Examining the spectrum of "flamboyant" gender expression of male vocalists in historically black churches, Flaming?: The Peculiar Theo-Politics of Fire and Desire in Black Male Gospel Performance observes the relationship between these men, their congregations, and the heteronormativity of theology they perform.
Examining the spectrum of "flamboyant" gender expression of male vocalists in historically black churches, Flaming?: The Peculiar Theo-Politics of Fire and Desire in Black Male Gospel Performance observes the relationship between these men, their congregations, and the heteronormativity of theology they perform.
Alisha Lola Jones, PhD is an assistant professor in the Department of Folklore and Ethnomusicology at Indiana University (Bloomington). Dr. Jones is a council member of the Society for Ethnomusicology's (SEM), American Musicological Society (AMS) and co-chair of the Music and Religion Section of the American Academy of Religion (AAR). Dr. Jones' research interests include musical masculinities, global pop music, future studies, ecomusicology, music and theology, the music industry, musics of the African diaspora and emerging research on music and future foodways (gastromusicology) in conjunction with The Institute for the Future in Silicon Valley, CA.
Inhaltsangabe
* Setting the Atmosphere: A Sermonic Selection * 1. "I Am Delivert!": The Pentecostal Altar Call and Vocalizing Black Men's Testimonies of Deliverance from Homosexuality * 2. "Men Don't Sing Soprano": Black Countertenors and Gendered Sound in the Sermonic Selection * 3. Pole Dancing For Jesus: Pentecostal Religious Pluralism and The Bodily Performance of Sexual Ambiguity in Liturgical Dance * 4. "Peculiar 'Til I D.I.E.": War Cries, Undignified Praise, and Homomusicoenchantment in Gospel Go-Go Music * 5. "WIRED": (De)Coding Tonéx's Unapologetic Queer Body Theology * 6. Ritualizing the Unspoken: Memory, Separation, and The Rhetorical Art of Silence * 7. Church Realness: The Performance of Discretionary Devices and Hetero-presentation in the House of God * "Preaching to the Choir and Being Played": An Altar Call * Glossary * Bibliography * Appendix
* Setting the Atmosphere: A Sermonic Selection * 1. "I Am Delivert!": The Pentecostal Altar Call and Vocalizing Black Men's Testimonies of Deliverance from Homosexuality * 2. "Men Don't Sing Soprano": Black Countertenors and Gendered Sound in the Sermonic Selection * 3. Pole Dancing For Jesus: Pentecostal Religious Pluralism and The Bodily Performance of Sexual Ambiguity in Liturgical Dance * 4. "Peculiar 'Til I D.I.E.": War Cries, Undignified Praise, and Homomusicoenchantment in Gospel Go-Go Music * 5. "WIRED": (De)Coding Tonéx's Unapologetic Queer Body Theology * 6. Ritualizing the Unspoken: Memory, Separation, and The Rhetorical Art of Silence * 7. Church Realness: The Performance of Discretionary Devices and Hetero-presentation in the House of God * "Preaching to the Choir and Being Played": An Altar Call * Glossary * Bibliography * Appendix
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