The African American twist on life is indelible. You name it: clothing, food, jewelry, rhythm. Once touched, it is not what it was “in the beginning”.
This example is, how do you worship God musically as an African American?
Bearing in mind that Christ was born in Jerusalem, territorially, the Middle East.
The early Christians sang and danced in a manner completely alien to what an African was exposed to. The Ethiopian eunuch was travelling from his homeland to Jerusalem to learn more about this Christ, when he was approached by Philip who had the endowment to baptize the eunuch “in the name of Jesus”. (Acts 8: 26-40).
Fast forward through time and slavery, where the African is now in America, and wanting to worship God in his own rhythmic way, to the contrary of the “starched” Catholic or Protestant standards of the “overseers”.
Writers called it the “call and response” method. For example, the lead singer would cry out, “How long, Oh Lord?” with the rest of the group responding, “not long, not long!”.
The Ethiopian eunuch found rejoicing and psychological highs when talking about the Christ. This has transcended to Gospel music.
To see what gospel music does to a congregation of thousands in a music hall is overwhelming. And this I saw once more at Baltimore’s elite concert hall, the Meyerhoff.
The Gospel according to DONALD LAWRENCE, accompanied by the Baltimore Symphony Orchestra, April 27th, 2024.
