Abstract
Prophet is an Afrikaans music group founded in the early 1980s by Koos van der Merwe and Theo Geyser, theology students from the AFM (Apostolic Faith Mission) at the time, performing their music from a Christian frame of reference. In the early years, they were often seen as controversial with many congregations opposing their performances. Over time, however, attitudes began to change, and they were regularly invited to perform at a variety of congregations. In 1993, their well-known song “Houtkruis” (“Wooden Cross”) was released, becoming popular amongst Christian audiences, and many cover versions by various artists have been recorded over the years.
This study comprises a theological evaluation of Prophet’s approach and contributions to the witness of the church through a qualitative descriptive analysis of a selection of songs released by the group between 1993 and 2021. An integrated theological approach is employed, combining insights from missiology, practical theology, and Old and New Testament studies. The analysis is confounded by the convergence of several disciplines: on the one hand, lyric writing and musical production – which cannot be pragmatically separated – and on the other, theology. Each of these components contains an inherent element of subjectivity in interpretation. This does not, however, invalidate (responsibly reached) conclusions, but rather forms a necessary part of making theological ideas and impressions of artistic works relevant to one’s own context.
The various musical contexts in which Prophet functions demonstrate how they sometimes overlap with mainstream genres. Their origins coincide with the heyday of CCM (Contemporary Christian Music), which emerged as the rock music soundtrack of the so-called Jesus revolution of the late 1960s and early 1970s, and helped to distinguish their music from what was at the time still regarded as acceptable church music. In certain respects, Prophet also seems to fit into the category of alternative Afrikaans music, while other songs reflect more traditional Afrikaans cultural influences. Considering their development in terms of lyrics and overall presentation, it becomes problematic to classify their music as purely Christian. The presence of religious themes in their lyrics merely suggests that they approach their music from a faith-based perspective.
The description and analysis of different themes in their music are, admittedly with a degree of subjectivity, arranged into four categories according to the lyrical content. Beginning with strictly church-related and biblical tropes, such examples can be found regularly in Prophet’s early releases, with themes such as the crucifixion and criticism of certain church traditions and practices featuring prominently. Songs released later in their career still feature these themes, although less frequently, and sometimes more subtly. Subsequent sections address universal human concerns – for example, the transience of human existence – which, while common in biblical literature, are at the same time a prevailing concern amongst all people. Prophet addresses these themes from various perspectives, ranging from faith-based (also sometimes quite subtle) to more general, non-religious viewpoints. The themes are: mortality and being human, interpersonal relationships, and social justice.
The theological consideration is divided into three sections. Firstly, an assessment of the humour and satire which occur throughout Prophet’s oeuvre, and their apparent ability to move fluidly between amusement and seriousness. Even though humour and satire are two distinct concepts, they are often mentioned together. Satire regularly – but not always – contains humorous elements and typically involves a (satirical) target combined with some form of moral judgement. Accordingly, some of Prophet’s songs are purely humorous, such as lyrics that comically describe biblical characters and narratives, often with some spiritual application; others are satirical, as can be found in their criticisms of hypocrisy and falsehood within faith communities. Many theologians have explored the presence of literary devices such as humour, irony, and satire in the Bible and faith contexts, and Prophet’s use of these techniques can be theologically justified. Nevertheless, humour and satire are rarely employed within the wider context of Christian artists’ overall presentations, and Prophet’s approach serves as a valuable model for effective communication of Christian messages.
Secondly, their creativity and originality contrast with much of contemporary Christian music, particularly in the context of contemporary worship music. Theologically, there is a compelling argument for greater variety within this genre. Prophet’s inclusion of themes related to interpersonal (horizontal) relationships balances the emphasis on people’s (vertical) relationship with God. In addition to the often higher poetic quality of their lyrics – when compared to some of the more mediocre offerings in Christian music – they also indirectly provide disapproving commentary on many of the mindless mainstream Afrikaans (love) songs. Furthermore, their occasional use of colloquial language opposes the archaic, religiously orientated and overtly sentimental lyrics sometimes found in Christian music. This article shows how Prophet has, over time, moved from a narrowly defined religious environment to a more comprehensive sphere –reflecting not only changing societal realities, but also a missional principle of inclusivity.
Lastly, Prophet claims that their name was chosen in jest, with no intention of conveying any deeper meaning. Nevertheless, several of their songs display prophetic themes in accordance with the contemporary understanding of the eighth century BCE Hebrew prophets’ social and political justice sermons and actions. On their last album, Prophet addresses the important issue of colonisation by “the empire”. Its relevance is highlighted by Jesus’s confrontation with the Roman Empire, which ultimately led to his crucifixion, but it is also applicable to the Christian community’s witness to current world powers. This is particularly important against a background of some local theologians’ views that prophetic criticism has largely fallen silent since the advent of a democratic South Africa. Prophetic witness remains a central part of the church’s witness, and one of Prophet’s songs, lamenting the impression that the prophets have become mute, deserves to be taken seriously.
Keywords: Afrikaans music; alternative music; Christian music; church; lyrics; Prophet; prophetic; satire
- This article’s featured image contains part of the album cover of Houtkruis by Prophet.