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This book presents an oral, musical, and photographic record of the venerable Gullah culture in modern times. With roots stretching back to their slave forbears, the Johns Islanders and their folk traditions are a vital link between black Americans and their African and Caribbean ancestors.
Becca Whitla uses liberationist, postcolonial, and decolonial methods to analyze hymns, congregational singing, and song-leading practices. By way of this analysis, Whitla shows how congregational singing can embody liberating liturgy and theology. Through a series of interwoven theoretical lenses and methodological tools—including coloniality, mimicry, epistemic disobedience, hybridity, border thinking, and ethnomusicology—the author examines and interrogates a range of factors in the musical sphere. From beloved Victorian hymns to infectious Latin American coritos; congregational singing to radical union choirs; Christian complicity in coloniality to Indigenous ways of knowing, the dynamic praxis-based stance of the book is rooted in the author’s lived experiences and commitments and engages with detailed examples from sacred music and both liturgical and practical theology. Drawing on what she calls a syncopated liberating praxis, the author affirms the intercultural promise of communities of faith as a locus theologicus and a place for the in-breaking of the Holy Spirit.
"Nearly five decades of on-the-job training have equipped O'Neal with the skills and charm of a master storyteller."—The Drama Review "A dramatic tale spinner with a canny sense of humor and a winning, engaging stage presence. . . . O'Neal's shows mix folksiness, a sophisticated sense of theatricality and astute observation that are a pleasure to watch."—The Philadelphia Inquirer Artist and activist John M. O'Neal is best known for his Junebug Jabbo Jones cycle of plays, a remarkable collection of tales and anecdotes drawn from African American oral literature, which he has performed all over the globe. Four of these plays are included in this volume, along with four of O'Neal's other works: large-scale ensemble productions, first performed by his ensemble company Junebug Productions, as well as in collaboration with A Travelling Jewish Theater (San Francisco, California), Roadside Theater (Kentucky), and Pregones Theater (Bronx, New York). John M. O'Neal co-founded the Free Southern Theater in 1963 as a cultural arm of the southern Civil Rights movement, as well as Junebug Productions, a professional African American arts organization in New Orleans. For FST, O'Neal worked as a field director for the Student Non-Violent Coordinating Committee and worked as national field program director with the Committee for Racial Justice. He has written eighteen plays, a musical comedy, poetry, and several essays, and has performed throughout the United States, Canada, France, and Scandinavia. He is the recipient of the Award of Merit from the Association of Performing Arts Presenters, the United States Artists Award, and a Ford Foundation Award.
Contemporaries of the Civil Rights Movement will find here memories and images revived and thoughtful perspectives on issues never fully addressed. For those who grew up after that pivotal time, the collection provides invaluable opportunity to experience the momentous struggles faced and battles won. Includes nearly 200 entries from over 80 contributors. 75 photos & illustrations.
Collaborative plays with diverse ensembles across the country address pressing issues of our times The plays in Volume 2 come from Roadside’s intercultural and issue-specific theater work, including long-term collaborations with the African American Junebug Productions in New Orleans and the Puerto Rican Pregones Theater in the South Bronx, as well as with residents on both sides of the walls of recently-built prisons. Roadside has spent 45 years searching for what art in a democracy might look like. The anthology raises questions such as, What are common principles and common barriers to achieving democracy across disciplines, and how can the disciplines unite in common democratic cause?
“Psalms of Bliss” is a journey, a walk through the lives of the author’s ancestors before him. The Author, Edwin A. Hill believes that by looking back, there is often revelation for life today. He states that “....the lives and life experiences of our ancestors have shaped much of who we are and who we can be, if we choose to understand the roads they have trodden”. He is saddened for our youth today, who have little knowledge of the beliefs held by their ancestors as role models. The book draws us to the author’s ancestors that trace back for over 100 years. Love from God offers access to a life in heaven as key to the “Bliss”, the joy shared generation to generation. Psalms of Bliss affirms the blessings waiting for all of our lives as we receive God’s gift of new life in our hearts. “New life” that many of our ancestors embraced. In stories, psalms and poems, he invites us into his heart to choose to join him in praises to God. Hill’s chapters and psalms are full of compassion, joy, faith, fears and even “Bliss” resulting from God’s blessings upon this family. Psalms of Bliss encourages us to rejoice with family and others from gracious hearts standing strong in the favor of God.
This text examines how African Americans have created distinctive forms of religious expression. Contributors explore the degree to which newly imported slaves preserved their African spiritual heritage whilst meshing it with Western symbols and theological claims.