Search Results (6)

It was the late Bishop Ithiel Conrad Clemmons, former minister of the First Church of God in Christ of Brooklyn, New York, who said of the late famed novelist/essayist James Baldwin that “he was America’s inside eye on the Black Holiness and Pentecostal Churches”. Though Baldwin admitted that the culture and ethos of the African-American Pentecostal church were “highly significant and indelibly imprinted upon him”, according to Baldwin, his faith community’s “naiveté about life appalled him and drove him away”. While Baldwin left behind the church of his youth, never to return, for the remainder of his writing career, the “backslidden” minister’s literary musings continued to be informed (in both style and content) by the formative religious tradition that he left behind. Though several studies have been undertaken that examine Baldwin’s significance to various aspects of the study of African-American religion and culture, precious little has been written regarding Baldwin’s continuing engagement of the idiom of African-American preaching, the idiom which cultural critic Michael Eric Dyson has nominated as the “jewel in the crown of Black Sacred Rhetoric”. While many studies of Baldwin include the fact that Baldwin was a preacher’s son and that Baldwin himself preached for a time during his youth, the account is yet to be given of how Baldwin’s writings continued to employ the rhythms, grammar, tones, and textures of the Black sacred rhetorical tradition, especially from beyond the borders of the African-American church. This essay seeks to expose not only how Baldwin self-consciously continued to stand in the rhetorical trajectory of the African-American preaching tradition, but the attempt is also to reveal how the writer secularizes the idiom, providing the Black Holiness preacher a hearing from beyond the church. Through a focus on Baldwin as a Black sacred rhetorician, sermonizing from beyond the church, this essay participates in the nearly 100-year-old conversation instigated by the early African-American literary and cultural critic James Weldon Johnson in God’s Trombones: Seven Negro Sermons in Verse (1927), regarding the neglected significance of the sermon and the preacher in African-American literature and Black expressive cultures. Baldwin’s sermonic is here examined as a highly distinctive mode of Black public theologizing. Full article

This essay employs Dr Martin Luther King, Jr’s sermon, “The Three Dimensions of a Complete Life”, as an acute lens through which to assess and impart new meanings to African–American activists’ strivings to reach an ideal state of humanness and communal holism as they fulfilled their personal, political, and spiritual missions in the food realm during the 1960s Civil Rights era and the contemporary food justice movement. Narrative analyses of these Black activists’ personal testimonies convey that their discrete journeys to completeness—what Dr King called the ideal state of humanity in its fullness—were not only facilitated by a divine calling but were also conditioned by the enactment of their Christian faith, particularly in reconciling the affective tolls engendered by their participation in lunch-counter sit-ins and by their quests to help alleviate food insecurity among impoverish populations in the American South. Indeed, when these individuals consciously endeavored to master the three dimensions of a complete life—recognize their agency, honor the interconnectedness of humanity, and seek God’s guidance in doing both—were they able to embody their best selves and demand the realization of a truly democratic nation. Full article

This essay argues that the distinctive aesthetic practices of many African American Christian congregations, indexed by the phrase “the Black gospel tradition”, are shaped by a sacramentality of sound. I contend that the role music routinely plays in the experience of the holy uncovers sanctity in the sound itself, enabling it to function as a medium of interworldly exchange. As divine power takes an audible form, the faith that “comes by hearing” is confirmed by religious feeling—both individual and collective. This sacramentality of sound is buttressed by beliefs about the enduring efficacy of divine speech, convictions that motivate the intensive character of gospel’s songs, sermons, and shouts. The essay begins with a worship service from Chicago, Illinois’ Greater Harvest Missionary Baptist Church, an occasion in which the musical accompaniment for holy dancing brought sound’s sacramental function into particularly clear relief. In the essay’s second section, I turn to the live recording of Richard Smallwood’s “Hebrews 11”, a recording that accents the creative power of both divine speech and faithful utterances, showing how reverence for “the word of God” inspires the veneration of musical sound. In the article’s final move, I show how both of the aforementioned performances articulate a sacramental theology of sound—the conviction that sound’s invisible force brings spiritual power to bear on the material world. Full article

In The Souls of Black Folk, W.E.B. DuBois discusses the historical and cultural beginnings of the black preacher as “the most unique personality developed on American soil.” He writes, “[the black preacher] found his functions as the healer of the sick, the interpreter of the Unknown, the comforter of the sorrowing, the supernatural avenger of wrong…Thus as bard, physician, judge, and priest within the narrow limits allowed by the slave system rose the Negro preacher.” Far from being a monolith, the preacher figure embodies many complexities and variances on how the preached Word can be delivered. This begs the question, in what ways can we reimagine DuBois’s black preacher figure in his words, “the most unique personality developed on American soil,” as a black woman? What remains to be seen in scholarship of the mid-twentieth century is an articulation of the black woman preacher in African American literature. By reimagining and refiguring a response to DuBois’s assertion above, how is the role of the black woman preacher and impact of her sermons portrayed in African American literature? Using the art of the sermon, the intersection of music, and James Baldwin’s The Amen Corner as a central text, this article examines the black woman preacher in character and African American women’s spirituality in twentieth century literature. I argue that the way in which Margaret Alexander, as a black woman preacher in the text, creates sermonic spaces of healing and restoration (exegetically and eschatologically) for herself and others outside of the church becomes a new mode of social and cultural resistance. This article works to re-envision the black woman and reposition her in the center of religious discourse on our way to unearthing the modes of transfiguration black women preachers evoke in and out of the pulpit. Full article

Sermons come in a variety of forms. For Harriet Powers, an African American artist and former slave who lived from 1837–1910, sermons took the form of quilts. Unlike most quilts crafted during her lifetime, Powers’ quilts told biblical stories, recounted legends, and carried messages of divine judgement and hope. This article offers a brief account of her life, a description of her quilts, and a reflection on her spirituality. Rather than approaching her quilts solely as folk art, this essay places them in the African American preaching tradition. Full article

Music is so vital in the services of African American Baptist churches that there are few moments in the service when music—either congregational or choral singing, or instrumental music of some sort—is not being performed. Sustained as an auditory or imagined presence, music acts almost as a timbral membrane for the presence of the Holy Spirit throughout the service. The Holy Spirit is physically manifested (inspiration by the Holy Spirit) in the church membership, predominantly (if not exclusively) in a musical context. In order to ground the general in the particular, I will give detailed consideration to two musical instances or events from the Sunday morning service at Clear Creek Missionary Baptist Church on 4 November 2012, contextualising those within a broader context. Full article