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Black power movement introduction
Black power movement introduction
Religious influencers in the african american experience
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James H. Cone's The Spirituals and the Blues
The book, The Spirituals and the Blues, by James H. Cone, illustrates how the slave spirituals and the blues reflected the struggle for black survival under the harsh reality of slavery and segregation. The spirituals are historical songs which speak out about the rupture of black lives in a religious sense, telling us about people in a land of bondage, and what they did to stay united and somehow fight back. The blues are somewhat different from in the spirituals in that they depict the secular aspect of black life during times of oppression and the capacity to survive. James H. Cone’s portrayal of how the spirituals and the blues aided blacks through times of hardship and adversity has very few flaws and informs the reader greatly about the importance of music in the lives of African-Americans. The author aims to both examine the spirituals and blues as cultural expressions of black people and to reflect on both the theological and sociological implications of these songs.
James H. Cone was born on August 5, 1938 in Fordyce, Arkansas. He attended three small colleges, including a theological seminary, before receiving his Masters and Ph.D. from the prestigious Northwestern University. Cone is married and has two children. He has held membership to many prominent boards and organizations including the National Committee of Black Churchman (member of board of directors), American Academy of Religion, Congress of African Peoples, and Black Methodists for Church Renewal. His career includes being a professor of religion and theology at Philander Smith College, Adrian College, and Union Theological Seminary, where he now teaches. James H. Cone is now an American clergyman and author. Cone achieved his greatest acclaim in 1969 with the ground-breaking book, Black Theology and Black Power. This book attracted a great deal of attention due to its defense of the black power movement from a Christian point of view. He has since written many theological works including Risks of Faith, where he provides vital insights into American realities and the possibilities for American theology. Cone has been the Charles A. Briggs Distinguished Professor of Systematic Theology at Union Theological Seminar in New York City since 1977.
Cone’s The Spirituals and the Blues is split into two distinctive section...
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...t and also talks about how blues could be classified as "a secular spiritual". His points can still be easily understood by the reader, but I feel that he nontheless contradicts himself while making these statements.
Overall, I thought the book was very enlightening when it came to the point of revealing the central theme and foundation of these two distinct but also similar types of songs. The spirituals were built on a steadfast belief in God, while the blues ignored God and accepted the joys and sorrows of life. Although they were somewhat different, both partake of the same black experience in the United States. The spirituals and the blues both aided blacks through times of severe hardship and suffering. It was interesting to me to find out how even through oppression, blacks who were considered "believers" and those who were considered "non-believers" remained faithful to the fact that one day, they would beat their oppressors and situation. I liked the book most when it came to the point of identifying that the spirituals and the blues are not songs of despair or defeated people, but represent one of the greatest triumphs of a peoples in the history of the world.
For centuries, music has been defined by history, time, and place. To address this statement, Tom Zè, an influential songwriter during the Tropicália Movement, produced the revolutionary “Fabrication Defect” to challenge oppression as a result from the poor political and social conditions. On the other hand, David Ramsey discusses, in mixtape vignettes, the role of music to survive in New Orleans’ violent setting. Furthermore, “The Land where the Blues Began”, by Alan Lomax, is a film and perfect example to understand under what musical conditions profound ways of communication are made to stand the hard work of cotton plantations. As a result, music plays a crucial role in the sources’ cultures and its creation relies on particular conditions such as the social
James Baldwin’s short story, “Sonny’s Blues,” is the authors most studied and critically analyzed piece of literature. The majority of these analyses focus on the obvious themes of the book such as jazz music, the unnamed narrator, or the rift that divides Sonny and his brother. Little critique has ever gone into the biblical and religious themes that run throughout the story of “Sonny’s Blues.” Furthermore, it is even more astonishing that there is little critique given Baldwin has such a strong history with the world of Christianity.
In James Baldwin's "Sonny's Blues" a pair of brothers try to make sense of the urban decay that surrounds and fills them. This quest to puzzle out the truth of the shadows within their hearts and on the streets takes on a great importance. Baldwin meets his audience at a halfway mark: Sonny has already fallen into drug use, and is now trying to return to a clean life with his brother's aid. The narrator must first attempt to understand and make peace with his brother's drug use before he can extend his help and heart to him. Sonny and his brother both struggle for acceptance. Sonny wants desperately to explain himself while also trying to stay afloat and out of drugs. Baldwin amplifies these struggles with a continuous symbolic motif of light and darkness. Throughout "Sonny's Blues" there is a pervasive sense of darkness which represents the reality of life on the streets of Harlem. The darkness is sometimes good but usually sobering and sometimes fearful, just as reality may be scary. Light is not simply a stereotypical good, rather it is a complex consciousness, an awareness of the dark, and somehow, within that knowledge there lies hope. Baldwin's motif of light and darkness in "Sonny's Blues" is about the sometimes painful nature of reality and the power gained from seeing it.
Baldwin, James. "Sonny's Blues." Miller, Quentin and Julie Nash. Connections: Literature for Composition. Boston, New York: Houghton Mifflin Company, 2008. 984-1006.
