PPsalm 100 is one of the most popular psalms of praise and thanksgiving. Almost every scholar accepts this psalm as a hymn commanding the congregation to praise Yahweh in thanksgiving. This song is so vital because to praise and worship Yahweh is to live and to live is to praise and worship him for his majesty and all the things he has done for ancient Israel. Psalm 100 is also called the imperative psalm because of the seven imperative verbs that seem to dictate the structure. The content of this psalm resembles not only ancient Israelite worship but also a typical African worship. This article wants to apply Africentric interpretation to Psalm 100 in order to reflect how the praise and worship in African churches reflect the description of Psalm 100 (without saying that they are the same). This article wants to demonstrate how African religion and culture can be used to understand Psalm 100 without condemning Eurocentric approaches.
Key Words: Psalms, Protection, Imperative, Old Testament, African Context, Healing
Introduction.
Psalm 100 is so special and popular a psalm that in my childhood days in primary school this was one of the psalms to be first memorized along with Psalm 23 in my village (Irunda, Kogi State, Nigeria). We were forced to memorize it in school in our language (Yoruba). In fact, to us, it sounds sweeter than in English. It is quite interesting that I can still recite it from memory.
While Crenshaw considers the Book of Psalms as the hymnal of the Second Temple and a window through which ancient Israelites responded to Yahweh’s presence and absence (Crenshaw 2001:1), others consider it more as the prayer book of the poor (Groenewald 2007:425; Adamo 2014: 4-14; Prinsloo 1996:465-485; McPolin 1989:79-103). Zenger and Hossfeld consider Psalm 100 as part of “the YHWH is king” psalms ( Hossfeld and Zenger 2005:10). The 150 psalms have their sources from the experience of worship of both individual and communal prayer and praise (Crenshaw 2001:1). Singing, shouting, screaming, crying, dancing, bowing and praying are all found in the Book of Psalms. Most of these actions are mentioned in Psalm 100. It is full of the sense of immediacy in its compelling worshippers and readers to take part in the physical activities of praise and proclamation (Brown 2010:61). Psalms are performative and its power is not in the eyes of the beholder but in the mouth of the readers through recitation, chanting, writing and wearing the words. It may be difficult to convince some Western traditional or conservative readers of this magical conception of language in psalms. However, evidence from archaeological discoveries and scholars seems to support this. The words become the readers’ words whether performed individually or corporately. The readers are compelled to take up the subject position of the speaker (Brown 2010:61). Psalm 100 is full of not only ordinary emotions but also behavioural and ritualistic emotions as it is in African indigenous churches. The emotionally laden language of this psalm indicates performative activities. It is full of verbal activities. Confessional speeches in thanksgiving result in a liberation by God from the speaker’s guilt (Brown 2010: 63). Praising and proclaiming are the fundamental activities of the psalmist.
There is the tendency to misunderstand this Africentric approach to Psalm 100 to be a lesson in African tradition or a defence of African indigenous tradition and culture. It is important to, first of all, discuss the contemporary Western interpretation which I call the Eurocentric interpretation, before the Africentric interpretation. This will further demonstrate that both Eurocentric and Africentric approaches are complementary.
The purpose of this article is not to prove that Yoruba/African religion is the same with Judaism or Christianity because of their similarities. Similarity does not mean dependence or the same. The purpose of this article is to examine how African/Yoruba religion and tradition can be used to understand Psalm 100 and to see how Psalm 100 is used in African/Yoruba Christianity.
Contemporary Western Interpretation of Psalm 100
Psalm 100 is regarded as one of the most well-known hymns or songs of praise. According to Mays, (1993:64). “were the statistics known, Psalm 100 would probably prove to be the song most often chanted from within the history that runs from the Israelite temple on Mount Zion to the Synagogues and churches spread across the earth.” Psalm 100 is occasionally regarded as an enthronement psalm despite the fact that there is no explicit reference to Yahweh’s kingship (Anderson 1972:698; Hossfeld and Zenger 2005:10).While Hossfeld and Zenger classified Psalm 100 as one of the “YHWH is king” psalms, Brueggemann (1984:165) classified it as one of the psalms of orientation. However, the majority of Old Testament scholars agree that Psalm 100 is a hymn (deClaisse-Walford, Jacobson, and Tanner 2014:734-740; Segal 2013:372; Weiser 1998:645; McCann 1993:64 Clifford 2003:133;Anderson 1985:698). For many people it is the best example of the hymn of the Psalter (deClaisse- Walford, Jacobson; Tanner 2014:734-740).
