Black Gospel Music and Black Theology Louis-Charles Harvey

One of the fastest growing musical expressions in the black religious commu­ nity is Black Gospel Music. Since the Depression era, Black Gospel Music has occupied an increasingly important position in the religious life of the black community. However, surprisingly little has been written about the history and theology of the black gospel movement in recent years. The purpose of this paper is to present some tentative conclusions gleaned from three years of study.

The History of Black Gospel Music

The history of Black Gospel Music is intricately intertwined with the experi­ ence of black people in this country. As with other black art forms such as the spirituals, work songs, the blues, and so forth, Black Gospel Music arose from the trials, tribulations, and burdens of a disinherited people. In order to recount briefly the history of this music, it might be helpful to start with the more recent years and then to consider the historical antecedents. Fifty thousand black Chi- cagoans walked through Mt. Pigsah Baptist Church in 1969 to view the body of a woman named Roberta Martin. This woman, who, as an impoverished youth from Arkansas, had come to Chicago and found fame as a gospel singer, was being remembered by those whom she had helped by her message in song. Her testimony that "my soul looks back and wonders how I got over" apparently struck responsive chords in the lives of thousands of poverty stricken Chicago blacks. Her death was overlooked by the major news publications, but not by the people she touched. In the same year, the young black gospel song writer, Edwin Hawkins, re­ leased the song, "O Happy Day." This particular number literally swept the entire country as it found a multiracial audience1 and was frequently found on the "top 40 charts" in the major radio markets in this country.2 Some people even found this number to be danceable. Such a development caused many music critics to stop and take a look at this music. The previous year was a sad year in the history of this country, for one of the greatest prophets was slain in Memphis, Tennessee, on April 4, 1968. Millions of Americans viewed the funeral of Dr. Martin Luther King, Jr., on television

^ony Heilbut, The Gospel Sound (New York: Simon and Schuster, 1971), p. 9. 2Horace Boyer, "Gospel Music," Music Education Journal (May 1978), p. 41.

19 20 THE JOURNAL OF RELIGIOUS THOUGHT and marveled at the great and resonant contralto voice of Mahalia Jackson who sang Brother Martin's favorite gospel number, "Precious Lord take my hand lead me on, let me stand I am tired, I am weak, I am worn, through the storm, through the night, lead me on to the light take my hand, precious Lord, lead me on." This song is perhaps the most famous gospel number and it was composed by Thomas A. Dorsey, generally regarded as the Father of Black Gospel Music.3 What is Black Gospel Music that it creates such spiritual excitement and vi­ tality when performed? Initial research to find an answer to this question imme­ diately revealed that the year 1950 was an important milestone in the history of this music because Mahalia Jackson's recording of "Move on up a Little Higher" and Clara Ward Singer's recording of "Surely God is Able" both sold a million copies, thus putting Black Gospel Music solidly into the mainstream of American music.4 Many who have grown up hearing all of these songs did not realize the extent of the historic roots of this art form. Today, musicologists, ethnologists, folklorists, and theologians are just beginning to make a serious academic study of this music. Eileen Southern, a black musicologist, has traced the development of Black Gospel Music back to the period of the Protestant City Revival Movement of the 1850s. Just as the Protestant "Second Awakening" movement at the beginning of the 19th century had produced its characteristic song, the Spiritual, so the Protes­ tant City Revival Movement of the 1850's created a new song genre gospel hymnody, that was more relevant to the needs of the common people in the rapidly growing cities. The Spiritual was born in the rural setting of the camp meeting . . . The gospel song evolved in urban settings, in huge temporary tents erected for revival meetings by touring evangelists in football stadiums, and in mammoth tabernacles. The gospel song-makers borrowed the melodies and musical forms of popular songs—i.e. Tin Pan Alley materials as their antecedents had borrowed folk-songs and popular songs a half-century earlier.5 Southern continues her discussion by noting that, when the black migrants from the rural South migrated to the urban cities, they experienced a need for a kind of music more relevant to problems of urban life.6 It was amidst this urban experience of suffering and disinheritance that Black Gospel Music was born. This new gospel music became, according to Southern, the sacred counterpart of

