Music has always been central to the worship of the African Methodist Episcopal Church. Richard Allen, the founder of the denomination, provided a hymnal filled with selections that were popular among his people and that reflected the African-American heritage. Subsequent editions of the hymnal have included a wide variety of material. The visual and performing arts have also become a hallmark of worship in the AME church. Colorful robes and stoles and vibrant liturgical dance have contributed significantly to worship.
Music
Richard Allen, the founder of the African Methodist Episcopal Church, knew and appreciated the importance of music to his people. Because of this, one of his first official acts as an AME minister was to publish a hymnal for the exclusive use of his congregation. This hymnal, published in 1818, was compiled by Bishop Allen, Daniel Coker, James Champion, and Jacob Tapisco. The importance of this first hymnal designed exclusively for an all-black congregation cannot be overemphasized. Whereas Bishop Allen might have used the official Methodist hymnal, instead he consciously set about to collect hymns that would have a special appeal to the members of his congregation. These were undoubtedly long time favorites of American blacks. Thus the hymnal provides an index to the hymns popular among black congregations (the AME in particular) of the new nation. These hymns represented the black worshipers’ own choices and not those of white missionaries and ministers. This hymnal contained three hundred and fourteen hymns and spirituals carefully chosen to nourish the church in doctrine and spiritual content. Subsequent editions of the hymn book with some minor changes were published between 1818 and 1872.
In 1984, the Commission on Worship and Liturgy, chaired by Bishop Vinton R. Anderson, compiled the Bicentennial Edition of the AME Hymnal which paid honor to the contributors of all past and present efforts. The latest edition of this hymnal and future reprintings will be known as The Hymnal: African Methodist Episcopal Church. It is the major worship instrument as we begin the third century of the church. The four musicians that were on this commission include Daisy N. Brown of Dayton, Ohio; William Melvin Campbell of Newark, New Jersey; Josephine Howard of Georgetown, South Carolina; Jimmie James, Jr. of Jackson, Mississippi; and Edith W. Ming of Cape Town, South Africa. The Bicentennial Hymnal is the most hymnologically advanced black denominational hymnal currently being used in this country. It also represents the culmination of one of the richest hymnological histories of any black denomination, a history that resonates with the great events of African-American history and with the musical philosophy of the AME Church.
Range of Music. The extensive range of music in the African Methodist Episcopal Church includes hymns, anthems, spirituals, and gospel songs, embracing traditional works as well as those unique to African-American congregations. At present the scope of music used in AME Churches continues to expand, and in some instances it is selected and performed differently than traditional AME Church music. However, in recent years many district choirs including those in the fifth and eighth districts have shown a resurgence in selecting traditional anthems, hymns, and spirituals used in worship in the AME Church. It is hoped that this renaissance will also manifest itself within the general church through a mammoth effort to improve the quality of service music used in AME worship services.
Use of Music. Music used in the AME Church ministers to the various aspects of worship including the liturgical and theological needs of pastors and congregations. Service music such as introits, response, chants, doxologies, benedictions and the amens are used traditionally and consistently in every service. Introits, responses, and chants may be selected to coincide with the church season.
The Use of Instruments. In addition to traditional service instruments such as the organ and piano, other instruments, including handbells, are used at Wayman AME Church in Dayton, Ohio. The synthesizer, guitar and orchestral instruments, in addition to rhythm band and Orff instruments, are used for Sunday services by the Children’s Choir at Pearl Street AME Church in Jackson, Mississippi. And in the First Episcopal District, the traditional use of organ, piano, and orchestral instruments is increasingly supplemented with synthesizers.
Instrumental music has a distinctive character that makes it particularly desirable for special occasions. In the AME Church, this is true for Christmas, Easter, and other religious holidays, dedication ceremonies, religious festivals, sacred music concerts, and other services. However, instrumental music is also a valuable part of regular church services. Naturally there is variety in the mood and atmosphere in the different services of the church, which influences the kind of instrumental music used.