This poem can be divided into two parts and the two are actually saying the same thing (1–3 and 4-5). The first part (1-3 and 4-5) starts with a verb in the plural imperative mood to command all the nations to worship the Lord with gladness and singing with a great and joyous noise. They are to come to the Jerusalem Temple to acknowledge Yahweh as the Lord so that they can benefit from the bounty and fidelity (Clifford 2003:133). Because of the universal nature of the command to praise God, some scholars (deClaisse-Walford, Jacobson and Tanner 2014:739) believe that Psalm 100 is polemical. Rather than summoning the individual to praise the Lord, it summons the whole earth. It also summons the earth to praise God alone because he is the true God (deClaisse-Walford, Jacobson and Tanner 2014:739).
In verse 2 there are two important verbs present (עִבְדוּ, בֹאוּ) namely, “serve” and “enter.” Both uֹse as imperatives. The first verb is translated in two ways in our English versions, namely “serve” and “worship.” Verse 2 is one of the most challenging verses in these Psalms because serving the Lord is a matter of celebration and joy. Serving the Lord is a compulsion for one’s existence. It means to serve or worship God is to live and to live is to worship God. The verb בֹאוּ has different meanings in the Old Testament. It means “go,” “come,” “enter,” or “sexual intimacy.” However, any of these meanings may be correct in light of the context of Psalm 100 except sexual intimacy-come, go, enter. The majority of translators translate it “come,” which I think is correct.
Verse 3 suggests a grand procession with a song that affirms that all the nations present must confess that Yahweh is the Creator and that all of them belong to him. The recognition that we are his sheep is emphasized. This is an idiom which means that Israel is pastured by Yahweh, the Most High God himself, while any other sheep are pastured by “its own divine patron” (deClaisse-Walford, Jacobson and Tanner 2014:734-740).
Part two of this psalm is parallel to the first part. It is a repetition of the first part with command and reasons for coming to Zion to worship. The phrase “for the Lord is good” means that Yahweh is reliable and trustworthy toward Israel. The words חַסְדּוֹ “steadfast love” and אֱמוּנָתֽוֹ “faithfulness” are important. It expresses the absolute fidelity of Yahweh toward Israel. Israel is a testimony of Yahweh’s goodness and all nations should take note of that.
The word חַסְדּוֹ comes from a root which means “to be good,” and “to be kind” and this word is primarily a covenant term descriptive of covenant fidelity (Smith 1984: 30-31). In Psalm 100, it is translated to mean steadfast love. Sometimes it is translated “kindness,” “mercy,” “fidelity,” “lovingkindness,” and “affections” (Smith 1984:30). This is the central quality of Yahweh’s character and nature. Many psalmists see Yahweh’s steadfast love as reliable and can be trusted especially for their salvation (6:4; 13:5; 17:7; 31:16; 44:26). אֱמוּנָתֽוֹ is ַַa derivative of אֵמוwhich occurs about fifty times in the Old Testament with a sense of faith and trust (Renn 2005:361). This is the characteristic of the divine nature of Yahweh and Yahweh’s faithfulness is inherently bound up with absolute truthfulness (Renn 2005:361).
The structure of Psalm 100 can also be described by its seven plural verbs in the imperative mood: “make a joyful noise,” “know,” “come,” “ enter,” “ give thanks,” “worship” and “bless” which express an important aspect of worship (Clifford 2003:133; Segal 2013:472). That is why deClaisse-Walford, Jacobson, and Tanner see this “central imperatival sequence (come, know, come) as a structural signal to their centrality.” Psalm 100 can also be analyzed under three broad categories, namely, who is to take action, the action to be taken and the object of this action (deClaisse-Walford, Jacobson, and Tanner 2014:736). While the one who is to take the action is “all the earth” and those who dwell in it, the very action to be taken is described by the first three and the last three imperatives-worship actions, that is, “shout,” “serve,” “come” (twice), “testify” and “bless” (deClaisse-Walford, Jacobson, and Tanner 2014:736). The object of these actions to be taken is certainly the Lord. It is important to note the repetitions of the name of this object.
It is remarkable that many of the activities that are called for with the plural imperatives are personally qualified. First, people are to serve the Lord with joy and gladness. Second, come before him with gladness and singing, third, come into his gates with testimony (deClaisse-Walford, Jacobson and Tanner 2014:738). The above means that the worshippers have abandoned the reserved constraints of the society and then give themselves absolutely to the glad emotion of communion with God. This is the powerful emotion that God draws out of human beings when an encounter takes place and they are gripped by the presence of the Holy One (deClaisse-Walford, Jacobson and Tanner 2014:738). At this time the thanklessness, and hopelessness of the world are transformed by the redemptive power of his presence.