3Thomas A. Dorsey, "Precious Lord Take My Hand." 4Boyer, p. 34. 5Eileen Southern, The Music of Black Americans: A History (New York: W. W. Norton, 1971), p. 402. 6Ibid. BLACK GOSPEL MUSIC AND BLACK THEOLOGY 21 the City Blues sung in essentially the same improvisatory tradition with piano, guitar, or other accompaniment.7 Horace C. Boyer, another black musicologist, who incidentally is a gospel performer, is helpful in giving more details about the exact musical forms which preceded Black Gospel Music. He identifies three forms of songs as direct ante­ cedents: they are (1) the camp meeting spiritual, (2) the jubilee spiritual, and (3) church songs} Boyer agrees with Southern's appraisal of the historic socio-eco­ nomic context out of which Black Gospel Music evolved. However, he pushes his analysis farther back in history and provides more specific information.

CAMP MEETING SPIRITUAL This form of song was created out of the interplay of preaching, praying, religious, and emotional fervor of the southern camp meeting where blacks and whites would worship sometimes in week long services. Boyer observes that participants of the camp meeting would gather in groups and sing what he de­ scribes as "short scraps of affirmations, pledges, and prayers lengthened out with repetitive choruses."9 The camp meeting spiritual contained the following elements: a chorus in irregular meter and rhyme with paraphrased scriptural references and a refrain that repeated the word "hallelujah."10 The following is a good example:

Leader: Oh what ship is this We are sailing upon Congregation: Oh glory Hallelujah Refrain: Tis the old ship of Zion Ha le-loo Tis the old ship of Zion Ha le-loo11

The camp meeting spiritual was performed in a lively manner and accompanied by body rhythm, primarily foot stomping and hand clapping.

7Ibid 8Boyer, p. 36. 9Ibid. 10Ibid. "Ibid. 22 THE JOURNAL OF RELIGIOUS THOUGHT

JUBILEE SPIRITUAL The jubilee spiritual was popular in the decade before the Emancipation Proc­ lamation and employed "a slightly more sophisticated kind of poetry and a more westernized sense of harmony. The rhythm was less intricate and slightly more organized."12 An example is: Leader: Have you got good religion? Congregation: Certainly Lord. Leader: Have you got good religion? Congregation: Certainly Lord. Leader: Have you got good religion? All: Certainly, Lord Certainly, certainly Certainly, Lord.13

CHURCH SONG It is in the development of the church song as a musical form that we begin to clearly see the importance of the black church experience in understanding the development of the black gospel song. In 1895, the first black Pentecostal church was organized. This church is known today as the Church of God in Christ.14 It was within this experience that the camp meeting and jubilee spiri­ tuals were transformed into the church song and eventually into Black Gospel Music. The church song contained the following elements: "A simple refrain without a contrasting section, usually with four lines of poetry, the second and fourth of which were the same or nearly the same, and considerable rhythmic" variety.15 Leader: I'm a soldier Congregation: In the Army of the Lord Leader: Γ m a Soldier Congregation: In the Army Leader: I'm a sanctified soldier

12Ibid. 13Ibid. 14Boyer states that the first black Holiness Church appeared in 1895. (In the black community, very little distinction is made between Holiness and Pentecostal.) Boyer is not specific with respect to the exact name of the church. Research by the author reveals that in 1895 the first black Pentecostal denomination was formed, that is, The Church of God in Christ. 15Boyer, p. 36. BLACK GOSPEL MUSIC AND BLACK THEOLOGY 23

Congregation: In the Army of the Lord Leader: I'm a sanctified soldier Congregation: In the Army.16 The leader usually took the freedom to improvise and create other lines as the spirit moved, thus creating a musical experience that could last for fifteen to twenty minutes. Other lines might read: I'm fighting for my Lord I'll live and die I'm on my way to glory. The Pentecostal church grew rapidly in the South; the popularity of these church songs also grew. Eventually the black Methodists and Baptists in the northern cities began to embrace this music as the newly arrived black migrants who formed the bulk of their congregations demanded music more relevant to their urban life. Some of the early popular singers of this music include Rev. L. M. Gates, Dr. A. W. Nix, Arizona Dranes, Rev. Charles Albert Tindley, and Lucie Campbell. They popularized gospel music in the early decades of the twentieth century. Charles A. Tindley, a black Methodist minister, began introducing these songs in the northern cities. Tindley's importance is seen in the fact that he began composing new songs by setting hymnbook-like verses to the tunes and rhythms of the church song.17 Three of Tindley's songs dearly cherished by the black church are "When the Storm of Life is Raging, Stand by Me" (1900); "I'll Overcome Someday" (1901) which, incidentally, was transformed during the Civil Rights Movement to "We Shall Overcome;" and "We'll Understand it Better By and By" (1905).18 A contemporary of Charles Tindley was Lucie Campbell, a Memphis school teacher and choir director whose songs were noted for lyrics of unusual power and vivid imagery. The following, "Something Within," was composed in 1905 and is among the favorites in the black church: Have you that something, that burning desire? Have you that something that never doth tire? Oh, if you have it that Heavenly fire! Then let the world know there is something within. Something within me that holdeth the reins, Something within me that banishes pain

