Dancing And Piety

For the better part of two centuries, Wesley scholars have been given a picture of the family of John Wesley that focuses positively upon the relationships of John and his brother Charles and his mother Susanna. What has come down to us about John Wesley's father--Samuel Wesley, Sr.--is a mixture of good and bad character traits, mostly seemingly inconsequential with respect to the making of Methodism under John and Charles. Now with Arthur Torpy's work, we have reason to think differently. Samuel Wesley, Sr. was a complex person whose thoughts, actions, and convictions were based on his understanding and practice of his tradition, experience, scripture, and reasoning. The Prevenient Piety of Samuel Wesley, Sr. examines the life of Samuel Wesley, exploring the influences of his early Dissenting upbringing, his Oxford education, subsequent published writings, and post 1709 sermons.

Doctrine and Race examines the history of African American Baptists and Methodists of the early twentieth century and their struggle for equality in the context of white Protestant fundamentalism. By presenting African American Protestantism in the context of white Protestant fundamentalism, Doctrine and Race: African American Evangelicals and Fundamentalism between the Wars demonstrates that African American Protestants were acutely aware of the manner in which white Christianity operated and how they could use that knowledge to justify social change. Mary Beth Swetnam Mathews’s study scrutinizes how white fundamentalists wrote blacks out of their definition of fundamentalism and how blacks constructed a definition of Christianity that had, at its core, an intrinsic belief in racial equality. In doing so, this volume challenges the prevailing scholarly argument that fundamentalism was either a doctrinal debate or an antimodernist force. Instead, it was a constantly shifting set of priorities for different groups at different times. A number of African American theologians and clergy identified with many of the doctrinal tenets of the fundamentalism of their white counterparts, but African Americans were excluded from full fellowship with the fundamentalists because of their race. Moreover, these scholars and pastors did not limit themselves to traditional evangelical doctrine but embraced progressive theological concepts, such as the Social Gospel, to help them achieve racial equality. Nonetheless, they identified other forward-looking theological views, such as modernism, as threats to “true” Christianity. Mathews demonstrates that, although traditional portraits of “the black church” have provided the illusion of a singular unified organization, black evangelical leaders debated passionately among themselves as they sought to preserve select aspects of the culture around them while rejecting others. The picture that emerges from this research creates a richer, more profound understanding of African American denominations as they struggled to contend with a white American society that saw them as inferior. Doctrine and Race melds American religious history and race studies in innovative and compelling ways, highlighting the remarkable and rich complexity that attended to the development of African American Protestant movements.

It is very likely that women’s lives in black seem primitive, traditional, and subordinated to the researchers who observe them. However, in reality, the actors in such societies tell a different story, as this book shows. Women who wear the burqa build their identities on ideal resources, the Qur’an and sunnah, and in this way, achieve real peace and are privileged to easily pass religious examinations with the help of the sheik of their community. They have protective husbands who keep them from being contaminated by this dirty world, and homes that they manage with abundance. This approach brings them happiness in this world and salvation in the afterlife.

Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria explores the nature of sound as a powerful yet ambivalent force in the religious struggles that permeated Germany during the Counter-Reformation. Author Alexander J. Fisher goes beyond a musicological treatment of composers, styles, and genres to examine how music, and more broadly sound itself, shaped the aural landscape of Bavaria as the duchy emerged as a militant Catholic bulwark. Fisher focuses particularly on the ways in which sound--including bell-ringing, gunfire, and popular song, as well as cultivated polyphony--not only was deployed by Catholic secular and clerical elites to shape the religious identities of Bavarian subjects, but also carried the potential to challenge and undermine confessional boundaries. Surviving literature, archival documents, and music illustrate the ways in which Bavarian authorities and their allies in the Catholic clergy and orders deployed sound to underline crucial theological differences with their Protestant antagonists, notably the cults of the Virgin Mary, the Eucharist, and the saints. Official and popular rituals like divine worship, processions, and pilgrimages all featured distinctive sounds and music that shaped and reflected an emerging Catholic identity. Although officials imposed a severe regime of religious surveillance, the Catholic state's dominance of the soundscape was hardly assured. Fisher traces archival sources that show the resilience of Protestant vernacular song in Bavaria, the dissemination and performance of forbidden, anti-Catholic songs, the presence of Lutheran chorales in nominally Catholic church services into the late 16th century, and the persistence of popular "noise" more generally. Music, Piety, and Propaganda thus reveals historical, theological, and cultural issues of the period through the piercing dimension of its sounds, bringing into focus the import of sound as a strategic cultural tool with significant impact on the flow of history.

In Virtue, Piety and the Law Katharina Ivanyi offers an analysis of Birgivī Meḥmed Efendī’s (d. 981/1573) al-Ṭarīqa al-muḥammadiyya, a major work of early modern Ottoman paraenesis, championing a conservative Islamic religiosity with considerable reformist appeal into the modern period.

In the 1980s, Egypt witnessed a growing revival of religiosity among large sectors of the population, including artists. Many pious stars retired from art, “repented” from “sinful” activities, and dedicated themselves to worship, preaching, and charity. Their public conversions were influential in spreading piety to the Egyptian upper class during the 1990s, which in turn enabled the development of pious markets for leisure and art, thus facilitating the return of artists as veiled actresses or religiously committed performers. Revisiting the story she began in “A Trade like Any Other”: Female Singers and Dancers in Egypt, Karin van Nieuwkerk draws on extensive fieldwork among performers to offer a unique history of the religious revival in Egypt through the lens of the performing arts. She highlights the narratives of celebrities who retired in the 1980s and early 1990s, including their spiritual journeys and their influence on the “pietization” of their fans, among whom are the wealthy, relatively secular, strata of Egyptian society. Van Nieuwkerk then turns to the emergence of a polemic public sphere in which secularists and Islamists debated Islam, art, and gender in the 1990s. Finally, she analyzes the Islamist project of “art with a mission” and the development of Islamic aesthetics, questioning whether the outcome has been to Islamize popular art or rather to popularize Islam. The result is an intimate thirty-year history of two spheres that have tremendous importance for Egypt—art production and piety.