Somebody S Calling My Name

Between 1890 and 1915, a predominately African American state convict crew built Clemson University on John C. Calhoun’s Fort Hill Plantation in upstate South Carolina. Calhoun’s plantation house still sits in the middle of campus. From the establishment of the plantation in 1825 through the integration of Clemson in 1963, African Americans have played a pivotal role in sustaining the land and the university. Yet their stories and contributions are largely omitted from Clemson’s public history. This book traces “Call My Name: African Americans in Early Clemson University History,” a Clemson English professor’s public history project that helped convince the university to reexamine and reconceptualize the institution’s complete and complex story from the origins of its land as Cherokee territory to its transformation into an increasingly diverse higher-education institution in the twenty-first century. Threading together scenes of communal history and conversation, student protests, white supremacist terrorism, and personal and institutional reckoning with Clemson’s past, this story helps us better understand the inextricable link between the history and legacies of slavery and the development of higher education institutions in America.

Tracing the relationship of black sacred music and social change, Wyatt Walker observes, ". . .if you listen to what black people are singing religiously, it will provide a clue as to what is happening to them sociologically." Walker traces the musical expressions of the black religious tradition from its roots in the "invisible church" of the slave society to its influence upon the black religious experience today. He challenges the black church to preserve this rich musical resource so that black sacred music will become one of the gifts of black people to the church universal [Publisher description]

Beloved spirituals include such lasting favorites as All God's Children Got Shoes, Balm in Gilead, Deep River, Down by the Riverside, Ezekiel Saw the Wheel, Gimme That Ol'-Time Religion, He's Got the Whole World in His Hand, Roll, Jordan, Roll, Sometimes I Feel Like a Motherless Child, Steal Away to Jesus, Swing Low, Sweet Chariot, This Train, Wade in the Water, We Are Climbing Jacob's Ladder, Were You There When They Crucified My Lord? and many more. Excellent for sing-alongs, community programs, church functions, and other events.

Seeds of Poetic Healing: Reading Between the Lines is a combination of words, thoughts and visions that gently present meaning to some of our most thought provoking questions. Be blessed as you read, meditate and enjoy this book which will lead you through the trinity of your own mind. Enter into "Soul Searching," meditate on these inspired messages. As you continue through "Places in Time" remember we have all been there to find that it awaits for no one, and you leave to carry only your memories and experiences. Now step into the mystery of love as you ponder the questions "He Loves Me, He Loves Me Not? He Loves Me." You will return again and again to Seeds of Poetic Healing: Reading Between the Lines. This book is exhilarating, thought provoking and above all a spiritual exhortation of the gift God has planted inside the author Isis Imani Sanders.

Editors Mark Husbands, Roger Lundin and Daniel J. Treier present ten essays that explore a Christian approach to beauty and the arts. The visual arts, music and literature are considered as well as the theological meaning and place of the arts in a fallen world redeemed by Christ.

In Resurrection City Peter Heltzel paints a prophetic picture of an evangelical Christianity that eschews a majority mentality and instead fights against racism, inequality, and injustice, embracing the concerns of the poor and marginalized, just as Jesus did. Placing society's needs front and center, Heltzel calls for radical change and collective activism modeled on God's love and justice. In particular, Heltzel explores the social forms that love and justice can take as religious communities join together to build "beloved cities." He proclaims the importance of "improvising for justice" -- likening the church's prophetic ministry to jazz music -- and develops a biblical theology of shalom justice. His vision draws inspiration from the black freedom struggle and the lives of Sojourner Truth, Howard Thurman, and Martin Luther King Jr. Pulsing with hope and beauty, Resurrection City compels evangelical Christians to begin "a global movement for love and justice" that truly embodies the kingdom of God.

How do the arts inform and cultivate our service to God? In this addition to an award-winning series, distinguished philosopher Bruce Ellis Benson rethinks what it means to be artistic. Rather than viewing art as practiced by the few, he recovers the ancient Christian idea of presenting ourselves to God as works of art, reenvisioning art as the very core of our being: God calls us to improvise as living works of art. Benson also examines the nature of liturgy and connects art and liturgy in a new way. This book will appeal to philosophy, worship/liturgy, art, music, and theology students as well as readers interested in engaging issues of worship and aesthetics in a postmodern context, including Christian artists and worship leaders.

The ways in which the African American community learned to be proficient readers and writers during the 19th century were diverse, however, the greatest impact on literacy acquisition came from family and community efforts. African American arts, churches, benevolent societies, newspapers, literacy societies, and formal and informal schools supported literacy growth, and literacy growth in turn gave rise to national and international African American literacy traditions. The underlying motivations that gave shape to the nature of their literacy behaviors and events within family and community contexts and within national and global context are examined in detail here. The beginnings of African American literacy traditions would have failed had there not been intrinsic motivations, opportunities, and a need to use all of the language arts, reading, writing, speaking, listening, and viewing to maintain and protect what mattered most to them as a people. The institutionalization of these traditions into family and community rituals, including songs, prayers, letters, story telling, and the like gave a visibility to the African American in ways no other cultural knowledge could. Belt-Beyan traces the development of these literacy traditions, noting the parallel progression and transformation of Africans into African Americans, slaves into freepersons, and noncitizens into citizens.