16Ibid. 17Ibid., p. 37. 18Ibid. 24 THE JOURNAL OF RELIGIOUS THOUGHT

Something within me I cannot explain, All that I know there is something within. In another song, "He understands, He'll Say Well Done," Campbell continues her gift of poetry: But if you try and fail in your trying Hands sore and scarred from the work you've begun Take up your cross, run quickly to meet Him He'll understand, He'll say "Well Done". Oh, when I come to the end of my journey, Weary of life and the battle is won Carrying the staff and the cross of Redemption He'll understand, and say "Well Done". Any history of Black Gospel Music would be incomplete without mentioning again Thomas A. Dorsey. This "Father" of Black Gospel Music occupies a position similar to that which W. C. Handy occupies with respect to the Blues. Dorsey was actually the first to compose in the idiom that he called "gospel music," and he was also the first to publish widely. He was born in 1899 near Atlanta, in Villa Rica, Georgia, the son of a country preacher.19 Apparently Dorsey was a child prodigy, mastering several instruments before his teen years. The piano, however, became his instrument and he walked four miles each way in order to learn to play. His obvious talent on the piano eventually led him into the blues where he accompanied such stars as Bessie Smith and Gertrude "Ma" Rainey20 and used the show name Georgia Tom. Dorsey, however, never completely left the church. There was always a con­ stant desire to return. This was made possible in 1921 when he attended the annual meeting of the National Baptist Convention in Chicago. At this meeting, Dr. A. W. Nix, popular soloist, sang "I Do, Don't You."21 This performance so touched Dorsey that he devoted his entire life to the composition and singing of gospel music. In the same year he wrote his first song, "If I Don't Get There," and in 1926 he composed his first gospel hit, "If You See My Saviour, Tell Him That You Saw Me." This, like many of Dorsey's songs, was written out of a sad and depressed situation—the background being that a young friend of Dorsey's had recently died of appendicitis. Dorsey later reflected, "I'd been sick six to eight months and this boy'd been ill twenty-four hours and died. So the message came to me. The Spirit told me, 'If you See My Saviour'."22

19Southem, p. 402. 20Boyer, p. 38. 21Ibid. 22Heilbut, p. 62. BLACK GOSPEL MUSIC AND BLACK THEOLOGY 25

The Depression period was the most prolific for Dorsey; he wrote dozens of optimistic songs aimed to lift the spirits of the unemployed laborers and do­ mestic servants. He observes: I wrote to give them something to lift them out of that depression. They could sing at church but the singing had no life, no spirit.23 Although initially not accepted by the black church, Dorsey's music eventu­ ally did gain wide appeal. He was later elected Director of Music for the Na­ tional Baptist Convention, Inc., a position he held for years until his retirement. Thomas A. Dorsey succeeded in capturing the frustrations and hopes of black people in his more than five hundred songs! Favorites of many over the years include: "There Will be Peace in the Valley," originally written for Mahalia Jackson and recorded by such white country singers as Red Foley and Tennessee Ernie Ford; "I'm Going to Live the Life I Sing About in my Song;" and, of course, everbody's favorite, "Precious Lord Take My Hand," which has been translated into thirty languages.24 Dorsey dominated the gospel scene from 1925-1950. The gospel singers whose careers he helped to launch include Ma­ halia Jackson, Clara Ward, Roberta Martin, and Sallie Martin. Prior to Dorsey's influence, gospel music relied almost exclusively on existing compositions which would undergo countless transformations.25 In addition, he established the first Black Gospel Music publishing house. Dorsey's musical significance is that ultimately he created a new musical idiom from existing forms. He wedded blues, and jazz into a distinctive style which utilized the experiences of black people and the Bible. Black Gospel Music26 is the good news of the Gospel in the bad times of life. Since the period of Dorsey's dominance,27 gospel music has proliferated. The male gospel quartet has been established, the female gospel groups developed, the mass gospel choirs and the individual gospel superstars have all evolved. Performers like James Cleveland, Shirley Caesar, Walter and Edwin Hawkins, Andre

