It is a simple melody. Most people hear those first few notes and immediately picture a campfire, a dusty church basement, or maybe a grainy black-and-white film. "I have decided to follow Jesus" is arguably one of the most recognizable folk hymns in the world. It’s been sung by millions, from tiny villages in India to massive stadiums in the United States. But here is the thing: the story we tell about where it came from is often a mix of legend, half-truths, and a bit of Western colonial imagination.
Honestly, the real history is way more complex.
Most people assume it’s just a "traditional Indian hymn." That’s the label you see in most hymnals. While that's technically true, it skips over the blood, the regional politics of North East India, and a Welsh missionary who happened to be in the right place at the right time. To understand why I have decided to follow became a global anthem, you have to go back to the mid-19th century in the Garo Hills of Assam.
The Martyrdom Myth vs. The Reality in Assam
If you’ve heard the "backstory" of this song in a sermon, it probably goes like this: a man and his family in a remote village were threatened with death by a local chief unless they renounced their new faith. As each family member was killed, the man sang a line of the song. It’s a powerful, gut-wrenching narrative. It makes for a great story.
But historical records are a bit more nuanced.
The song is deeply tied to the Garo people. Back in the 1800s, this region was incredibly isolated. Headhunting was a real part of the cultural fabric. When missionaries like the American Baptists and British Methodists arrived, the culture clash was seismic. Dr. Peramangalam Porinju Job, a prominent Indian evangelist, often cited the story of Nokseng, a Garo convert, as the man behind the lyrics. While the dramatic "execution-style" origin is hard to verify with clinical historical citations from the 1860s, the cultural cost of following a new path in that era was undeniably high. You weren't just changing your mind; you were often being exiled from your tribe.
Why the Melody Sticks in Your Brain
Ever wonder why you can’t get it out of your head? It’s basically built on a pentatonic scale. That’s a five-note scale. It’s the same foundation used in a ton of blues, rock, and traditional folk music across the globe.
Because it lacks those "half-steps" (the tense notes in a standard major scale), the melody feels inherently stable. It feels old. It feels like it has always existed. When the lyrics I have decided to follow Jesus were paired with this specific Indian folk tune—originally titled "Assam"—it created a cross-cultural bridge.
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The rhythm is a simple 4/4. No complex syncopation. No weird time signatures. It’s designed for a crowd of people who might not even speak the same language to stay in sync.
The Billy Graham Effect
The song might have stayed a regional Indian chorus if it weren't for a Canadian musician named George Beverly Shea.
In the mid-20th century, Shea was the featured soloist for the Billy Graham Crusades. He took this simple Indian melody, refined the arrangement, and began performing it in front of tens of thousands of people. This was the turning point. It moved from a missionary curiosity to a staple of global evangelicalism.
By the time the 1960s rolled around, it was everywhere. It was the "altar call" song. It was the song for baptisms. It became the sonic shorthand for a "turning point" in a person's life.
The Lyrics: More Radical Than They Sound
We focus on the first line, but the second and third verses are actually pretty intense if you think about the social context of 19th-century India.
- "Though none go with me, still I will follow."
- "The world behind me, the cross before me."
In a communal society—which the Garo Hills was and still largely is—the idea of "none go with me" is terrifying. It’s a declaration of individual autonomy in a world where your survival depended entirely on the group. Following a new way meant potentially losing your safety net, your family, and your identity.
When someone says I have decided to follow, they aren't just talking about a private spiritual feeling. Historically, they were talking about a social revolution.
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Misconceptions and Modern Usage
A lot of people think the song is "too simple." Critics in the world of high liturgy sometimes look down on it. They think it's repetitive.
But that's exactly why it works.
In ethnomusicology, there’s a concept called "functional music." This isn't music meant for a concert hall where you sit quietly and clap at the end. It's music meant to do something. It’s meant to move a body from one state to another. Whether it’s a protest march or a religious rite, the repetition acts as a mantra. It lowers the heart rate and focuses the mind.
Cultural Appropriation or Appreciation?
There is a fair debate to be had here. Does the Western version of the song strip away the "Assamese" identity?
Most Garo Christians today actually take a lot of pride in the song. It’s their greatest cultural export. They don't see it as "stolen." They see it as a gift. However, it’s worth noting that the version we sing in North America is heavily "Westernized" in its harmony. If you heard the original folk version in the hills of Meghalaya, it would sound much more nasal, much more rhythmic, and far less like a soft ballad.
The Psychology of "The Decision"
Why does the phrase "I have decided" resonate so much?
Psychologically, making a public declaration is a powerful "commitment device." According to Robert Cialdini, a famous psychologist who wrote Influence, once we take a stand or make a public choice, we feel intense pressure to behave consistently with that commitment.
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The song I have decided to follow acts as a verbal contract. By singing it out loud with a group, the singer is reinforcing their own identity. It’s not just a song; it’s a psychological anchor.
What You Can Learn from the History
You don't have to be religious to see the value in the "Assam" melody or its history. It teaches us a few things about how ideas spread.
- Simplicity is a superpower. If you want an idea to go viral, strip it down. Use five notes, not twelve.
- Context matters. The song means one thing in a comfortable suburban living room and something entirely different in a place where your choices might get you kicked out of your house.
- Collaboration is key. The song is a product of Indian folk music, Welsh arrangement, and American promotion. It's a messy, global hybrid.
Moving Forward With the Music
If you are a musician or a worship leader looking to use this song, try to acknowledge where it came from. Don't just list it as "Traditional." Mention the Garo people.
If you're just someone who likes the history of folk music, look up field recordings from North East India. You'll hear the raw, percussive roots of the melody that are often polished away in modern recordings.
The next time you hear those words—I have decided to follow—remember that it’s more than just a campfire song. It’s a piece of history that survived through oral tradition, crossed oceans, and somehow stayed relevant for over 150 years.
To truly appreciate it, stop looking at it as a relic of the past. View it as a living document of human conviction. Whether you agree with the sentiment or not, you have to respect the staying power of a simple tune from the hills of India.
Check out the works of Dr. Timothy Tennent or the archives of the American Baptist Historical Society if you want to dig into the primary source letters from missionaries in the 1860s. They paint a vivid, often difficult picture of the environment that birthed this anthem. Knowing the grit behind the grace makes the melody sound a whole lot deeper.
Stop listening to the "sanitized" versions. Go find the heartbeat of the song in its original context. It changes everything.