The Passion is a musical practice staged in the Dutch public sphere and an example of how large, Christian musical forms in late-modern network societies moved from the church to the broader culture. Neither the classical discipline of hymnology nor the emerging discipline of Christian congregational music studies have developed theoretical concepts that serve to understand musical practices outside the ecclesial domain. The authors distinguish the emerging field of fluid ritual musical practices and reinvent the concept of sacro-soundscapes as a notion that contributes to the interpretation of these practices. They claim that, consequentially, the aforementioned disciplines are included in this field and therefore change, as well.

This article offers the case study of a contemporary mediatized Christian passion event that takes place annually in the public sphere in the Netherlands. Contributing to debates in various studies of religion regarding religious change in late modern societies, the authors propose the concept of ‘play’ that, although not a new concept to the study of religion or ritual, is well suited to investigate religious ritual in a liquid modern world that is characterized by, as scholars state, a global ludification of culture. Play helps to explain that and in what ways a mediatized event like The Passion in a digital media culture opens a ludic space for many people, where their hermeneutical faculty to deal with the sacred is activated. This can resolve the paradox that, in a still secularizing country like the Netherlands, a ritual on the suffering and death of Jesus Christ can be so popular.

In the Netherlands, traditional churches and religious institutions are losing ground, as is the case in the rest of western Europe. Religion changes and traditional religious forms migrate to other realms, sometimes to return to ecclesial contexts again. In this article, we present a research project on ritual-musical appropriations of psalms in contemporary Dutch culture. The concept of ritual-musical appropriations implies this is a social, and sometimes collective, process of meaning-making, which raises questions relating to formations of community, identity, and the power relations which structure and are structured by this very process.

This article analyses the public significance of The Passion—a televised retelling of the Passion of Jesus, featuring pop songs and celebrities in the Dutch public sphere. Using a multidisciplinary approach, the authors demonstrate how performances like The Passion offer spaces in which the Dutch can reflect publicly on important identity issues, such as the role of Christian heritage in a supposedly secular age. The article contributes to deeper knowledge of how Dutch late-modern society deals with its secular self-understanding.

This article discusses the role of biographical memory in three contemporary ritual-musical appropriations of the psalms in Dutch and Flemish contexts. We observe that, in performances of psalms, participants (intend to) either forget or recall different biographical memories. Nostalgic narratives of religious, cultural and individual change and continuity inform both the way that they interpret their experiences of these psalm performances, and their motivations for attempting to forget or recall particular memories related to the psalms. By using the notion of sacrality — that which is set apart, non-ordinary — we show that particular non-negotiable desires and non-ordinary experiences recur multiple times in these nostalgic narratives. Analysis of these desires and experiences leads us to conclude that contemplative experiences are desired by many, but experienced by only a few. We suggest the combination of Aleida Assmann’s theory of forgetting and remembering with the notions of nostalgia and sacrality as a way to successfully overcome the unproductive dichotomy between religious and cultural heritage.

This article aims to explore how the entanglement of Protestant Christianity and race and racism is manifested in contemporary Dutch society, and to identify which themes for introspection this yields for majority white Dutch Protestant churches. We argue that introspection on perceived superiority of white Dutch Protestantism is crucial to uncover subtle, unconscious mechanisms and ideas that are present in majority white Dutch Protestant churches and that contribute to maintaining racism. Furthermore, we argue that contemporary topical issues such as racism and colonial history run the risk of being pushed to the margins again as long as there is no systematic review of power and privilege of white Dutch Protestantism.