Abstract
In black worship we hear uttered the “language of the sacred” Long wrote of in the above quote taken from Significations. Black worship, of course, has no monopoly on this language of the sacred, but it does have its own way of speaking this language. This language is rooted in the signification of silence referred to earlier in chapter four, “Being, Nothingness, and the ‘Signification of Silence’ in African American Religious Consciousness.” I tried to show in chapter seven, “ ‘The Signification of Silence’ Revisited: African American Art and Hermeneutics,” how this language is given visual expression in that medium. In this chapter, I will engage in a phenomenology of the language of the sacred that is uttered in black worship but which, I also argue, structures the whole spectrum of black experience.
This type of structuring of the primary religious expressions does not arise from the metaphysical desire to construct the world. The intent of this structure is a more modest one. Through this structure a pattern, a “language” of the sacred, is revealed, a language that describes human immersion in life—in this case as a confrontation with the sacred. It is through this language that the human being deciphers the meaning of the sacred in history. This language or structure of the sacred is the medium through which historians insert themselves into the historical being of others. The use of every structure, whether biological, aesthetic, or religious, points to the endeavor to find a common form for the self and the “other” which is the object of interpretation. Structure is thus a mode of communication …
This communication of the “intelligible something” (in our case religious structures) should lead to an opening of ourselves and permit us to order unexplored areas of our lives. Our return to the archaic and traditional religious forms does not express a desire merely to trace casual connections. It is a return to the roots of human perception and reflection undertaken so that we might grasp anew and reexamine the fundamental bases of the human presence. (Significations, p. 46)
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
Zora Neale Hurston, The Sanctified Church (Berkeley, CA: Turtle Press, 1983), p. 103.
Eileen Southern, The Music of Black Americans (New York: W. W. Norton, 1983), pp. 176–177.
Carter G. Woodson, ed., Negro Orators and Their Orations (New York: Russell and Russell, 1969), pp. 150–157.
In John W. Blessingame, ed., Slave Testimony (Baton Rouge: Louisiana State University Press, 1977), pp. 114–115.
James Weldon Johnson, God’s Trombones (New York: Viking Press, 1927/1965), p. 5.
Hortense J. Spillers, “Martin Luther King and the Style of Black Sermon,” in The Black Experience in Religion, ed. C. Eric Lincoln (New York: Anchor Press, 1974), p. 83.
James Baldwin, The Amen Corner (New York: Vintage Books, 1996), pp. xv–xvi.
Matthew V. Johnson, The Cicada’s Song (Atlanta: Publishing Associates, 2006), p. 89.
William Dilthey, “The Construction of the Historical in Human Studies,” in W. Dilthey: Selected Writings, ed. H. P. Rickman (London: Cambridge University Press, 1976), p. 239.
Henri F. Ellenberger, “A Clinical Introduction to Psychiatric Phenomenology and Existential Analysis,” in Existence, ed. Rollo May (New York: Simon and Schuster, 1958), p. 100.
Jean Paul Sartre, The Transcendence of the Ego (New York: Noonday Press, 1957), p. 25.
George Simmel, “Subjective Culture,” in George Simmel on Individuality and Social Forms, ed. D. Levine (Chicago: University of Chicago Press, 1971), p. 230.
Frantz Fanon, Black Skin, White Masks (New York: Grove Press, 1967), p. 154.
Ralph Ellison, Invisible Man (New York: Vintage Books, 1972), p. 3.
George S. Schuyler, “The Caucasian Problem,” in What the Negro Wants, ed. Rayford Logan (Chapel Hill: University of North Carolina Press, 1944), p. 281.
Matthew V. Johnson, “The Middle Passage, Trauma and the Tragic Re-Imagination of African American Theology,” Pastoral Psychology 53 no. 6 (July 2005), pp. 555–556.
Langston Hughes, “The Negro Artist and the Racial Mountain,” Nation 122 (June 23, 1926), pp. 692–694.
Frantz Fanon, The Wretched of the Earth (New York: Grove Press, 1968), p. 210.
Arthur Schomburg, “The Negro Digs Up His Past,” Survey Graphic VI, no. 6 (March 1925), p. 670.
James Baldwin, Evidence of Things Not Seen (New York: Holt, Rinehart and Winston, 1985), pp. XII–XIII.
Copyright information
© 2009 James A. Noel
About this chapter
Cite this chapter
Noel, J.A. (2009). The Meaning of the Moan and Significance of the Shout in Black Worship and Culture and Memory and Hope. In: Black Religion and the Imagination of Matter in the Atlantic World. Black Religion/Womanist Thought/Social Justice. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230620810_8
Download citation
DOI: https://doi.org/10.1057/9780230620810_8
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-37869-2
Online ISBN: 978-0-230-62081-0
eBook Packages: Palgrave Religion & Philosophy CollectionPhilosophy and Religion (R0)