23Ibid. p. 65. ^Ibid., p. 66. 25Boyer, p. 38. 26It should be noted that there is a distinct difference between Black Gospel Music and White Gospel Music. Lois Blackwell in the book The Wings of the Dove, billed as the first comprehensive study of American Gospel Music indicates that the difference between Black and White Gospel Music is that White Gospel Music emerged from the American folk hymn and camp meeting song in the late 18th and early 19th century. (See pp. 9-36). Black Gospel Music, according to Blackwell, emerged from jazz and blues and thus, has a more distinct "black" beat. Don Butler, Executive Director of the predominantly White Gospel Music Association and co-editor of The Gospel Music Encyclopedia indicates that white gospel developed from country and Black Gospel Music from rhythm and blues. 27See footnote number 31. 26 THE JOURNAL OF RELIGIOUS THOUGHT

Crouch, and the Mighty Clouds of Joy all have helped make black gospel an internationally acclaimed art form. This reputation has been further enhanced by the appearance of the black gospel song and sound on Broadway in such plays as "Your Arms Too Short to Box With God," "Purlie Victorious," and others. In addition, certain gospel singers, for example, Alex Bradford, have composed gospel plays such as the "Black Nativity." We can conclude this discussion of the black history by saying that gospel music as a black art form is inextricably related to the experience of Afro-Amer­ ican people in this country, especially the Depression experience. As with all contemporary forms of black music, it represents a synthesis of earlier forms dating back to the time of the spirituals to the blues and eventually to jazz. If we date the beginning of this musical form with the advent of Thomas A. Dorsey's first song in 1921, then Black Gospel Music is barely fifty years old; it is a young and growing expression. It is one of the distinctly Christian art forms in the black experience. Its pri­ mary purpose is to relate the experience of black folk to the Christian faith through music. It stands strong against all attempts to make it otherwise in terms of content. Stylistically, as has been indicated, it has drawn from other forms of black music. Thus, black music is called gospel because it attempts to relate the "good news" of Jesus Christ primarily to the existence of black folk in this country. It is the black folk community that has legitimized this cultural form. Although created by certain talented Christian individuals who were responding to the problems of living, it was embraced and continues to be embraced. John Lo veil noted in his book, Black Song, that in any folk music it may be the individual who creates, but it is the community which selects and validates any particular folk song.28 This also seems to be true of Black Gospel Music. Since gospel music attempts to wrestle with the question of the meaning of life, it ultimately asks the theological question: What does it mean to be a black Christian in a country that oppresses me at every turn? This question leads us to a discussion of the theology of gospel music.

Theology of Gospel Music

As a child of the contemporary Black Theology Movement, the author, along with many others, became concerned to "plumb the depths" of the cultural sources of the black experience to discover those theological questions black

28John Lovell, Black Song (New York: MacMillan, 1972). BLACK GOSPEL MUSIC AND BLACK THEOLOGY 27 people were asking. Encouragement came from such books as The Negro's God as Reflected in His Literature by Benjamin Mays, first published in 1938. Mays's concern was to uncover and tell America what the black person thought of God. In order to do this, he analyzed such sources as slave narratives, bio­ graphies, novels, poetry, prayers, and seminars for their possible theological content. Another book which was also encouraging to this writer was James Cone's, The Spirituals and the Blues, which analyzed the spirituals and blues theologi­ cally. This book and study with Professor Cone led to the adoption of a theolog­ ical approach which stressed a dialogue between the contemporary existential situation of black folk and the Christian faith. The focus quickly became gospel music, but, surprisingly, very little had been written. For this reason, it was decided that some theological analysis must begin. Students at Colgate Roch­ ester and United Theological Seminary have joined the author in this effort. To date, the author has personally assessed approximately 1700 different songs. The question that most gospel song writers seem to raise is that of the exis­ tential meaning of these songs. In a sense, this question has been implied by the experience of black Christians since 1619. It is essentially the same question asked by the slave-poet of the spirituals. What does it mean to "steal away" to Jesus when one has been stolen away from Africa and enslaved in America? What does it mean to work on a building that's a true foundation or to hold up the "blood-stained banner for the Lord" when one had no building of his/her own, and one's own blood was stained with slavery? In an attempt to answer such questions, the lyrics of hundreds of gospel songs were analyzed, thereby revealing that Jesus Christ was the dominant figure in nearly a third of these songs.29 This fact led to the formulation of the following thesis: In black gospel music, Jesus Christ is regarded as the answer to the question of the meaning of black existence. The most fundamental statement made about Jesus Christ is that he is Everything.* He is Everything because he is Friend, Protector, and Liberator. It is in fulfilling these roles and functions in the lives of black people that he is regarded as the answer to the question of black life. The all-encompassing nature of Jesus Christ for the gospel folk is reflected in many songs like the following: I don't possess houses or lands fine clothes or jewelry,

