'Wonderful' JUSTIN WELBY Tarry here and watch with me . . . (Matt 26.38, KJV) Tarrying is a Black Christian spiritual practice in which believers actively wait to experience the manifestation of God's presence. It answers yes to the question Jesus once asked his disciples: will you tarry here and watch with me? Whether in the vibrancy of music and singing, or in the hushed silence of the congregation, people of all ages anticipate an encounter with God that will transform what they know, feel and experience day to day. This book makes the wisdom of Black spiritualities and faith available for all people. It focuses on seven themes: darkness as a place of encounter with the divine; the unity of all things; movement, belonging and migration; the Spirit as one who moves in unexpected ways; quiet contemplation as essential to spiritual growth; healing in community; and weeping that turns to joy. Tarry Awhile centres the stories of often overlooked people and communities, offering wisdom for all people who hope to encounter God in the midst of wearying times. It provides fresh reflections on familiar biblical passages, and draws on personal stories, theology and the spiritual wisdom of ancestors who have gone before us.
"The introduction to this edition by Cornel West was originally published in Dwight N. Hopkins, ed., Black Faith and Public Talk: Critical Essays on James H. Cone's Black Theology & Black Power (Maryknoll, NY: Orbis Books, 1999; reprinted 2007 by Baylor University Press)."
A landmark in the conversation about race and religion in America. "They put him to death by hanging him on a tree." Acts 10:39 The cross and the lynching tree are the two most emotionally charged symbols in the history of the African American community. In this powerful new work, theologian James H. Cone explores these symbols and their interconnection in the history and souls of black folk. Both the cross and the lynching tree represent the worst in human beings and at the same time a thirst for life that refuses to let the worst determine our final meaning. While the lynching tree symbolized white power and "black death," the cross symbolizes divine power and "black life" God overcoming the power of sin and death. For African Americans, the image of Jesus, hung on a tree to die, powerfully grounded their faith that God was with them, even in the suffering of the lynching era. In a work that spans social history, theology, and cultural studies, Cone explores the message of the spirituals and the power of the blues; the passion and of Emmet Till and the engaged vision of Martin Luther King, Jr.; he invokes the spirits of Billie Holliday and Langston Hughes, Fannie Lou Hamer and Ida B. Well, and the witness of black artists, writers, preachers, and fighters for justice. And he remembers the victims, especially the 5,000 who perished during the lynching period. Through their witness he contemplates the greatest challenge of any Christian theology to explain how life can be made meaningful in the face of death and injustice.
Chip Deffaa profiles Ruth Brown, the most popular female black singer of the early 1950s; LaVern Baker, who succeeded Brown; Little Jimmy Scott, who Madonna calls the only singer who ever really made her cry; Charles Brown, master of the "club blues" style he popularized; Floyd Dixon, a more rambunctious fellow traveler; and Jimmy Witherspoon, whose blend of earthiness and urbanity helped earn him as big an r&b hit as was ever recorded.
In this award-winning text, theologian Sallie McFague challenges Christians' usual speech about God as a kind of monarch. She probes instead three other possible metaphors for God as mother, lover, and friend.
Here is a skillful tracing of two tracks in the evolution of musical genres that have evolved from black religion. Songs of protest developed from the spiritual through social-gospel hymnody to culminate in songs of the civil-rights movement and the blues. Born in rebellion, they envision the Kingdom of God.Songs of praise, by contrast, express adoration. Beginning with the "ring-shout," Spencer follows the history of intoned declamation through the tongue song, Holiness-Pentecostal music, and the chanted sermon of the black preacher. Spencer's approach, termed theomusicology, unlocks the wealth of African-American sacred music with a theological key. The result is a fascinating account of a people's struggle with God in history.
Your God is too small--way too small! What if God is not a human-like personal being but the God Beyond God of the Christian mystical traditions? What if God is the ultimate reality beyond all beings, including beyond all divine beings, indeed beyond all Being? It's a mind-bending idea. Speaking of God as a human-like personal being is much easier but people who care about the deepest mystical understandings of God within our traditions need to make the effort to speak about the God Beyond God, despite the difficulties. This book makes the attempt to speak of the God Beyond God in the language of the sermon, using metaphor and potent imagery tuned to the existential intensities of human life. The God Beyond God is closer to us than our jugular veins, vividly present in every moment of our lives. These sermons are practical and moving, and they also resonate with the most rigorous theological understandings of ultimate reality. Their deconstruction of our convenient fantasies about a divine being make these sermons emotionally intense and perhaps not suitable for beginners in the journey of faith. But veteran believers can breathe deeply in the air of these meditations, relaxing into the bliss of engaging ultimate reality without delusions, without deflections, and without controlling the object of our worship.