This essay discusses the Asaphs of Seraph, a Yoruba Christian organization based in the United States whose primary activity consists of holding an annual convention for current and former members of Cherubim and Seraphim churches in Nigeria. I examine how the Asaphs of Seraph use musical performances and media to circulate Yoruba Christian forms of practice and subjectivity. Through an analytic focus on processes of mediation and circulation, I explore how the Asaphs of Seraph produce and maintain diasporic consciousness and community through the use of religious music.
Galia Sabar and Shlomit Kanari (Sabar2005, Sabar & Kanari 2006) discuss a related case in their articles about the role of musicians in Nigerian Christian immigrant communities in Israel. Their work examines how Nigerian migrants to Israel use music to articulate aspects of their identity and experience that often remain unspoken in everyday conversation.
See Brennan2007, 2010for more on the centrality of music to Cherubim and Seraphim worship practices.
This is described in Peel (1968) and Brennan (2007).