White Christians saw god as more of a spiritual savior, the reflection of God for blacks came in the struggle for freedom by blacks. Although the term black liberation theology is a fairly new, becoming popular in the early 1960’s with Black Theology and Black Power, a book written by James H. Cone, its ideas are pretty old, which can be clearly seen in spirituals sang by Africans during the time of slavery nearly 400 years ago.# It was through these hymns that black liberation spawned. Although Cone is given credit for “the discovery of black liberation theology,” it’s beliefs can quite clearly be seen in the efforts of men like preacher Nat Turner and his rebellion of slavery in mid 1800’s or Marcus Garvey, one of the first men to “see god through black spectacles” in the early 1900’s. More recently black theology emerged as a formal discipline. Beginning with the "black power" movement in 1966, black clergy in many major denominations began to reassess the relationship of the Christian church to the black community.
Throughout the first part of this semester, our class has discussed slave religion a few times. Different claims from certain people and the class discussions have opened up a deeper understanding of slave religion for me. From African-American slaves to the black race now, I believe that black people have come a long way in recognizing their identity. African-American theologians and religious historians like James Cone and Gayraud Wilmore and scholars like Albert Raboteau have located within slave religion of the importance in maintaining culture for African-Americans. Cone and Wilmore proposed ideas of Black Theology.
His career as a speaker started in 1841 and in 1845 he published the Narrative. Although, those are some of the basic facts about his life but they do little to describe the man that he was, and what his first work says about himself and what he believed. The Narrative was written after he had spent a few years as a speaker going around telling his life?s story to abolitionist and therefore was in part rehearsed and also meant to be used as propaganda in the fight for equality. The book also serves as a historical source because it documents his voyage though slavery and the movement to end it. It is important when reading his autobiography to keep both views in mind.
Gospel Music Gospel music began in the cotton fields of the old south. It originates from slaves singing songs of freedom about Jesus and has integrated into today’s music. Gospel music is a standard version of sanctified music that has encouraged Christian beliefs and stimulated the practice of Christian ethical principles, both inside the context of worship services and as music entertainment. Gospel music began with Thomas A. Dorsey, the Father of Gospel Music. Gospel, mean "good news," it was given the name because of the books of the Old Testament with the gospels.1 Gospel music is mostly American music reflected by significant songs.
James H. Cone, founder of black-liberation theology, is a the Charles A. Briggs Distinguished Professor of Systematic Theology at Union Theological Seminary, New York. The definition of Black theology is the theology of black liberation. James Cone is the founder of this theology. It originated on July 31, 1966 when fifty-one black pastors demanded an aggressive approach to eradicating racism. Black liberation theology’s goal is to ask for freedom and justice; no more and no less.
It was soon realized that this was because according to them their God allowed segregation. The Whites even went on to say that biblical figures had slaves. Many, such as Nat Turner, Marcus Garvey, who is regarded as “the apostle of Black Theology” in the United States, Howard Thurman, and Martin Luther King all contributed to the cause of Black liberation and theology throughout black history. Due to these men Black Theology emerged as a formal discipline. Many black clergy were apart of the “Black Power” movement in 1966.
This book attracted a great deal of attention due to its defense of the black power movement from a Christian point of view. He has since written many theological works including Risks of Faith, where he provides vital insights into American realities and the possibilities for American theology. Cone has been the Charles A. Briggs Distinguished Professor of Systematic Theology at Union Theological Seminar in New York City since 1977. Cone’s The Spirituals and the Blues is split into two distinctive section... ... middle of paper ... ...t and also talks about how blues could be classified as "a secular spiritual". His points can still be easily understood by the reader, but I feel that he nontheless contradicts himself while making these statements.
The Rise to Respectability: Race, Religion, and the Church of God in Christ, by Calvin White, Jr. Fayetteville: The University of Arkansas Press, 2012. 239 Pages. The Rise to Respectability demonstrates great knowledge about the African American religious life during the late nineteenth century in the south, specifically Mississippi, Tennessee, and Arkansas, to the early twentieth century. Calvin White documents the advancement of the Holiness movement by providing information about the origin and how it all came to be by the hands of Charles Mason and other leaders. White begins by providing a brief history of the early life of Manson and his family.
By following and analyzing some of the key moments of faith in his life, this paper seeks to expose the extent to which the series of controversial dialectical incidents that happen throughout his early life, i.e., his cultural African religious traditions (thesis), and Christianity as taught by his slave masters (antithesis), had a direct influence in developing his own understanding of religion (synthesis). Furthermore, this paper will demonstrate Olaudah Equiano's decision was based on the impact of both the influences of culture and slavery, and a personal experience based on his perspective of divine intervention. To begin, most Africans have come from societies with traditional African religious backgrounds unrelated to Islam or Christianity. As a whole, African religious traditions combine belief in a Supreme Being with the worship of other gods and ancestors and use ritual and magic to mediate between human beings, nature, and the gods. In many African languages, there is no word for God, because in their tradition every thing and place embodies God.
The origins of African American religious music are directly linked to the Negro spirituals of enslaved Africans. One cannot research religious music of blacks in this country without first exploring these spirituals. The spirituals were part of a religious expression that enslaved people used to transcend the narrow limits and dehumanizing effects of slavery. It was through the performance of the spirituals that the individual and the community experienced their God, a God who affirmed their humanity in ways whites did not and a God who could set them free both spiritually and physically. These “sacred songs” were also used as secret communication.