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But as she preached, she became more animated, her voice speeding up and slowing down to emphasize points…. Fifteen minutes into the sermon she abandoned the manuscript and began to walk—first out from behind the pulpit, then in front of the pulpit, then slowly down the center aisle….

Who will join the church today? Is there one? The description of Rev. She powerfully shifts from a quieter voice to build up to a more direct speech. There is the presence of rhythm, cadence, and intonation for emphasis. Her celebration culminates as she extends an invitation to discipleship. Barb demonstrates an awareness and participation in the strategies and structures of valid preaching practice within the community. In a follow-up interview with Mountford, Rev.

Barb acknowledges the tradition and, to some degree, embodies and practices it while also acknowledging her boundaries and the extent to which she will engage it. Barb is keenly aware of the tradition of Black preaching, and as we see in the excerpt above, she utilizes aspects of its practice in her own preaching.

At the same time, she is styling the tradition in ways that make use of the power inherent within this tradition of preaching in very different ways creative tactics. Barb is using the traditional practice and expectation of Black preaching for her own purposes. In other words, Rev.

Black Preaching

Barb utilizes her creative wit and know-how in and for preaching as she establishes herself as preacher and pastor within a community that is resistant to her presence. Her use of preaching creates room for her body in the practice of preaching. They make preaching their own as they retain its identifiable parts while creatively, artistically, strategically or by happenstance showing forth the malleability of these parts. Yet, others are still able to receive these inventions as preaching. Black women, who preach as bodies of difference, simultaneously stand in a place of difference and make anew something old in a way that it can be received across difference.

In this regard, preaching both disrupts communal expectations and is generative as it makes room for different bodies to mark valid practice.

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The structures frameworks of expectation themselves belie their ability to remain fixed and non-moveable. Their inability to remain fixed and non-movable pushes preaching as a practice, the preacher, and the community onward and into the purpose of preaching itself. Preaching is the means by which preaching fulfills its own virtue. In writing about why constructs of practice matter for preaching, James Nieman describes a practice as being related to its own aims. A practice marked as valid, or considered to have met its aims, is connected to the purpose of the practice not separate from its purpose.

A specific practice never exists to repeat or perpetuate itself, even if performed with great skill or excellence. Meaningful practices push past any admiration of emulation to implement ends beyond themselves. Preaching operates within purposeful frameworks that are connected to the habits and character of the preacher, the marks of excellence of its practice, and its implicit aims. At its core, preaching is a theological and ethical practice. The pulpit is also a structure and sign that marks the authority of the one who has the ability to carry out the practice. Preaching and our expectations thereof are conditioned by rhetorical spaces and performances shrouded in gendered hierarchies.

To be sure these gendered hierarchies do not escape the intersections of heterosexism, racism, ableism, or classism that exist within homiletic discourse. And this primary concern is one that has theological and ethical implications related to the aims and purposes of preaching as a faith practice. One of the limitations in appropriating the constructs of habitus and tactics within homiletic discourse is the constraints they pose on immediate and long-term change.

Interpreting preaching as I have done up to this point does not afford us a complete re-writing of normative preaching narratives and expectations. It still renders some bodies different without transforming problematic paradigms.


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However, framing preaching in conversation with these theories of practice does preclude homiletic theory from discarding the preaching of practitioners who do not fit our normative understandings of preaching. Attending to Particular Preaching Practices To some extent, preaching as a historical practice shapes the structures of its practice and those structures postulate power.

After leading the congregation in song, The sermon was built on a series of stories designed to illustrate her point. Photo by Alicia Colon, Notes Here I am considering preaching as a particular type of genre. While he has a good memory and therefore is not tightly bound to the manuscript, 9 times out of 10 he takes it into the pulpit with him. Step 6 is to think about how he will end the sermon. Step 7 is to evaluate the sermon based on his evaluation method. This method includes asking himself questions like does the sermon flow correctly? Is there unity of thought?

Does it have purpose? Wright is both a believer in and not a believer in Black preaching. He notes that the white preachers that Black preachers learned from were not the lecturn lecture-like preachers that we think of today, but the preachers of the plains like Jonathan Edwards. This thought is also echoed by Henry Mitchell in Black preaching that even states that there is a white counterpart to whooping. After having said that he defines black preaching as a style of preaching that was story-telling, incisive, highly descriptive. He notes that such a style was important for the slaves who could not read the Bible for themselves.

In this place he does not directly address Adventist preaching but he does note that our preaching has become more hands on in the last few years versus the years when he was younger. Today you are more likely to hear sermons that tell you how to get along with people or succeed than sermons about doctrinal content.

While he believes there is a place for such sermons, he notes that we cannot forget the doctrines or teachings in our sermons. Method of Sermon Preparation Pastor Wright has a very extensive 8 step method of sermon preparation. Niles also reviews cadences and call and response.

Black Preaching: The Recovery of a Powerful Art

Norris, Frederick W. Edited by Barry L. Norris makes a connection between Greek orthodoxy and black preaching discussing the categories of: rhythm, cadence, moving of the will through emotion, the use of scripture allusions, allegorical interpretation, the parallel between the narrative of the liturgical year and black narrative theology, and the high use of imagery. Pipes, William H.

Black Preaching : The Recovery of a Powerful Art by Henry H. Mitchell | eBay

Say Amen Brother! Pipes identifies recurrent structural patterns in black sermons. The introduction is designed to establish common ground of religious feeling between the audience and the speaker. The introduction is followed by a statement of the text of scripture.

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The body of the sermon is a series of repeated emotional climaxes. Finally, the conclusion resolves the emotional tension aroused by the sermon by drawing sinners to God. Pitts, Walter. Pitts identifies three stages in the organization of the black folk sermon: a conversational introduction, an emotional build-up, and a climax. The black folk preacher is not trained in seminary. He is called to preach primarily from the black working class. Delivery depends upon rhythmic speech, use of black vernacular, use of the King James language, volume and pitch modulations, repetition, and the use of formulaic phrases.

Pitts identifies black preaching as related to the West African experience. The remainder of this article analyzes one particular sermon.