29The composite results of this analysis were: 237 total references to God, 452 total references to Jesus Christ, 154 references to Humanity, 354 references to Eschatology/Heaven, 32 references to Satan, 393 references to Christian life, 29 references to Holy Spirit. *(Ed note: i.e. an ideal symbol of wholeness) 28 THE JOURNAL OF RELIGIOUS THOUGHT

Sorrows and cares in this old world my lot seems to be, But I have a Christ who paid the price way back in Calvary And Christ is all, all and all this world to me. Chorus: Christ is all He's everything to me Christ is all He rules the land and sea Christ is all without Him nothing could be Christ is all, all and all this world to me. (From "Christ is All" by Kenneth Morris, 1940)

This song points to the fact that despite an impoverished existence, Jesus Christ has meaning. For the gospel writer, Christ is involved in all of life. When I'm hungry He's my bread in a starving land When I'm falling, He's my prop from sinking sand. On my journey while I'm traveling through this land I find Jesus is the best friend to man He will be the same to you, You find He will take you through For Jesus is everything to me. (From "He's Everything to Me" by Elyse V. Yancy, 1948)

It should be remembered then that the completeness of Jesus Christ is the background out of which other assertions about him are made.

JESUS AS FRIEND One of the reasons for the success of gospel music in the black community is that it describes Jesus as someone concerned about people and their troubles and that he is their constant companion who is always near. Jesus is there to guide one through life's rough seas. I am weak and lonely friends don't understand But I know I'll come safely If you only hold my hand. (From "Please Lord Have Mercy" by Kenneth Morris, 1946) Or again, I'm glad to stand and say in my life He'll always stay Because Jesus is my best friend He sticks closer than any brother. (From "Your Friend" by Inez Andrews, 1972) BLACK GOSPEL MUSIC AND BLACK THEOLOGY 29

Another reason black folk have remembered the Jesus of gospel music is that he was a friend who could be trusted. Unlike the new friends black folk met in the cities in the 1920s and 1940s who quickly became enemies by deceiving or misusing them, Jesus would not. There are those who will deceive me No matter how my trust may be, even friends and nearest kindred Sometimes turn their backs on me But there's one who always listens and my poor condition sees I can put my trust in Jesus Can he put His trust in me. (From 'Τ Can Put My Trust in Jesus" by Kenneth Morris, 1961) The ability to place trust in the immanent Jesus provided the individual with a burden-bearer or heavy-load sharer. I told him all about my troubles about the burdens I have to bear He said, "Hold up your head, don't be afraid for your burden I will share." I told him all about my trials, and all about my every care He said, "I am thy God and I'll watch over no matter when or where." (From "I Had a Talk With Jesus" by John Thomas and Kenneth Morris, 1954) The closeness of Jesus as a personal counselor means to black folk that God is also near. In fact, in many songs, Jesus (Lord) and God are used interchange­ ably.30 He's always near though rough you may be He's always near when your way you can't see, The Lord will take away your misery, Yes, when you want God You can call Him for He's always near. (From "He's Always Near" by Margaret Aikens, 1960) As a friend, God is immanent and thus has the power to supply every spiritual and physical need.

