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This book issues a provocative challenge to the notion, prevalent in Christian circles, that people (or their “souls”) go to heaven when they die. Though deeply entrenched in Christian and Western culture, there is little or no biblical warrant for such a belief. John Davies presents a biblical theology of heaven, informed by mainstream biblical scholarship, and in the process sweeps away popular misconceptions. Be prepared to have your understanding of such cherished passages as John 14:2 (“In my Father’s house . . .”) challenged. But as well, this book seeks to show the more glorious dimensions of the Christian hope, our renewal as whole persons in the context of a cosmic restoration, the outcome of the victory of Jesus. Though much of the language of the Bible regarding our eternal destiny is in the form of imagery, we should continue to use such imagery, understanding it against its cultural background, rather than construct our own more impoverished mythology based more on dubious logic and sentiment.
My First Spirituals offers 12 delightful songs featuring 14 traditional spirituals with actions and activities for young children, ages 3-8. Here are some of the most beloved spirituals of all time, arranged for unison voices with keyboard and/or guitar accompaniment. Great for children's choir, Sunday school, Christian school, vacation Bible school or summer camp! Your children will love singing them both as informal fun songs" and in worship or chapel throughout the year! Reproducible lyric/coloring sheets included."
A lavish presentation of 208 folksongs collected throughout Alabama in the 1940s Alabama is a state rich in folksong tradition, from old English ballads sung along the Tennessee River to children’s game songs played in Mobile, from the rhythmic work songs of the railroad gandy dancers of Gadsden to the spirituals of the Black Belt. The musical heritage of blacks and whites, rich and poor, hill folk and cotton farmers, these songs endure as a living part of the state’s varied past. In the mid 1940s Byron Arnold, an eager young music professor from The University of Alabama, set out to find and record as many of these songs as he could and was rewarded by unstinting cooperation from many informants. Mrs. Julia Greer Marechal of Mobile, for example, was 90 years old, blind, and a semi-invalid, but she sang for Arnold for three hours, allowing the recording of 33 songs and exhausting Arnold and his technician. Helped by such living repositories as Mrs. Marechal, the Arnold collection grew to well over 500 songs, augmented by field notes and remarkable biographical information on the singers. An Alabama Songbook is the result of Arnold’s efforts and those of his informants across the state and has been shaped by Robert W. Halli Jr. into a narrative enriched by more than 200 significant songs-lullabies, Civil War anthems, African-American gospel and secular songs, fiddle tunes, temperance songs, love ballads, play-party rhymes, and work songs. In the tradition of Alan Lomax’s The Folk Songs of North America and Vance Randolph’s Ozark Folksongs, this volume will appeal to general audiences, folklorists, ethnomusicologists, preservationists, traditional musicians, and historians.
The first of two volumes chronicling the history and role of music in the African American experience, Nothing but Love in God’s Water explores how songs and singers helped African Americans challenge and overcome slavery, subjugation, and suppression. From the spirituals of southern fields and the ringing chords of black gospel to the protest songs that changed the landscape of labor and the cadences sung before dogs and water cannons in Birmingham, sacred song has stood center stage in the African American drama. Myriad interviews, one-of-a-kind sources, and rare or lost recordings are used to examine this enormously persuasive facet of the movement. Nothing but Love in God’s Water explains the historical significance of song and helps us understand how music enabled the civil rights movement to challenge the most powerful nation on the planet.
Using examples from a Reggio-inspired school with children from ages 6 weeks to 6 years, the authors emphasize the importance of children's rights and our responsibility as adults to hear their voices. Seen and Heard summarizes research and theory pertaining to young children's rights in the United States, and offers strategies educators can use to ensure the inclusion of children's perspectives in everyday decisions. Real-life classroom vignettes illustrate how young children perceive the idea of rights through observation and discussion. The authors' work is based on these essential ideas: (1) the "one hundred languages" children use for exploring, discovering, constructing, representing, and conveying their ideas; (2) the pedagogy of listening, in which children and adults carefully attend to the world and to one another; (3) the notion that all children have the right to participate in the communities in which they reside.