Black History

The Black Church: Political and Social Links

THE WESTSIDE GAZETTE — As a nation conceptualized and founded “under God,” but that also served as a haven for those persecuted for their beliefs in other societies, religion and sacred spaces have always been inextricably linked to the political and social history of the United States. In the African American community, this sentiment can be seen to run even deeper, with the “Black church” serving not only as a foundation and backbone for the community, but also as one of the only safe spaces for African Americans to gather and confront the issues of the day.

Published

6 years ago

June 16, 2019

Oakland Post

By Carma Henry

As a nation conceptualized and founded “under God,” but that also served as a haven for those persecuted for their beliefs in other societies, religion and sacred spaces have always been inextricably linked to the political and social history of the United States. In the African American community, this sentiment can be seen to run even deeper, with the “Black church” serving not only as a foundation and backbone for the community, but also as one of the only safe spaces for African Americans to gather and confront the issues of the day.

The first Black Christian congregations began to appear during the 18th century, when for the first time, northern Baptist and Methodist itinerant preachers began to convert and minister to slaves and free Blacks throughout the southern Tide-water and Low Country regions with a message of anti-slavery and spiritual equality. They advocated for slaves to be educated in order to study and read the Bible, and even trained these early converts for active roles in the church, like George Leile who was born a slave but ordained as a missionary in 1775 and preached in the Savannah, Georgia area before taking his mission to Jamaica ten years later. There is still debate as to which of the earliest recorded Black congregations was “first,” because as religion professor Reverend Henry Mitchell explains, it is, “said that the first Black Baptist church was in South Carolina, Silver Bluff. Well, it’s true that one of the earlier churches was there, but there were churches in Virginia that were just as old…Even though it was under the leadership and sponsorship of whites, Black folks did all kinds–they didn’t, they didn’t allow them to preach, but when they allowed them to pray, they preached anyhow.” Despite the debate, it is clear that the earliest black Baptist congregations began to organize under white ministers as early as the 1750s, and became independent and officially recognized in the 1770s with the Silver Bluff Baptist Church (1773), Savannah, Georgia’s First African Baptist Church (1773), and Petersburg, Virginia’s First Baptist Church (1774) – all prior to the Revolutionary War.

Though many of the early churches were actually mixed congregations, many whites throughout both the south and north were not open to sharing their religious spaces with Blacks. In fact, the founding of the AME Church arose from a reaction to segregation in the church. Theologian James H. Cone recounts, “So when Richard Allen and his group of about twenty or so came that morning to worship at St. George, that’s where they were members. Somebody was praying as they were going to their place, and they just stopped in respect for the prayer. And the ushers were stunned that they should stop at a section that was not theirs. And so, the ushers came over and said no you cannot stop here you gotta go, and Richard Allen just said wait until the prayer is over and we will go. But he said no you gotta go now, and he began to manhandle them out. And that’s when Richard Allen rose, and the other group–Absalom Jones was a part of that group too–they got up, and they left. Never again to come in that church to worship in that way. And they started their own church which is Bethel A.M.E. Church.” Jones and Allen would go on to find the Free African Society in Philadelphia, and eventually their own churches. Jones became the first Black priest ordained in the Episcopal Church in 1804, and Allen would expand his church in 1816 into the first fully independent Black denomination, the African Methodist Episcopal Church (AME).

This spirit of organizing and action carried through the Black church regardless of denomination, and the church provided not only religious fulfillment for their members but acted as a center of the Black community in all aspects of life. Civil rights activist Reverend Willie T. Barrow remembers, “the Black church was the foundation of your social life. It was a social outlet. It was a political outlet. It was an educational outlet.” As a result, much of the social and political organizing that built the modern Civil Rights Movement had its roots in the church. While Blacks were both de facto and de jure second class citizens on every other day of the week, civil rights activist Reverend Benjamin Hooks reflected, “On Sunday morning we were Deacon Crowe, Deacon Hooks, Reverend Hooks, we could approach God for ourselves, we were teachers, treasurers, superintendents, choir directors. So, the Black church — that was a vehicle not only religiously, but organizationally wise they brought us through. No accident that many of our great leaders of the days in the past were preachers, many of our congress people and early state senators and state legislators were ministers of the Gospel.” Pastor and activist Reverend Gardner Taylor expanded further, “Back then, the Black preacher was the only free person there was who had no sanctions against him. What could they do other than physical harm? They couldn’t penalize him. His living did not come from the white community. I have said many times that the Black church–It had its faults. God knows it has. But it was our General Motors, our U.S. Steel, our Enron too. But it was the one place that Blacks were really free.”

