“A Balm In Gilead”

The chapter grapples with the oft-cited interrelation of characteristically Black preaching and gospel music, using what has been called “the musicality of Black preaching” to understand the centrality of vamps to gospel singing. This cumulative turn toward musicality is more than just a homiletical strategy: rather, it functions as the formal logic, the organizing principle, for the network of belief, performance, and reception that we have come to know as the Gospel Imagination. Tuning up catalyzes movement between “material” and “spiritual” worlds, manifesting gospel’s belief that sound is a vehicle for interworldly exchange. The chapter begins with the live recorded performance of Richard Smallwood’s song “Healing” (1998), which shows how this piece stages its own transcendence, musically performing, within the context of song, what is performed in sermons by the shift from speech to song. After using discourses drawn from homiletics, ritual theory, and phenomenology to shape an understanding of tuning up, the chapter offers a fuller sense of this constitutive practice by attending to vignettes from four sermons, and four songs: Walter Hawkins’s “Marvelous,” Judith McAllister’s “High Praise,” Myrna Summers’s “Oh, How Precious,” and Glenn Burleigh’s “Order My Steps.”

John L. Thomas, Jr., Voices in the Wilderness: Why Black Preaching Still Matters

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Stylizing the preacher: Preaching, performance, and the comedy of Richard Pryor

This article illustrates the ‘moving parts’ involved in the stylization of the voice of the Black preacher in the comedic performances of Richard Pryor with the ultimate goal of uncovering what these linguistic features help the performer to accomplish in interaction. Overall, while Pryor often utilizes hyperbolic and exaggerated features of Black preaching traditions and potentially Southern-inflected speaking styles in his performances, I argue that he engages in a type of linguistic subterfuge, blending elements of his own voice into a more favorable depiction of a witty, street-wise preacher. In fact, stretches of working-class speech, whose features overlap considerably with Pryor's ‘stage voice’, may blur the line between Pryor's ‘own’ personal stance and that of the preacher that he is constructing. (Black preachers, performance, stylization, comedy, African American English)*

Black Preaching in Brown Places: Towards the Development of a Black Mestizo Homiletic

Many Black neighborhoods across the United States are becoming increasingly Latin@. Black churches in these neighborhoods will need to adjust their ministry practices in order to build community amongst this changing demographic. Borrowing Elizondo’s notion of mestizo as one who can operate as both insider and outsider in different cultural locations, this paper begins to reimagine Black preaching in the churches that serve these changing neighborhoods. Using the postcolonial themes of marginality, hybridity, and self-reflexivity, this paper proposes the beginnings of a Black Mestizo homiletic that looks to merge Black and Latin@ preaching traditions in order to form congregations representative of the community.

Uptake (un)limited: The mediatization of register shifting in US public discourse

We observe that mediatization (Agha 2011b) creates and maintains the conditions by which some messages and uptake formulations remain unavailable to larger audiences while others are continuously recycled and increasingly accessible. We argue that the maintenance of the unequal divisions of semiotic labor in ways that mirror socioeconomic inequalities at an increasingly global scale can be facilitated by mediatization as currently practiced. An analysis of the way that the uptake formulations of a mediatized fragment of a register-shifting event varied in its pre- and postmediatized contexts reveals how premediatized value projects can be systematically replaced during mediatization, limiting the availability of premediatized value projects for wider uptake. We observe that value projects attached to mediatized fragments work to maintain the hierarchy of perduring semiotic registers (Goebel 2010) in US public discourse in which Standard English repertoires continue to dominate all others. (Mediatization, Standard, semiotic register-shifting, black preaching style)

“Can the church say amen”: Strategic uses of black preaching style at the State of the Black Union

This study provides a qualitative examination of African American Language (AAL) in use and explores the interaction between phonological, syntactic, and rhetorical features of AAL and situational factors related to event structuring, speaker goals, and audience composition. Data for this research is derived from the speech of four prominent African Americans who spoke during the 2008 State of the Black Union. Analysis of their speech suggests that switches to black preaching style help speakers to redefine their relationship with audience members. Overall, shifts in style correspond to shifts in interactional framework, suggesting that black preaching style allows the speakers in this study to temporarily cloak themselves with the status and respect associated with black preachers, providing a favorable context for the reception of their message while allowing for the display of their ethnic affiliation with the black community. (African American Language, style, audience design, rights and obligations, black preaching)*

The Preachers’ Blues: Religious Race Records and Claims of Authority on Wax

As one of the first nonessential commodities marketed to African Americans, the race record industry provides historical insight into the cultural ethos and competing ethical values of black communities during the interwar period. Both ethnomusicologists and historians have discussed the ways race records articulate intraracial conflicts that were exacerbated by social factors such as migration and urbanization. But like all forms of mass culture, religious records served multiple purposes and were interpreted by listeners at varying registers. For many, religious recordings were spiritually edifying and liberating, just as they were wildly entertaining. And some may feel that these religious recordings contested the aesthetic values of the black middle class even as they reinforced prescriptive bourgeois behavioral codes. While the purpose of this essay is not to give voice to the listeners of religious race records, this essay does offer an initial attempt to illumine the broader cultural contexts in which these records, namely, recorded sermons, were both produced and consumed toward providing tenable interpretations of these recordings based on resonant religious beliefs and meanings of the historical moment. This essay is concerned with such questions as: What theological and political discourses were these preachers participating in on wax? What cultural symbols, explicit and implicit, did these preachers commonly reference? And what were the possible ideological implications of these cultural significations? Despite the many interpretive possibilities of recorded sermons and even the “folk” aesthetic that defines them, this essay suggests that the religious race record industry served as a productive force in encouraging systems of social control over raced, classed, and gendered bodies during the interwar era. And the industry’s decision to focus on theologically conservative sermons stressing personal piety cast a powerful ballot in the cultural debates concerning the style, content, and purpose of black preaching in the previous century.