What is black preaching called?

en.wikipedia.org - Black sermonic tradition - Wikipedia

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The Black sermonic tradition, or Black preaching tradition, is an approach to sermon (or homily) construction and delivery practiced primarily among African Americans in the Black Church. The tradition seeks to preach messages that appeal to both the intellect and the emotive dimensions of humanity. The tradition finds its roots in the painful experiences of blacks during slavery in the United States, as well as experiences during the Jim Crow era and subsequent discrimination.

Aspects [ edit ]

Scholars and practitioners have widely recognized four elements of the tradition, which widely continue to the modern day. Firstly, the preaching emphasizes the preacher's freedom to be his or her authentic black self and not have to front a false persona to appease certain expectations of members of the dominant society. Secondly, the preaching is characterized by a variety of rhetorical embellishments including often jarring hyperbole, corresponding body language, and musicality in vocalizations. Thirdly, it is often marked by challenges to dominant societal structures and emphasizes how individuals may be transformed by having a relationship with God. Finally, there is a recognition of historical continuity with ancestors and their struggles. Some African American poetry and other literature is organized by the pattern of the sermonic tradition.

Whooping [ edit ]

Raboteau describes a common style of black preaching called "whooping", which first developed in the early 19th century, and became common throughout the 20th and into the 21st centuries: The preacher begins calmly, speaking in conversational, if oratorical and occasionally grandiloquent, prose; he then gradually begins to speak more rapidly, excitedly, and to chant his words and time to a regular beat; finally, he reaches an emotional peak in which the chanted speech becomes tonal and merges with the singing, clapping, and shouting of the congregation.[1] This aspect of Black preaching often utilizes what is called "preaching chords", bombastic interpolations played on an organ and juxtaposed with the preacher's emphatic lines.

References [ edit ]

^ Albert Raboteau, A Fire in the Bones, Reflections on African-American Religious History (1995), pp. 143–44

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Who was known as the father of gospel?

Thomas A. Dorsey Thomas A. Dorsey, who was widely known as the father of gospel music, died on Saturday at his home in Chicago. He was 93 years old.

nytimes.com - Thomas A. Dorsey Is Dead at 93; Known as Father of Gospel Music

Thomas A. Dorsey, who was widely known as the father of gospel music, died on Saturday at his home in Chicago. He was 93 years old.

He had been suffering from Alzheimer's disease, said his daughter, Doris.

"Few composers dominate their genre so dramatically as Thomas Andrew Dorsey, father of the gospel song; the lion's share of the most popular gospel compositions are his," wrote Anthony Heilbut, an authority on gospel music, in reviewing a biography of Mr. Dorsey in The New York Times Book Review in August. Moments before the Rev. Dr. Martin Luther King Jr. was assassinated in 1968, he asked to have Mr. Dorsey's best-known gospel song, "Take My Hand, Precious Lord," performed, and in the following days, Mr. Heilbut wrote, "it nearly replaced 'Amazing Grace' as an anthem of black America." Using Elements of Blues By the time he was a teen-ager, Mr. Dorsey was a pianist and composer, then mainly of secular blues music. He came to combine elements of the blues with religious music in the many gospel songs he went on to write and compose, beginning in 1919, when he was 20. A notable early gospel song of his was "If You See My Savior" (1926). He later became an influential gospel choir director, at a Baptist church in Chicago.