African-American slaves may not have had the formal education that many of their white slave owners possessed, but they intuitively knew that the labor they toiled through each and every day was unjust. This dynamic of unfairness brought about a mindset in which slaves would critique the workings of slavery. To many people’s understanding, slavery was an invasively oppressive institution; Levine however, noted, “for all its horrors, slavery was never so complete a system of psychic assault that it prevented the slaves from carving out independent cultural forms” . Slave spirituals were a part of the independent cultural form that enslaved African-Americans produced; these songs had numerous functions and critiquing slavery served as one of
"God of the Oppressed" is brilliantly organized into ten chapters. These chapters serve as the building blocks to the true understanding of Cone’s Black Theology. This progressive movement begins with an introduction of both him and his viewpoint. He explains that his childhood in Bearden, Arkansas and his membership to Macedonia African Methodist Episcopal Church (A.M.E) has taught him about the black Church experience and the sociopolitical significance of white people. “My point is that one’s social and historical context decides not only the questions we address to God but also the mode of form of the answers given to the questions.” (14) The idea of “speaking the truth” is added at this point because to go any further the reader must understand the reason and goal for Black Theology. Through the two sources in that shape theology, experience and scripture, white theology concludes that the black situation is not a main point of focus. Cone explains the cause for this ignorance, “Theology is not a universal language; it is interested language and thus is always a reflection of the goals and aspirations of a particular people in a definite social setting.” (36) This implies that one’s social context shapes their theology and white’s do not know the life and history of blacks. As the reader completes the detailed analysis of society’s role in shaping experiences, Cone adds to the second source, scripture.
Before beginning to analyze both Motown and Stax Record’s influence on black consciousness it must first be understood why black consciousness itself can be seen as a step in the right direction in the fight against black struggle. Brian Ward does a great job of capturing the true success of soul music’s influence on black consciousness. Ward says, “[Black radio’s] real strength… was its ability to dramatize and celebrate shared aspects of the black experience… to promote a revived sense of black identity, pride, solidarity and common consciousness” (Ward 449). In his book, Ward also points out that despite this successful development of black consciousness, there was limited success both economically and structurally on behalf of the black music industry. This shows that even though ther...
All three of these symbolical details are woven together in "Sonny's Blues" to create a non-literal meaning directly beneath the words. The end result is an enriched message about urban struggles for expression, happiness, and chemical independance. Ultimately, Sonny's revival concludes the readers' literary tour of world in which he lives. What is begun with a presentation of hardships is finally concluded with Sonny's triumph, a chance at a better future.
The Souls of Black Folk by W.E.B Dubois is a influential work in African American literature and is an American classic. In this book Dubois proposes that "the problem of the Twentieth Century is the problem of the color-line." His concepts of life behind the veil of race and the resulting "double-consciousness, this sense of always looking at one's self through the eyes of others," have become touchstones for thinking about race in America. In addition to these lasting concepts, Souls offers an evaluation of the progress of the races and the possibilities for future progress as the nation entered the twentieth century.
A very important part of Stanley Crouch's life is his love for the blues. Many of his essays are related to or have aspects of the blues contained within them. Crouch relates topics that he writes about to the blues, because this is a subject he believes he is very familiar with. In The All American Skin Game, Stanley writes,
James H. Cone is the Charles A. Briggs Distinguished Professor of Systematic Theology at Union Theological Seminary in New York City. Dr. Cone probably is best known for his book, A Black Theology of Liberation, though he has authored several other books. Dr. Cone wrote that the lack of relevant and “risky” theology suggests that theologians are not able to free themselves from being oppressive structures of society and suggested an alternative. He believes it is evident that the main difficulty most whites have with Black Power and its compatible relationship to the Christian gospel stemmed from their own inability to translate non-traditional theology into the history of black people. The black man’s response to God’s act in Christ must be different from the whites because his life experiences are different, Dr. Cone believes. In the “black experience,” the author suggested that a powerful message of biblical theology is liberation from oppression.
... This would be no small feat since Christians had for generations practiced and defended not just slavery, but the hatred and demise of anything black or African. Cone's mission was to bring blackness and Christianity together.” # In 1969, Cone published Black Theology and Black Power. In this book, Cone brought attention to racism in theology and proposes a theology addressing black issues, this theology would provide liberation and empowerment of blacks and “create a new value structures so that our understanding of blackness will not depend upon European misconceptions.”
The story “Sonny’s Blues” By James Baldwin is about a jazz musician and his brother in 1950’s Harlem. The story centers on Sonny who uses jazz music as an escape from his depression. James Baldwin captures the art of jazz during this time period. The themes in this short story are perhaps varied, but all of them revolve around some form of suffering. One theme shows how music can promote change and understanding within relationships. A second theme reveals suffering caused by guilt. Yet another theme references the results of suffering brought about by searching for ones’ identity and how that leads to misunderstanding. There are also subthemes concerning racism and poverty.
James Cone is accredited as the most prolific and sophisticated writer of the new Black Theology. Black Theology was developed by early theologians because Black people needed something to believe in and give them help in times of need. The idea of Black Theology did just as it set out to do.... ... middle of paper ...
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.