In modern times, the potential power of the Black church has been fully recognized and strategically courted. As The Honorable Reverend Walter Fauntroy put it in his 2003 interview with The HistoryMakers, “It’s important in this era because there’s a reason that politicians show up at black churches on the Sunday before the Tuesday election. It’s because they know that you’ve got a block of people who have been tutored every week about the importance of taking care of the least of these. And if I can get their votes, I may win. And so, I’m hopeful that the Black church will remain as relevant as it was in the ’60s for civil rights in this era.” As religious freedoms and values seem to become more and more deeply intertwined with this country’s political and social climate, Fauntroy’s hope will certainly be put to the test.

This article originally appeared in The Westside Gazette.

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Activism

‘Donald Trump Is Not a God:’ Rep. Bennie Thompson Blasts Trump’s Call to Jail Him

“Donald Trump is not a god,” U.S. Rep. Bennie Thompson, D-Miss., told The Grio during a recent interview, reacting to Trump’s unsupported claims that the congressman, along with other committee members like vice chair and former Republican Rep. Liz Cheney, destroyed evidence throughout the investigation.

Published

6 hours ago

December 18, 2024

Oakland Post

Congressman Bennie Thompson, D-Miss. Courtesy photo.

By Post Staff

U.S. Rep. Bennie Thompson, D-Miss., said he not intimidated by President-elect Donald Trump, who, during an interview on “Meet the Press,” called for the congressman to be jailed for his role as chairman of the special congressional committee investigating Trump’s role in the Jan. 6, 2021, mob attack on the U.S. Capitol.

“Donald Trump is not a god,” Thompson told The Grio during a recent interview, reacting to Trump’s unsupported claims that the congressman, along with other committee members like vice chair and former Republican Rep. Liz Cheney, destroyed evidence throughout the investigation.

“He can’t prove it, nor has there been any other proof offered, which tells me that he really doesn’t know what he’s talking about,” said the 76-year-old lawmaker, who maintained that he and the bipartisan Jan. 6 Select Committee – which referred Trump for criminal prosecution – were exercising their constitutional and legislative duties.

“When someone disagrees with you, that doesn’t make it illegal; that doesn’t even make it wrong,” Thompson said, “The greatness of this country is that everyone can have their own opinion about any subject, and so for an incoming president who disagrees with the work of Congress to say ‘because I disagree, I want them jailed,’ is absolutely unbelievable.”

When asked by The Grio if he is concerned about his physical safety amid continued public ridicule from Trump, whose supporters have already proven to be violent, Thompson said, “I think every member of Congress here has to have some degree of concern, because you just never know.”

This story is based on a report from The Grio.

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Activism

Biden’s Legacy Secured with Record-Setting Black Judicial Appointments

His record surpasses previous efforts by his predecessors. President Jimmy Carter appointed 37 Black judges, including seven Black women. In stark contrast, Donald Trump’s first term resulted in only two Black women appointed out of 234 lifetime judicial nominations. The White House said Biden’s efforts show a broader commitment to racial equity and justice.

Published

7 hours ago

December 18, 2024

Oakland Post

iStockphoto.

By Stacy M. Brown
WI Senior Writer

President Joe Biden’s commitment to diversifying the federal judiciary has culminated in a historic achievement: appointing 40 Black women to lifetime judgeships, the most of any president in U.S. history.

Biden has appointed 62 Black judges, cementing his presidency as one focused on promoting equity and representation on the federal bench.

The White House said Biden’s efforts show a broader commitment to racial equity and justice.

Meanwhile, Trump has vowed to dismantle key civil rights protections, including the Justice Department’s Civil Rights Division.

“Having the Black woman’s experience on the federal bench is extremely important because there is a different kind of voice that can come from the Black female from the bench,” Delores Jones-Brown, professor emeritus at John Jay College of Criminal Justice, told reporters.

Lena Zwarensteyn of the Leadership Conference on Civil and Human Rights told reporters that these district court judges are often the first and sometimes the final arbiters in cases affecting healthcare access, education equity, fair hiring practices, and voting rights.

“Those decisions are often the very final decisions because very few cases actually get heard by the U.S. Supreme Court,” Zwarensteyn explained.

Biden’s nomination of Justice Ketanji Brown Jackson to the Supreme Court further reflects his commitment to judicial diversity. Jackson became the first Black woman to serve on the nation’s highest court.

