Flaming?
The Peculiar Theopolitics of Fire and Desire in Black Male Gospel Performance
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Product details:
- Publisher OUP USA
- Date of Publication 3 September 2020
- ISBN 9780190065423
- Binding Paperback
- No. of pages344 pages
- Size 155x231x22 mm
- Weight 499 g
- Language English
- Illustrations 2 illustrations 42
Categories
Short description:
Examining the spectrum of "flamboyant" gender expression of male vocalists in historically black churches, Flaming?: The Peculiar Theo-Politics of Fire and Desire in Black Male Gospel Performance observes the relationship between these men, their congregations, and the heteronormativity of theology they perform.
MoreLong description:
Male-centered theology, a dearth of men in the pews, and an overrepresentation of queer males in music ministry: these elements coexist within the spaces of historically black Protestant churches, creating an atmosphere where simultaneous heteropatriarchy and "real" masculinity anxieties, archetypes of the "alpha-male preacher", the "effeminate choir director" and homo-antagonism, are all in play. The "flamboyant" male vocalists formed in the black Pentecostal music ministry tradition, through their vocal styles, gestures, and attire in church services, display a spectrum of gender performances - from "hyper-masculine" to feminine masculine - to their fellow worshippers, subtly protesting and critiquing the otherwise heteronormative theology in which the service is entrenched. And while the performativity of these men is characterized by cynics as "flaming," a similar musicalized "fire" - that of the Holy Spirit - moves through the bodies of Pentecostal worshippers, endowing them religio-culturally, physically, and spiritually like "fire shut up in their bones".
Using the lenses of ethnomusicology, musicology, anthropology, men's studies, queer studies, and theology, Flaming?: The Peculiar Theo-Politics of Fire and Desire in Black Male Gospel Performance observes how male vocalists traverse their tightly-knit social networks and negotiate their identities through and beyond the worship experience. Author Alisha Jones ultimately addresses the ways in which gospel music and performance can afford African American men not only greater visibility, but also an affirmation of their fitness to minister through speech and song.
Jones navigates biblical passages, postmodern theory, womanism, and theological concepts in a way that is understandable to a non-religious studies readership. Readers interested in queer studies, Black LGBTQI faith communities, fans of the artists featured in the text, worship studies practitioners, and ministry groups who are currently looking for tools to use for social justice initiatives can all benefit from this groundbreaking text.
Table of Contents:
Setting the Atmosphere: A Sermonic Selection
1. "I Am Delivert!": The Pentecostal Altar Call and Vocalizing Black Men's Testimonies of Deliverance from Homosexuality
2. "Men Don't Sing Soprano": Black Countertenors and Gendered Sound in the Sermonic Selection
3. Pole Dancing For Jesus: Pentecostal Religious Pluralism and The Bodily Performance of Sexual Ambiguity in Liturgical Dance
4. "Peculiar 'Til I D.I.E.": War Cries, Undignified Praise, and Homomusicoenchantment in Gospel Go-Go Music
5. "WIRED": (De)Coding Tonéx's Unapologetic Queer Body Theology
6. Ritualizing the Unspoken: Memory, Separation, and The Rhetorical Art of Silence
7. Church Realness: The Performance of Discretionary Devices and Hetero-presentation in the House of God
"Preaching to the Choir and Being Played": An Altar Call
Glossary
Bibliography
Appendix