Instrumental music is not easily classified into formal or informal categories. Appropriate selections are usually planned for those occasions which are more dignified, as well as for those times when lighter, less serious music is desired. A stringed instrument or flute playing a devotional song will tend to create one mood, the noble sound of a brass quartet playing a stately hymn will evoke a different quality of feeling, and a guitar or tambourine accompanying a bright, tuneful folksong will have still another effect. Thus, the decisions regarding which instrumental music is best suited to a given service is made based on different considerations, both practical and philosophical.
The Visual Arts
Sacred Monograms. The Alpha and Omega appear often on AME church altars and pulpit hangings. The Alpha and Omega represent Jesus Christ “the same yesterday and today and forever” (Heb. 13:8). Another popular symbol, IHS, consists of the first three letters of Jesus’ name in Greek.
Flags. Many AME Churches have both a Christian and an American flag which demonstrates warmth because of their beautiful color, design, and the realities which they signify. The Christian flag represents Christianity in its entirety, including its faith, worship, tradition, responsibilities, and many other blessings.
Vestments. The practice of wearing robes and stoles in the AME Church is more prevalent than in former years. Robes signify humility in leading an orderly and dignified worship service. When robes are worn, the attention of the worshipers is more easily focused on the religious messages conveyed by the words spoken or sung, and the feelings that are associated with the public service of divine worship are naturally sustained by their use.
The stole represents the ordination of the clergyman and marks the sacredness of the sacraments. The minister’s five differently colored stoles are used in conjunction with the liturgical colors of the church year. But because the stole is becoming more prevalent, it is no longer symbolic only of the clergyman’s ordination. The stoles for choirs are symbolic of the yoke of obedient service to the Master while rendering music to his glory.
Art for the Church Year. In the AME Church the changing colors of the church year attract, add variety, and point to the significance of the season or the festival. The same colors of the church year are used for bookmarks and for stoles.
White is the symbol of created light, joy, purity, innocence, glory, and perfection. Violet denotes mourning and penitence, and is also symbolic of humility, suffering, sympathy, and fasting. Purple is used in different ways. It is the regal color that refers to the triumphal entry of the King of Kings, who was of royal descent. As the color of penitence, purple also refers to the purple garments put on the Lord when they mocked him. Red depicts divine zeal on the Day of Pentecost, and refers to the blood of the martyrs of the church. Green is the universal color of nature, signifying hope. Black is the color of grief and sorrow. To these five colors we may add gold. Gold refers to worth, virtue, the glory of God, and Christian might.
Liturgical Drama and Dance
Musical dramas, dramatic liturgies, and storytellings are included in special programming and workshops for youth and adults in the First Episcopal District. In the Eighth Episcopal District, special presentations during African-American History Month feature monologues and other dramatic presentations. Visual arts, including sculpture by black artists and fashions from the African continent, reflect the African-American heritage of the African Methodist Episcopal Church.
In recent years, liturgical dance has become more evident as a medium of worship and praise in the AME Church. This should not, however, be too surprising since dance simply paraphrases the music in a different interpretive medium, while emulating the physical movement embodied in the worship service. Critics, including some in the AME Church, often condemn liturgical dance because they feel it is too sensual. But as dance authorities point out in response, dance is sensual only in that it flows from the senses and is similarly experienced through the senses of others. This should not suggest nor be confused with eroticism. Finally, if music is the spirit of worship, singing articulates the message and dance merely brings that message to life through movement.
In the First Episcopal District, liturgical dance is included in workshop classes, worship services, and special programs. Styles cover a broad spectrum with an emphasis on African and interpretative genres created by a choreographer on the district music staff. In the Eighth Episcopal District, liturgical dance has been performed as part of Robert Ray’s Gospel Mass and on other occasions at Pearl Street AME Church in Jackson, Mississippi, and in the Third Episcopal District at Wayman AME Church in Dayton, Ohio.