30Black Gospel Music seems consistent with the spirituals at this point. James Cone in The Spirituals and the Blues, p. 47, writes concerning the spirituals: It is significant that theology blends imperceptibly into Christology in the Spirituals. That is, statements about God are not theologically distinct from statements about Jesus Christ. 30 THE JOURNAL OF RELIGIOUS THOUGHT

I have a friend indeed, One who supplies my every need Follow me, I'll show you the way To turn your darkness into day. (From "Follow Me" by Walter Hawkins, 1976) Since this divine yet human God has come into their lives, black Christians know that this friendship is not transient; it is permanent. When I was lost and in despair Each day was filled with pain and care He was my friend until the end So in Him I now rely, and on His breast I can safely hide. For he's a friend until the end. (From "Jesus is a Friend Until the End" by Alex Bradford, 1952) Because the gospel writer regards this kind of friendship so deeply, one will find numerous references to Jesus as sweet, precious, like gold. That is why the black folk embrace this Jesus and sing: Dear Jesus I love you, You're a friend of mine You supply my every need My hungry soul you feed I'm aware you are my source, From which all blessings flow And with this thought in mind I know just where to go. (From "Dear Jesus, I Love You" by Walter Hawkins, 1976)

JESUS AS PROTECTOR A logical extension of the preciousness of friendship is the notion of protec­ tion. The urban environment to which most blacks who migrated to the northern and southern cities during the formative years created a kind of fear; gone were the comfortable and close kinship ties of the rural life style. The urban world has been hostile not only because of pervasive racism and the socio-economic situa­ tion, but also because of the lack of genuine caring friends. Thus, the people have needed a protector and a guide through this "barren land." As you travel through this barren land, You need Jesus the Lord who understands If you will let him take your hand BLACK GOSPEL MUSIC AND BLACK THEOLOGY 31

He will join this heavenly band You will need Jesus on your journey in this barren land. (From "You Need Jesus on Your Journey" by Necie G. Seaberry)

An aspect of Jesus' protection is guidance. He protects the individuals from danger by guiding them away from the possible pitfalls of life in this "un­ friendly land." Once there was a time These eyes of mine were blind The King's highway I knew not how to find Jesus met me one day And now I'm glad to say Jesus has made the way for me. Jesus has made the way for me, Jesus has made the way for me All the way from earth to glory I will always tell the story How my Jesus has made the way for me. (From "Jesus Has Made the Way for Me" by Ε. L. Harvell, 1936-1941)

This same theme is continued in the following songs: I want Jesus on the road I travel night and day Friends and loved ones only willing to go part of the way When I'm right, He'll be along He'll still be there when I'm wrong I want Jesus on the road I travel All the way. (From "I Want Jesus on the Road I Travel" by Thomas A. Dorsey, 1942)

Or, Jesus be a fence all around I want you to protect me as I travel on my way Oh, I know you and I know you well You'll fight my battle if I just keep still Oh Lord be a fence all around every day. (From "Be a Fence Around Me" by Sam Cook, 1962)

Accepting Jesus's protection did not mean passivity; rather, it meant participa­ tion, that is walking with Jesus in the storms of life. Moreover, it is a recogni­ tion that certain battles Jesus fights best because ultimately he is more than we are. 32 THE JOURNAL OF RELIGIOUS THOUGHT

Ride out the storm, keep pushing on Ride out the storm of life each day, Let come what may Soon the storm will cease to rage, Then you'll clearly see your way Let Christ Jesus be your guide For God is on your side. (From "Ride out the Storm" by Margaret Aikens, 1962) Riding out the storms of life meant holding on to the protective hand of Jesus. When I was lost, He rescued me When I was bound, He set me free I shall never let go his hand. (From "I Shall Never Let Go His Hands" by Andre Crouch, 1967) Perhaps the most famous of the songs which depict the protection and guidance of Jesus is: Precious Lord take my hand Lead me on, let me stand I am tired, I am weak, I am worn Through the storms, through the night, lead me on to the light Take my hand precious Lord lead me on. (From "Precious Lord" by Thomas A. Dorsey, 1938) Jesus is a friend who protects and guides the individual black Christian but all of these are closely related to Christ's liberating activity in black life.

