Decolonizing Western Conducting: Gospel Music Conducting Practices in Twenty-First Century Southern Nigeria

Abstract

At the initial stages when Western conducting was introduced to Nigeria, it was mainly used to direct European art music. This was the practice from the nineteenth century to the late twentieth century. However, in twenty-first century, Western conducting is utilized to direct gospel ensembles, especially in Southern Nigeria. Although some of the nuances used to conduct gospel music in the locale predate twenty-first century Nigeria, literature is scant on how gospel music is conducted; and how such practice decolonizes Western conducting in Southern Nigeria. In this paper, I purposively selected eighteen (18) gospel music conductors, utilized non-participant observation, interview; and the theories of decolonization and conducting dynamism to descriptively discuss gospel music conducting practices and how the conducting practices are decolonizing Western conducting in twenty-first-century Southern Nigeria. Findings indicate that gospel music conducting in the region rarely engages basic conducting beat patterns, lavishly utilizes audible counting and finger snapping, feet stamping, clapping; and dance/kinetics that are traceable to popular music traditions to remove the restraints of conducting classicism, and to elicit kinetics in tandem with gospel music performance tradition in Southern Nigeria. These decolonize Western conducting, produce a form of conducting that combines Western and popular music idioms; that is predominantly opposed to the restrains of classical conducting. These warrant canonization for conducting taxonomy and education in Nigeria and beyond.