes. The study indentifies the actors of Pentecostal music and examines the artistic role each plays. In this study, I also outline a number of factors responsible for this emerging genre among them prayer, evangelization, income earning, entertainment, music awards together with the health and economic problems experienced by ordinary Ugandans as some of the issues addressed by Pentecostal music lyrics. In the conclusion, the diversity of Pentecostal churches in Kampala, in relation to acculturation and commercialization are identified as key factors in the shaping of the secularization and sacralization processes. Similarly, the study shows that sacralization and secularization are complementary processes.

AbstractThe hymn "Tuku­tendereza Yesu" is a staple of Kenya's booming Christian music industry. Across modern East Africa, the song is hard to avoid. But just why is it so successful?

AbstractThere are established internationally recognised standards of assessing translation quality; however, it is the means of determining their appropriateness and acceptability in different social contexts that is debatable. The article traces discourse fidelity through some selected linguistic and aesthetic criteria of compliance with the standards of “accuracy”, “adequacy”, “correctness”, “correspondence” and “fidelity” in the target language translation process. These criteria are then tested for aesthetic equivalence through the analysis of the translation of the historically compelling text, the Luganda evangelical epic TukutenderezaYesu (We praise you Jesus) of the international Anglican Revival Movement into a modern Runyankore video-recorded and choreographed version. To this end, the author draws on cultural semiotics, functionalist and textual theoretical models that take translation quality assessment beyond linguistic acceptability. Among other findings, one note that beyond the translator’s linguistic skills, the emphasis in tracing discourse fidelity and aesthetic adequacy in translation, needs to be placed on the sensitivity to the discourse in question, the “situationality” of the translated text, the translator’s interpretative ability and the information/communication technology used to circulate the final product.

AbstractOne of the most common phrases heard in testimony, preaching, and song during the East African Revival (EAR) was the phrase ‘The Blood of Jesus Christ’. Taken from a rich biblical heritage, this phrase encapsulates a wide range of ideas concerning the work of the cross and the power of forgiveness in a believer's life. Whilst, as will be noted, the use of The Blood has been common to many revivals, this article examines especially the theology behind this phrase by looking at the most prominent of the EAR authors – Roy Hession. It investigates seven different applications of The Blood in a believer's life: The Blood as a testament that sin is forgiven, The Blood as cleansing the conscience, The Blood as victory over despair, The Blood as the remover of shame, The Blood as washing away sin, The Blood as the gateway of the Holy Spirit, and finally The Blood as the source of true fellowship. The theology of The Blood has a long history of use in the Church but it also comes with difficulties. To this end the article will investigate the legitimacy of the practice often found in Africa and some Pentecostal circles of invoking The Blood as protection against the demonic. The article closes by considering the reasons why speaking of The Blood in church can be uncomfortable yet is paradoxically of vital importance to revival.