JESUS AS LIBERATOR Gospel music writers are clear that Jesus' activity as liberator applies to both the physical and spiritual liberation of the individual Christian. When the refer­ ences to freedom are analyzed, one finds that the Jesus who is everything is concerned about the whole person. His life, death, and resurrection are all inte­ grally related to his liberati ve activity among black people. As did the slave-poet before, the gospel writer related Jesus to true freedom. This same Jesus heard the Hebrew children Heard their crying down in Egypt land He sent Moses to lead them safely, This same Jesus will hold your hand. The same Jesus heard Paul and Silas When they were praying down in Philipi He sent earthquakes to loose their shackles The same Jesus will hear you cry. (From "This Same Jesus" by H. L. Ford, 1951) BLACK GOSPEL MUSIC AND BLACK THEOLOGY 33

Jesus' involvement in freedom is also extended to the present day. In order to provide the opportunity for true freedom, the socio-economic and political structures had to be moved from injustice to justice. You may be a lawyer, watch his urge tell the grand jury to notify the judge Tell him when the Lord gets ready, the courthouse must move. You may be government, get ready to tell everybody, Internal Revenue too Tell him when the Lord gets ready United States has to move. (From "When the Lord Gets Ready" by Kenneth Morris, 1960) Because of the belief that Jesus is everything and involved in all of life, the gospel writers could acclaim: Oh yes, Oh yes, I thank you Jesus You set me free You set me free I thank you Jesus, you set me free. (From "Oh Yes He Set Me Free" by WyonaCarr, 1951) The social and economic implications of freedom are not overlooked: I'll never forget what the Lord has done for me I'll never forget how he came and set me free I'll never forget how he broke those chains that had been bound And now I sing redemption's song. (From "I'll Never Forget" by Andre Crouch, 1968) Or, When you crush me down Jesus picks me up, And He sticks by me when the going gets tough, I got Jesus and that's enough. You're talking about a Great Emancipator and a heart regulator Jesus is, Jesus is He'll make my way brighter And my burdens lighter, yes he will. (From "I'll Never Forget" by Andre Crouch, 1968) Because Jesus is involved in all of life the individual is assured of ultimate victory over those forces which appear. 34 THE JOURNAL OF RELIGIOUS THOUGHT

Oh yes Victory, shall be mine Yes, O Victory shall be mine The reason I know is the victory is in Jesus. (From "We Shall Gain the Victory" by Cleophus Robinson, 1961) The victory over the powers of the world is related to the victory over the bondage of sin also. To the following writer this recognition apparently makes possible active, joyful involvement in the world. At any rate, the two are closely related. Oh happy day, Oh happy day When Jesus washed, when Jesus washed When Jesus washed my sins away Oh happy day, O happy day He taught me how to watch, fight, and pray. (From "O Happy Day" by Edwin Hawkins, 1969) The ultimate victory over sin and bondage is related by the gospel writer to the crucifixion and the blood of Jesus. In this way the gospel writer joins with the slave-poets of the spirituals who lamented the death of their elder Brother and Friend. Can't you see Him as they nailed Him And they pierced Him in the side He cried Father please forgive them Then He hung His head and died. They rebuked Him, they abused Him On the cross was he crucified He left Heaven to redeem us For our sins, he bled and died. (From "It is Finished" by Louise King, 1935) The gospel poet is glad for redemption and often describes vividly the shedding of Christ's blood. In this sense, liberation is equated with Jesus' redemptive activity. I've been through the water, I've been through the flood I've been through the fire Been washed in the Blood Oh Redeemed, Redeemed, Redeemed, I've been washed in the blood of the lamb. (From "Redeemed" by Lewis Ward, 1955) BLACK GOSPEL MUSIC AND BLACK THEOLOGY 35

Or, One day Jesus died on Calvary for the sin sick and the lost All the way up Golgotha's hill He bore the rugged cross Died for a sinner like me' Why he did it, I just can't see I know it was the blood of Jesus for me. (From "It Was the Blood" by James Cleveland, 1961) While gospel writers are saddened over the way their Christ was treated, at the same time they recognize that the blood of Jesus symbolically has a power to affect all of life. The blood that Jesus shed for me Way back on Calvary The blood that gives me strength From day to day It will never lose its power. It soothes my doubts and calms my fears It washes away all my tears The blood that gives me strength From day to day, it will never lose its power. It reaches from the highest mountain It flows to the lowest valley The blood that gives me strength From day to day It will never lose its power. (From "The Blood of Jesus" by Andre Crouch, 1966) While it is clear that Christ's death is important for the liberation of humankind, the gospel writer sometimes expresses wonderment at such a sacrifice. How could it be? How could it be? How could it be Jesus died On the cross for you and me? Then at the traitor's call, He went to Pilate's hall, bearing the sins of us all How could it be? (From "How Could it Be?" by Andre Crouch, 1969) Or again, I don't know why Jesus loved me I don't know why He cared 36 THE JOURNAL OF RELIGIOUS THOUGHT

