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Notes
Rhondda Robinson Thomas, Claiming Exodus: A Cultural History of Afro-Atlantic Identity, 1774–1903 (Waco: Baylor University Press, 2013), 14–17, 38–40.
Kenyatta R. Gilbert, A Pursued Justice: Black Preaching from the Great Migration to Civil Rights (Waco: Baylor Press, 2016), 105–6.
Martin L. King, Jr., “I’ve Been to the Mountaintop,” in Preaching with Sacred Fire: An Anthology of African American Sermons, 1750 to the Present, ed. Martha Simmons and Frank A. Thomas (New York: Norton, 2010), 516–17.
Epistrophe or epiphora is characterized by repetition of a sequence of words at the end of a clause.
King, Jr., “I’ve Been to the Mountaintop,” 518, 520.
Raquel A. St. Clair, “Preaching from the Overflow,” in More Power in the Pulpit: How America’s Most Effective Black Preachers Prepare their Sermons, ed. Cleophus J. LaRue (Louisville: WJKP, 2009), 116.
Ibid.
Raquel A. St. Clair, “Hidden Hope” (sermon delivered at the Samuel DeWitt Proctor Conference at the Drake Hotel, Chicago, IL, 2012), quoted here courtesy of Raquel S. Lettsome Ministries. See also her Call and Consequences: A Womanist Reading of Mark’s Gospel (Minneapolis: Fortress Press, 2008).
P. J. Achtemeier, Harper’s Bible Dictionary (San Francisco: Harper & Row, 1985).
Michelle Alexander, The New Jim Crow: Mass Incarceration in the Age of Colorblindness (New York: The New Press, 2012). Alexander notes that most incarceration arrests are for misdemeanor offenses and further contends that the nation’s criminal justice system has never intended to reform the incarcerated; rather, the fundamental goal is capitalistic expansion of industry using tax dollars to obtain cheap labor.
Monica R. Miller, “‘The Promiscuous Gospel’: The Religious Complexity and Theological Multiplicity of Rap Music,” in Readings in African American Church Music and Worship, vol. 2, ed. James Abbington (Chicago: GIA Publications, Inc., 2014), 614–15. Religion scholar Miller maintains that “like the spirituals and the blues, [rap music] does not boast a monolithic religious preference,” and, therefore, will not conform to binary conventions like sacred–secular, religious–nonreligious for theological analyses.
Homiletician Luke Powery claims that although the Spirit of God mysteriously “blows where it wills,” the rhetoric of the Spirit manifests in sound and consists in five interconnected modes: lament, celebration, grace, unity, and fellowship. These attributes of God manifest themselves in community. In preaching, the wind or sonic erraticism of the Spirit “provide[s] the theological-hermeneutical lens for describing” more concretely its presence in the spoken Word. Luke A. Powery, Spirit Speech: Lament and Celebration in Preaching (Nashville: Abingdon Press, 2009), 91.
Che Smith, John Legend, and Lonnie Lynn, “Glory,” Universal Music Publishing Group, 2014. For lyrics see http://directlyrics.com/john-legend-glory-lyrics.html. For video see https://youtu.be/H9MKXR4gLjQ.
Luke A. Powery, Dem Dry Bones: Preaching, Death, and Hope (Minneapolis: Fortress Press, 2012), 23–24.
Linda Marion Hill, Social Rituals and the Verbal Art of Zora Neale Hurston (Washington, DC: Howard University, 1996), 9.
Lerone A. Martin, Preaching on Wax: The Phonograph and the Shaping of Modern African American Religion (New York: NYU Press, 2014), 6.
Additional information
Notes on contributors
Kenyatta R. Gilbert
Kenyatta R. Gilbert, associate professor of homiletics and founder of The Preaching Project (www.thepreachingproject.org), Howard University School of Divinity, Washington, DC., is the author most recently of “A Pursued Justice.”