Verse 3 is the centre point. The middle sentence in verse 3 is the focus of the middle imperative verb “know” and this verse is also set between the two uses of “come.” The central verse indicates that the reason for thanksgiving is the intrinsic relationship with God (Segal 2013:473; McCann 1993:65). In Verse 3, McCann reported Zimmerli as identifying the words “know that Yahweh, He is God” as a “recognition formula” which in many places is followed by Yahweh’s activities.
The central imperatives “know that the Lord, he is the true God” is important. The word יָדַע ֹis a very common and important verb form which occurs about one thousand times in the Old Testament and it has a primary sense of know but with different nuances (Renn 2005:267). One meaning involves the state of “moral awareness” such as in Genesis 3:5, 22; Exodus 18:20; and Psalm 119:152, which refer to knowing the law and the covenant and their obligations which leads to thanksgiving and worship (Renn 2005:507). יָדַע can also refer to the knowledge of the ways of God (Psalm 25:4). יָדַע can have the sense of physical awareness or perception as in Genesis 3:7 when Adam and Eve knew that they were naked (Renn 2005:567). יָדַע can also have the meaning of sexual connotation as in sexual intercourse (Gen. 4:1). יָדַע can have the meaning of physical acquaintance as in Deuteronomy 9:24. The imperative “know” is far from the mere academic or intellectual knowledge, but to follow the commandments and do the Lord’s will including praising the Lord and worshipping him. יָדַע here in Psalm 100 means knowing God with various degrees of intimacy. For example, the prophet Ezekiel says very frequently to both Israelites and Gentiles, “you shall know that I am the Lord your God. This formula occurs with its variation about fifty times in the book of Ezekiel. Jeremiah desired to know God intimately (Jeremiah 31:34). All these are implied in Psalm 100. It refers to a divine knowledge of God as the only true God.
All these verbs are very common in the Psalter, especially in the hymns of praise. All the above terms indicate that the setting of the poems is corporate worship. It resembles the kind of song expected at the beginning of a worship service for the purpose of moving the worshippers from the physical and the mundane realm to the sacred realm (deClaisse-Walford, Jacobson and Tanner 2014:737). What appears to be the key term here is the “serve,” which can mean worship. Broadly speaking, it means “to orient one’s whole life and existence to a sovereign master” (McCann 1993:65).
The reason for this imperative is Yahweh’s steadfastness (חַסְדּוֹ) and faithfulness אֱמוּנָתֽוֹ). The two occurrences of כי ִin verses 3 and 5 in such a hymn give the reason for (that worship and the praise). That is also the reason why the psalm opens with a hymnic call to sing the praise of God who is full of grace, mercy and faithfulness. The purpose is to re-present God as a living reality and then share this knowledge with the congregation and the world. The important statement of faith in this psalm is that “Yahweh alone is God,” which is regarded as one of the most important statements of faith in the Old Testament (Weiser 1998:646). When one is in the presence of God he or she realizes his or her creaturehood and that human self-assurance and independence is nothing in the sight of God. Whatever he/she is and owns is not by the virtue of his/her own self, but by the power of the one that created him/her and owns him/her. The statement “we are his people and the sheep of his pasture” expresses pride and humility and trust (Weiser 1998:647). The joy that makes the congregation shout and sing has its source in Yahweh.
“The identity of Israel and all humanity is incomprehensible apart from God” (McCann 1993:66). The identity of God is a focus. For example, the occurrence of the personal name of God, “Yahweh” four times in these short psalms with the personal pronouns and pronominal suffixes in verse 3 is striking. The sequence of the pronouns is also striking: “he…he…us…we…his…his” because the chiastic arrangement suggests that human identity must begin and end with the understanding of God’s identity (McCann 1993:66). Human identity is incomprehensible without God’s identity (McCann 1993:66). The concluding imperative in verse 4 means that thanksgiving and praise become the mode of existence for those who know God and also know that they are not self-made (McCann 1993:67).
The repetition of references to Yahweh with many pronouns and pronominal suffixes makes this psalm a psalm of human-divine relationship (Segal 2013:473). One will be right to consider this psalm as an expression of intimacy with God (Segal 2013:473).
The occurrence of God’s personal name, Yahweh, repetitively is very significant. One notices that in this short Psalm the name Yahweh occurs four times and the pronouns (he, him, his) referring to Yahweh occur eleven times. It tells the significance of that name and reflects name theology in the Old Testament. The Hebrew word יהוה has its root from הוה which means “to be” or “to breathe” (Jones 1990:185). The name derived from the phrase words in Exodus 3:14 אֶהְיֶה אֲשֶׁר אֶהְיֶה which literally means “I will be who I will be.” The name Yahweh “signifies God as Eternal and immutable who will never be other than the same, containing all times future, present, and past” (Jones 1990:185). This name is so sacred to the Jews that it will never be pronounced during public reading, but instead, it is substituted with Adonai.
