This handbook explores the central theme of Christian faith from various disciplinary approaches and different contexts of black experience in the United States. The central unifying theme is freedom; an important concept both in American culture and Christianity. African American theology represents a Christian understanding of God's freedom and the good news of God's call for all humankind to enter life-true human identity and moral responsibility-in genuine and just community. Contributors to the volume argue that African American theology highlights how racism and other intersecting forms of oppression complicate the human predicament; and that their eradication requires an expansion of salvation to include the liberation of persons who lack full participation in society and enjoyment of the good (and goods) made possible by that society. The essays in this handbook employ the tools of biblical criticism, history, cultural and social analysis, religious studies, philosophy, and systematic theology, in order to explore and assess the nature and impact of race, ethnicity, gender, sexuality, class, immigration, and cultural and moral pluralism in America-as well as the intersections between African American and African diasporan religious thought and life.

Folklorist Robert L. Stone presents a rare collection of high-quality documentary photos of the sacred steel guitar musical tradition and the community that supports it. The introductory text and extended photo captions in Can't Nobody Do Me Like Jesus! Photographs from the Sacred Steel Community offer the reader an intimate view of this unique tradition of passionately played music that is beloved among fans of American roots music and admired by folklorists, ethnomusicologists, and other scholars. In 1992, a friend in Hollywood, Florida, introduced Stone to African American musicians who played the electric steel guitar in the African American Holiness-Pentecostal churches House of God and Church of the Living God. With the passion, skill, and unique voice they brought to the instruments, these musicians profoundly impressed Stone. He produced an album for the Florida Folklife Program, which Arhoolie Records licensed and released worldwide. It created a roots music sensation. In 1996, Stone began to document the tradition beyond Florida. He took the photos in this book from 1992 to 2008 in Georgia, the Carolinas, Tennessee, Mississippi, New York, Pennsylvania, Michigan, and Florida, and at concerts in Italy. The images capture musicians as they play for worship services before spirit-filled believers singing, dancing, shouting, praying, and testifying. Stone gives the viewer much to witness, always presenting his passionate subjects with dignity. His sensitive portrayal of this community attests to the ongoing importance of musical traditions in African American life and worship.