I don't know why He sacrificed his life Oh but I'm glad so glad he did. (From "I Don't Know Why" by Andre Crouch, 1971) Finally, the appropriation of Christ's salvific activity leads to a kind of human empowerment which gives the individual the courage to endure and to fight whatever deprives one of authentic life. We are soldiers in the Army We've got to fight although We have to cry, We've got to hold up the blood-stained banner We got to hold it up until we die. I'm glad, I'm a soldier I've got my hands on the gospel plow I know one day I'll get old And I can't fight any more But I'll just stand here and fight anyhow. (From "Soldiers in the Army" by James Cleveland, 1956) Or, Lord don't move the mountain Just give me the strength to climb it Please don't move that stumbling block But lead me all around it. (From "Lord Don't Move This Mountain" by Inez Andrews, 1969) The gospel writer concludes that empowerment also builds courage: When I am weak, He gives me strength When I am lonely, He comforts me, When I am tired of the load I bear He gives me courage, courage to bear my share. All my help comes from the Lord All my help comes from the Lord All my needs that I'm possessing All my help comes from the Lord. (From "All My Help" by Cleophus Robinson, 1964) Thus, from this exploration, we can begin to see the outline of theological motifs that are implicit in Black Gospel Music. Jesus truly is everything to the gospel writers not only because he is the Liberator, but also because he is their closest and dearest friend. Perhaps another way of saying this is that Jesus is both tender and tough. Much remains to be done in relating this analysis to the other major theological categories mentioned earlier. BLACK GOSPEL MUSIC AND BLACK THEOLOGY 37

Conclusion

In this paper an attempt has been made to state tentative conclusions with respect to the history and theology of Black Gospel Music. We have seen the historic development of gospel music out of the soul of the black experience.31 In addition, our analysis revealed the need for much research and writing, espe­ cially on the part of the musicologists and theologians. This is especially true as Black Gospel Music continues to grow internationally. Our theological analysis tries to show the importance that gospel music attaches to Jesus Christ and the faith of the black Christian. This analysis, however, cannot stand alone. Needed are more sustained studies of gospel music in relation to such areas as eschatol- ogy, Christian life, humanity, and the God-Jesus relationship. Perhaps needed most of all is some analysis of the notion of ethics implicit in this cultural source.32 Our suggestions, therefore, can only be a preface to much needed research in this area.

31The author's historical survey essentially stopped at Thomas A. Dorsey. Wyatt Tee Walker in his book, Somebody's Calling My Name (p. 321), identifies two basic periods in the development of Black Gospel Music. They are historic gospel, 1930-1960, the modern gospel, 1960 to the present. One might further enhance Walker's periodization as follows: 1905-1925, Pre-Gospel Era; 1930-1950, Thomas A. Dorsey Era; 1950-1960, Gospel Golden Era; 1960 to present, Con­ temporary Gospel. 32lt should be noted that there is a very strong ethical dimension in gospel music both in terms of the gospel singers' "life style" and their response to social issues. Singers such as Dorothy Coates and Julius Cheeks have been outspoken critics of segregation and were involved in the Civil Rights Movement (see Heilbut's Gospel Sound, pp. 321-323 ff). For example, in the forties quartets sang "No Segregation in Heaven." As Heilbut writes "... black pride in gospel is as old as the hymn."

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Finally, let me warn you that we must not be swept off our feet by the glamour of a desegregated society. We can still be grossly discriminated against when there is no sign of segregation in sight. This kind of discrimina­ tion which will be subtle and will not be administered by the Maddoxes, the Wallaces, and the Barnetts; but by our liberal friends in Congress, in educa­ tion, and in industry. If we aren't careful, we will live another century dangling between desegregation and integration with all the discrimination inherent therein.

Benjamin E. Mays JRT Vol. XXIV No. 2 (1967-68) Copyright and Use:

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