This book situates the study of Black Religion within the modern temporal and historical structures in the Atlantic World. It describes how black people and Black Religion made a phenomenological appearance in modernity simultaneously and were signified in the identity formation of whites and their religion.

This book situates the study of Black Religion within the modern temporal and historical structures whose geographical contours are the Atlantic World. It describes how black people and Black Religion made a phenomenological appearance in modernity simultaneously and were signified in the identity formation of whites and their religion. James A. Noel accounts for these new identity formations, religious-social practices, and their accompanying epistemological orientations by describing the non-reciprocal contacts and exchanges from which ensued new modes of materiality and imagining matter. Black Religion is shown to represent an alternative epistemological mode of imagining matter and a critique of both white Christianity and the Enlightenment.

This essay develops a response to the historical situation of the North Atlantic world in general and the United States in particular through theological reflection. It offers an overview of some decolonial perspectives with which theologians can engage, and argues for a general perspective for a decolonial theology as a possible response to modern/colonial structures and relations of power, particularly in the United States. Decolonial theory holds together a set of critical perspectives that seek the end of the modern/colonial world-system and not merely a democratization of its benefits. A decolonial theology, Joseph Drexler-Dreis argues, critiques how the confinement of knowledge to European traditions has closed possibilities for understanding historical encounters with divinity, and thus possibilities of critical reflection. A decolonial theology reflects critically on a historical situation in light of faith in a divine reality, the understanding of which is liberated from the monopoly of modern/colonial ways of knowing, in order to catalyze social transformation.

J-Rod moves like a small tank on the court, his face mean, staring down his opponents. "I play just like my father," he says. "Before my father died, he was a problem on the court. I'm a problem." Playing basketball for him fuses past and present, conjuring his father's memory into a force that opponents can feel in each bone-snapping drive to the basket. On the street, every ballplayer has a story. Onaje X. O. Woodbine, a former streetball player who became an all-star Ivy Leaguer, brings the sights and sounds, hopes and dreams of street basketball to life. He shows that big games have a trickster figure and a master of black talk whose commentary interprets the game for audiences. The beats of hip-hop and reggae make up the soundtrack, and the ballplayers are half-men, half-heroes, defying the ghetto's limitations with their flights to the basket. Basketball is popular among young black American men but not because, as many claim, they are "pushed by poverty" or "pulled" by white institutions to play it. Black men choose to participate in basketball because of the transcendent experience of the game. Through interviews with and observations of urban basketball players, Onaje X. O. Woodbine composes a rare portrait of a passionate, committed, and resilient group of athletes who use the court to mine what urban life cannot corrupt. If people turn to religion to reimagine their place in the world, then black streetball players are indeed the hierophants of the asphalt.

In a world marked by the effects of colonial displacements, slavery's auction block, and the modern observatory stance, can Christian theology adequately imagine racial reconciliation? What factors have created our society's racialized optic--a view by which nonwhite bodies are objectified, marginalized, and destroyed--and how might such a gaze be resisted? Is there hope for a church and academy marked by difference rather than assimilation? This book pursues these questions by surveying the works of Willie James Jennings and J. Kameron Carter, who investigate the genesis of the racial imagination to suggest a new path forward for Christian theology. Jennings and Carter both mount critiques of popular contemporary ways of theologically imagining Christian identity as a return to an ethic of virtue. Through fresh reads of both the "tradition" and liberation theology, these scholars point to the particular Jewish flesh of Jesus Christ as the ground for a new body politic. By drawing on a vast array of biblical, theological, historical, and sociological resources, including communal experiments in radical joining, A Theology of Race and Place builds upon their theological race theory by offering an ecclesiology of joining that resists the aesthetic hegemony of whiteness. .embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }

In 1985, the Kairos Document emerged out of the anti-apartheid struggle as a devastating critique of apartheid and a challenge to the church in that society. This book is a call to discern new moments of crisis, discernment and kairos, and respond with prophetic resistance to global injustice.

Exploring the Yoruba tradition in the United States, Hucks begins with the story of Nana Oseijeman Adefunmi’s personal search for identity and meaning as a young man in Detroit in the 1930s and 1940s. She traces his development as an artist, religious leader, and founder of several African-influenced religio-cultural projects in Harlem and later in the South. Adefunmi was part of a generation of young migrants attracted to the bohemian lifestyle of New York City and the black nationalist fervor of Harlem. Cofounding Shango Temple in 1959, Yoruba Temple in 1960, and Oyotunji African Village in 1970, Adefunmi and other African Americans in that period renamed themselves “Yorubas” and engaged in the task of transforming Cuban Santer'a into a new religious expression that satisfied their racial and nationalist leanings and eventually helped to place African Americans on a global religious schema alongside other Yoruba practitioners in Africa and the diaspora. Alongside the story of Adefunmi, Hucks weaves historical and sociological analyses of the relationship between black cultural nationalism and reinterpretations of the meaning of Africa from within the African American community.