How might the black church and womanist scholarship begin to re-imagine religious education in ways that attends more deliberately to the unique concerns and interests of younger black, Christian women? Throughout the history of the black church, despite being marginalized or silenced within their varied denominations, black women have been key components for providing the religious education within their churches. However, today, in many church communities, we are seeing a new, emerging trend whereby young, black, Christian women are opting out of traditional approaches to religious education. They view contemporary church education as insufficient to address their contrasting range of real-life difficulties and obstacles. Instead, these young women have been turning to the work of contemporary black female hip-hop artists as a resource for religious and theological reflection. Drawing from focus groups conducted with young black female seminarians and explored through the lens of womanist theory, I argue this trend is forming a new, legitimate type of religious education where the work of artists such as Beyoncé and Solange are framing an unrecognized womanist, spirituality of resistance for young black women. Both religious educators and womanist scholars need to pay attention to this overlooked, emerging trend. Respectively, I suggest religious education and womanist scholarship would benefit by considering new resources for religious, theological, and pedagogical reflection, one that is emerging out of young black women’s engagement with the art and music of specific black female artists within hip-hop.
Azealia Banks: ‘Chasing Time’, erotics, and body politics