Patrick McNeil, spokesperson for the Leadership Conference, pointed out that over half of Biden’s Black female judicial appointees have backgrounds as civil rights attorneys and public defenders, experience advocates consider essential for a balanced judiciary.

Meanwhile, Congress remains divided over the expansion of federal judgeships. Legislation to add 66 new judgeships—approved unanimously by the Senate in August—stalled in the GOP-controlled House until after the election. House Republicans proposed distributing the new judgeships over the next decade, giving three administrations a say in appointments. President Biden, however, signaled he would veto the bill if it reached his desk.

Rep. Jerry Nadler, D-N.Y., argued the delay was a strategic move to benefit Trump’s potential return to office. “Donald Trump has made clear that he intends to expand the power of the presidency and giving him 25 new judges to appoint gives him one more tool at his disposal,” Nadler said.

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Arts and Culture

Promise Marks Performs Songs of Etta James in One-Woman Show, “A Sunday Kind of Love” at the Black Repertory Theater in Berkeley

“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.” Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

Published

8 hours ago

December 18, 2024

Oakland Post

Photo Courtesy Of Promise Marks.

Special to the Post

It was “A Sunday Kind of Love” at the Black Repertory Group Theater in Berkeley on Saturday night, Dec. 7. The one-woman musical based on the music of Etta James featured the multi-talented singer Promise Marks

Marks, who wrote and directed the musical, also owns PM Productions.

Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

In between her soulful songs, Marks narrated impactful moments of the love story and journey of blues and forgiveness.

Marks sultry voice carried the audience back to an era that echoed with the power of Black music and a time of great change.

Marks said James shared love for the Black community by singing at gatherings during the Civil Rights Movement uplifting the people.

“She spoke to the movement, spoke to the people, and let her music speak for itself,” Marks said.

Backing the musical’s monologues, images and videos of Etta James are projected for the audience to view. While the production is fictional, Marks infused script with the unfairness and heartbreak James experienced while performing.

Marks performed gospel artist Donnie McClurkin’s “We Fall Down” as she narrated acts of reconciliation and forgiveness among the characters at Johnny Rhythm’s deathbed.

Marks, who regularly sings for the Miss America Pageant, was asked to perform as Etta James last year. “(At the event) a lady yelled out to me: ‘You’re Etta James!’ And then the audience went crazy. I said to myself, ‘I may have something here,’” she said.

Within 12 months, Marks created the musical production, which featured a dozen songs honoring “the great legacy of Etta James,” she said.

Marks says she was saddened to see how Etta James was often judged by the struggles in her life and wanted to offer attendees a more layered view.

“Etta’s life was so big. I want people to know that she was more than her drug addiction,” said Marks. “We can’t make that her legacy. Her catalog is too amazing. You can’t just be that and have the catalog that she (created). I don’t want the addiction to be the focus: I want her music, her element, her sassiness, and what she brought to be the focus – her woman-ness, that she was strong, and I wanted to honor that.”

Set Designer Nora Burnette says she created the set segments to mirror James’ life story. A set designer for BRG since 2016, she explained that her process of researching the scenario and the character serve as her inspiration for her design.

“I try to design a set as close to real life as possible so that the actress can deliver the performance sincerely,” said Burnette. “By creating the right setting, it helps the actors release the true essence of a character.”

The set brought the story to life and absolutely floored Marks. “Once Promise (Marks) saw the actual set, she understood my vision: ‘Wow, you get me. You get it,'” Marks told the designer.

Born Jamesetta Hawkins, Etta James, began her career in 1954 and gained fame with hits such “At Last” and “I’d Rather Go Blind.” She faced a number of personal problems, before making a musical comeback in the late 1980s with the album “Seven Year Itch.”

Co-producer and BRG Development Director, Sean Vaughn Scott, works with Overseer Production. According to producer Pamela Spikes, “Marks talent truly does Etta’s life story justice.”

Pam Jacobs of Hercules, a friend of Marks’ mom, Jackie Smith, said, Marks “was fabulous and sang all of those songs flawlessly.”

“I’m so proud of my daughter,” said Smith.

Marks, who has served as an instructor for BRG, will return on Feb. 21- 23 for an encore run of the musical.

“It’s an honor to be a part of the BRG (Black Repertory Group) family and continue our executive director Dr. Mona Vaughn Scott’s vision for the Black Repertory Group theater,” said Marks.

The Black Repertory Group Theatre is located at 3201 Adeline St., Berkeley, CA 94703. For information, visit: BlackRepertoryGroup.com