» » Fire in My Bones: Transcendence and the Holy Spirit in African American Gospel (Contemporary Ethnography)

Fb2 Fire in My Bones: Transcendence and the Holy Spirit in African American Gospel (Contemporary Ethnography) ePub

by Glenn Hinson

Category: Music
Subcategory: Photo and Art
Author: Glenn Hinson
ISBN: 0812235282
ISBN13: 978-0812235289
Language: English
Publisher: University of Pennsylvania Press (January 11, 2000)
Pages: 424
Fb2 eBook: 1378 kb
ePub eBook: 1678 kb
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Glenn Hinson focuses on a single gospel program and offers a major contribution to our understanding not just of gospel but of the nature of. .Chapter 3 Experiencing the Holy: Just Like Fire Shut Up in My Bones.

Glenn Hinson focuses on a single gospel program and offers a major contribution to our understanding not just of gospel but of the nature of religious experienc. The first time I baptized here was a little before Christmas, in the creek which ran through my lot, writes Elder David George, an African American Baptist preacher, in the early 1790s. I preached to a great number of people on the occasion, who behaved very well. I now formed the church with us six, and administered the Lord’s supper in the Meeting-house before it was finished.

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Glenn Hinson focuses on a single gospel program and offers a major contribution to our understanding not just of gospel but of the nature of religious experience

Glenn Hinson focuses on a single gospel program and offers a major contribution to our understanding not just of gospel but of the nature of religious experience. A key feature of African American performance is the layering of performative voices and the constant shifting of performative focus. To capture this layering, Hinson demonstrates how all the parts of the gospel program work together to shape a single whole, joining speech and song, performer and audience, testimony, prayer, preaching, and singing into a seamless and multifaceted service of worship.

Home Browse Books Book details, Fire in My Bones .

Home Browse Books Book details, Fire in My Bones: Transcendence and the Holy. Fire in My Bones: Transcendence and the Holy Spirit in African American Gospel. Glenn Hinson focuses on a single gospel program and offers a major contribution to our understanding not just of gospel but of the nature of religious experience.

In Fire in My Bones, Glenn Hinson focuses on a single gospel program and offers a major contribution to our .

In Fire in My Bones, Glenn Hinson focuses on a single gospel program and offers a major contribution to our understanding not just of gospel, but of the nature of religious experience. To capture this layering, Hinson demonstrates how all the parts of the gospel program work together to shape a single whole, joining speech and song; performer and audience; testimony, prayer, preaching, and singing into a seamless and multifaceted service of worship: the service.

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Journal of American Folklore. In: Journal of American Folklore, Vol. 114, pp. 499-500. View it in the Music Periodicals Database.

Contemporary Ethnography Ser. Subjects: African American public worship. 3. Experiencing the Holy: "Just Like Fire Shut Up in My Bones. 4. A Conversation: "You've Got to Open the Door. 5. Beginnings: "Happy to Be in the House of Worship. Experience (Religion);African Americans Religion. 6. Scripture: "It's About Being Sincere in Your Heart. 7. Prayer: "The Vibrations of the Holy Spirit Go Out There. 8. A Conversation: "It's the Words of Him That's Speaking Through Me. 9. Song: "Sing Till the Power of the Lord Comes Down. 10. Praise: "Up Above My Head, I Hear Singing in the Air.

Glenn Hinson, in Fire in my bones, creatively and accurately captures the essence of Holy Spirit influence on belief and experience among members of th.Hinson, Glenn, Fire in my bones: Transcendence and the Holy Spirit in African American gospel. Philadelphia: University of Pennsylvania Press.

Winner of First Prize, 2000 Chicago Folklore Prize

Glenn Hinson focuses on a single gospel program and offers a major contribution to our understanding not just of gospel but of the nature of religious experience. A key feature of African American performance is the layering of performative voices and the constant shifting of performative focus. To capture this layering, Hinson demonstrates how all the parts of the gospel program work together to shape a single whole, joining speech and song, performer and audience, testimony, prayer, preaching, and singing into a seamless and multifaceted service of worship. Personal stories ground the discussion at every turn, while experiential testimony fuels the unfolding arguments. Fire in My Bones is an original exploration of experience and belief in a community of African American Christians, but it is also an exploration of African American aesthetics, the study of belief, and the ethnographic enterprise.

Comments to eBook Fire in My Bones: Transcendence and the Holy Spirit in African American Gospel (Contemporary Ethnography)
Fearlessrunner
I have only started reading this book. But from what I have read it seems to be a good book. But I have one problem with it and that is the author of this book is writing from a white mans view of this experiences.
Marige
I am the person referred to in this book as the champion of a certain academic approach to gospel performance. Hinson says that my use of the term "trance" is vague, but I can't think of a more vague (vaguer?) term than transcendence, as employed by Hinson. In my writings on gospel, I drew upon my cross-cultural research in the Caribbean, particularly in Haiti, as well as in Brazil. My comments on trance-induction, or "shouting" a church,were never meant to imply that certain songs will "automatically" shout a church, as Hinson claims. Instead, I was drawing a comparison between the rhythmic manipulations by the lead singer, who does not sing "contrapuntally", as Hinson mistakenly calls it, but moves into a "prophetic" style that combines preaching and singing, set against a fixed rhythm. This contrast and clash of rhythms produces what I call a "cassé", a term used in Haitian vodun to describe the drum "breaks" played by the master drummer. In West Africa, drum breaks are also used to induce trance, particularly when the master drummer goes into "speech mode" drumming, when his patterns can be heard both as speech tones transposed to the drum, and as music, thereby creating a paradoxical form of communication. Hinson completely ignores the African connection, probably because his study has no cross-cultural perspective. I stand by my interpretation of gospel's connection to West African musical and religious practices, despite Hinson's dismissive tone. I think Hinson's zeal to connect gospel to some vague transcendence and Christianity completely sidesteps gospel's similarities to other African-based religions in the Americas, a connection I think I proved when I played gospel recordings for Brazilians who did not understand a word of English but recognized when the lead singers were "shouting." They said, you mean they do this in church? Meaning that in Brazil, what I call trance behavior is done in distinctly non-Christian Afro-Brazilian contexts, except perhaps for the growing Pentecostal movement there. I might also add that my articles on gospel music are widely cited in studies of Afro-American religion, such as Slave Religion by A. Raboteau, who also explores the African connections with the Afro-American church.
Wrathmaster
Although this study is situated within some african american communities in the Carolinas, it - rather than reading gospel as a "folk expression" - takes into account gospels deep involvement in the devotional life and christian experience of its "audiences" and "artists" (each concept here inapropriate within a more christian frame of referance). To acheive this the author Glenn Hinson (who's a folklorist/anthropologist) approaches christian onthology and epistemology in a more respectful way than what has been common in the social sciences. At least in order to understand the believers point of view (concerning gospel) one has to pay closer attention to their stories. Much space is therefore left to (nonreduced) extended citations from various interviews, live testemonies, prayers, sermons, songs, private conversaution and other sources. Hinson also deliberately shares with the readers from his own process of trying to understand, his own failures and ethical problems in the dual role as seeker/researcher. A very sympathetic book indeed, and a human achievement I hold in high regard.
Trash Obsession
This examination of Afro-American gospel examines the gospel music program as a whole, considering how it works to join performer and audience, prayer and singing into part of the worship service and how Afro-American Christians have made gospel an integral part of their world. A fine in-depth examination of devotions and devotional services.
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