In ancient Israel, it is believed that the nature of a thing is in its name and “the knowledge of a name does not only mediate a direct relationship with the nature, but also an expression of individual character of its owner to the extent that it can stand for the owner” (Eichrodt 1967:40). In fact, it can be used interchangeably with the person. The divine name is used as a guarantee of the divine presence and God’s name is an interchangeable term for his presence. It was believed that God as manifested in his name was “permanently present at a holy place” (Eichrodt 1967: 41). It means that a desecration of a holy place where God is amounts to a desecration of his holy name. It is believed that the transcendent God has revealed himself in his name so that the reality of human fellowship with him is assured (Eichrodt 1967:41). The name of Yahweh became the medium of his operation (Ps 54:3; 89:25; 44:6; 118:10-12). It means that the use of his name becomes a substitute for the manifestation of Yahweh. To sum it up, the name of Yahweh includes his nature and all his attributes and power.
In ancient Israel naming animals and human beings are important. For example, the naming of animals by Adam may mean the assertion of sovereignty over them (Gen. 2.19). Human names can reflect their nature and character. A man may transmit something of his nature to someone through his name. An example of this is when an overlord giving a new name to vassals, masters giving a new name to disciples for a new pattern of life to the recipients (Eichrodt 1967:40). It is also believed that when one knows the name of an individual he can transfer some special divine favour and blessing to that person.
It seems to me that this is what Psalm 100 is out to declare in praise and thanksgiving and that is the reason why the name Yahweh and all the pronouns are utilized so many times in such a short psalm like this. As already said above, this is the reason why humankind must praise and worship him-for “to praise God is to live and to live is to praise God” (McCann 1993:70).
There are two confessional statements in Psalm 100. The first confession occurs in vs. 3b: He made us, and we are his people and the sheep of his pasture. The metaphor of the Lord as a shepherd represents Israel intimacy and communal relationship with Yahweh. Psalm 23 uses this metaphor perfectly when the author sees God as the perfect shepherd who provides, protects and heals. The second confession occurs in vs. 5 “For the Lord is good, his חַסְדּוֹ endures forever, and his ֹfaithfulness to each generation (deClaisse-Walford, Jacobson and Tanner 2014:734-740). This is the emphasis on ancient Israel’s creed that summarizes the heart of Israel’s faith. This is certainly the emphasis on God’s fidelity and the character that is always consistent. The proclamation of his trustworthiness and faithfulness has to do with what Westermann calls re-presentation of history to affirm God’s act of deliverance in the entire history of ancient Israel, particularly during the exodus from Egypt and the exile (1965:214-249). This re-presentation of history does not emphasize the fact of history but the saving events in his majesty, faithfulness, and grace in the past, which can be repeated in the present and the future (Westermann 1965:214-249). It was not for the sake of re-presenting a past historical event for the sake of dwelling on them, but for the purpose of re-presenting the One who is active as the Lord of history (Westermann 1965:214-249). That is what this Psalm 100 and others psalms, (especially the historical psalms) that mention the Exodus experience do.
Africentric Interpretation of Psalm 100
Africentric approach is the interpretation that makes Africa the centre of its interpretation. It is the rereading of the ancient biblical texts from the premeditatedly African culture and world-view.
The Africentric reading of Psalm 100 discussed below does not claim to be the only relevant interpretation and therefore the Eurocentric one should be abandoned. Both can be complementary. I believe that John Mbiti’s opinion that the “Bible in Africa is closely and carefully related to an African way of living and African values” is true. (Mbiti 1998:141; Mashabela 2017:3). It is therefore important for African scholars to read the Bible from an African perspective.
The brief discussion of the importance of singing, chanting, dancing in African cultural and religious tradition will help readers to appreciate why Psalm 100 is a favourite psalm in most African indigenous churches, particularly, Nigerian Churches. In Africa, especially among the Yoruba people of Nigeria, music, singing, clapping of hands, and drumming play a very important role in the society. They are means of interacting, celebrating, and relaying important events. It is also a means of communicating important messages. There is scarcely any important event without dancing, singing, clapping of hands, chanting and another aspect of music such as beating drums. Singing usually accompanies marriage, birth, naming ceremonies, a rite of passage, hunting, farming, drinking, and also political activities. In Africa, singing, dancing, and chanting, wards off an evil spirit. Such actions are evidence of respect for good spirits especially the dead and the ancestors In Africa, singing, dancing, and chanting can be used to express deep emotion, whether good or bad. It expresses the mood of the people and their emotion. Dancing with singing, clapping, and chanting is an integral part of African culture. There can scarcely be any important event without music, dancing, singing or chanting. This was perfectly described below:
In Yoruba culture, songs and dance have so much importance to religious worship and spirituality. All Orisas holds particular importance in dance and songs. Worship in African Traditional Religion takes the form of rites and ceremonies and include prostrating, praying, invoking, and making offerings. Sounding the bell or gong, singing, drumming, and dancing as occasion demands are important. Song and dance come up under liturgy. Liturgy, therefore, is an important element of worship in African Traditional Religion.
