Nigerian singer Seyi Shay recently shared a powerful statement, explaining her decision to stop attending a church due to its use of hymns written by slave owners. The post, has ignited discussions about the historical context of religious practices, cultural sensitivity, and the impact of colonial legacies on modern worship. Seyi Shay’s candid revelation challenges the norms of contemporary church practices and prompts a deeper reflection on the origins of widely used hymns.
In the post, Seyi Shay recounts a moment at her former church where a leader suggested replacing new-age gospel songs with hymns and scripture-based songs. She writes, “One leader like dat at my former church said something like ‘we need to stop singing all these new age gospel songs in praise and worship and go back to singing hymns and only songs that are direct scripture.’” Seyi Shay, however, rejected this idea, stating, “I stopped going to that church. PERIODT.” Her reasoning is rooted in the historical origins of many hymns: “I don’t know how or why you would feel blessed and happy by singing some of the songs that slave owners wrote and forced them to sing and pass down through generations while beating and torturing your ancestors… makes no sense.”
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She concludes with a powerful call to action: “Do your research! Ignorance is NOT Godly!!!” Seyi Shay’s stance highlights a critical intersection of faith, history, and cultural identity. Hymns, often seen as sacred in Christian worship, have complex origins. According to historical context from Carnegie Hall’s Timeline of African American Music, the gospel-hymn tradition emerged in the 1850s during the Protestant City-Revival Movement in America, with white songwriters like Fannie Crosby and Ira Sankey crafting songs for conversion and salvation.
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However, as Seyi Shay points out, some of these hymns were written during a time when slavery was prevalent, and enslaved Africans were often forced to adopt these songs as part of their coerced assimilation into Christianity. This historical reality raises questions about the ethics of continuing to use such hymns in modern worship, especially for descendants of those who endured slavery.
The cultural significance of Seyi Shay’s critique is further underscored by the evolution of African American hymns and spirituals. African Americans developed their own musical traditions post-slavery, blending European hymn structures with African rhythms and themes of resilience. Songs like “We Will Understand It Better By and By” became staples in both Black and white congregations, but the origins of many hymns remain tied to a painful past.
Seyi Shay’s suggestion to create new praise and worship songs based on scripture reflects a desire to reclaim agency in worship, free from the shadows of colonial oppression. The reactions to Seyi Shay’s post, as seen in the replies, are mixed. @Kelvin_kertz challenges her logic, arguing, “You accept the Bible and draw a line with the Hymns that were both introduced to us by the same ‘slave masters’,” suggesting that her selective rejection might be inconsistent. Others, like @BeeOnGrid, support her decision, stating, “Good for her tbh,” while @BrosBman_ dismisses the issue as “her business.”
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These varied responses reflect the broader debate about how to address colonial legacies in religious practices—whether to reject them outright, as Seyi Shay has, or to reconcile with them as part of a complex history. Seyi Shay’s background as an artist adds depth to her perspective. Known for her 2015 hit “Church,” which includes lyrics like “When I take them to the church, I’m gonna loose and bind them,” Seyi has often infused her music with themes of spirituality and empowerment. Her decision to step away from a church that didn’t align with her values mirrors the independence she exhibits in her career, where she has consistently advocated for authenticity and cultural pride.