In Orisa worship, the presence of dance as a way of re-enacting spirituality and songs as a way of reverence to the power of Olodumare and Orisas are essential to the worship of Orisas. Each Orisa is identified with drum ensemble, songs and dance styles. Also, every Orisa has unique dance movement that reflects its attributes as we have different drums for each Orisa. That is, the musical instruments used for each Orisa is different. The musical instrument for Sango and Yemoja is bata, Ifa is for Agogo and other Orisas is Dundun (http://www.theyoruba.com/2016/05/a-young-iyalorisa-tells-us-the-role-of-dance-and-song-in-yoruba-spirituality/ ).
The importance of songs and dancing is further expressed below:
Songs enhance emotional and physical participation in the act of worship and often lead to ecstatic experiences. During worship when the singing and dancing penetrate wholly into every being of the worshipper, spirit possession may follow and the possessed devotee may give a message from the divinity (as a vehicle of communication btw us and orisa) lighter songs may occur during the ritual. Also, certain songs dedicated to the divinities are sung in their honour as occasion demands. These songs are rendered to show the qualities and nature of the particular divinity. The characteristics of the divinity are also revealed through songs rendered during worship. The officiating priests never forget the order in which they should be sung (http://www.theyoruba.com/2016/05/a-young-iyalorisa-tells-us-the-role-of-dance-and-song-in-yoruba-spirituality/).
Thanksgiving is also an integral part of African culture especially, among the Yoruba people of Nigeria. If one does anything for a Yoruba person when he sees you he/she will bow down/prostrate for that person in thanksgiving even on the road. Even the second and third day he will express profoundly in thanksgiving with the word, E seun ana- thank you for yesterday. Still for many days and months, a Yoruba man will still say E se ojo- thanks for that day. The basic belief among the Yoruba people is that if you give thanks for the thing done, it will motivate the person to do more another time. It is also a sound belief that if one cannot thank a person whom one can see face to face, one cannot truly give thanks to God whom you cannot see. African indigenous people believe that thanksgiving with songs, chanting, dancing and clapping of hands can also bring healing, protection and success.
A description of a typical African worship service that I witnessed and participated in will serve to illustrate how Psalm 100 reflects a typical Yoruba indigenous worship.
On Sunday, 24/9/2017 I worshipped in my regular church, Maranatha Baptist Church, Anyigba, Nigeria. We gathered in the pastor’s office for the preliminary prayer session for the worship of that day. The pastor suddenly announced, “Today I do not know how long worship service will be. We shall have praise worship for 1 hour before the preaching.” What is called “praise worship” is “the singing choruses led by one of the choir members.” Truly we sang, danced, more than 1 hour with drums, including Yoruba talking drum, piano, and other musical instruments. We were there more than 3 hours, but the pastor only preached for fifteen minutes. Some of the following songs were sung during the praise worship. There are five songs that were sung by the congregation:
1. I just want to say thank you Lord
2. A mope wa a mu iyin wa, ope, ope (Transl. We bring gratefulness and praise, thanksgiving, thanksgiving).
3. Atewo ni a fi a mo bi o ba more (It is clapping of hands that will show that you are thankfull).
4. Jehoah Jehovah, Jehovah.
5. Jehovah na God (Nigerian pigjin English) meaning Jehovah is God.
6. Kabi o kosi (No one can question you).
7. Mi o se nijo, ore ti Oluwa se fun mi (How will I not dance for what the Lord has done for me?).
8. Yahweh,You are Glorious.
9. Alaaye ni yio maa yin o, oku ko le yin o (Only those who are alive can praise you, the dead cannot praise you).
My evaluation of the above praise worship reflects Psalm 100 and obedience to its command. During the period of this praise worship, people clapped hands, danced and chanted songs until they were tired or worn out. Some will jump up. Others will jump to the front of the congregation and shout and dance. Two people will face each other with dance like a dance competition. Others will prostrate in front of the pulpit. This is as a result of African tradition of dancing, singing before the divinities.
aste