"I Saw You Disappear with My Own Eyes": Hidden Transcripts of New York Black Israelite Bricolage.
To date, scholars have tended to view Black Israelites as mercenary, derivative, or imitative. However, this microhistorical reading of the public, partial, and hidden transcripts of New York Rabbi Wentworth Arthur Matthew's beliefs and ritual practices demonstrates that Black Israelites did not sim...
| Publicado en: | Nova Religio: The Journal of Alternative & Emergent Religion Vol. 11; no. 1; pp. 61 - 84 |
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| Formato: | Artículo |
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University of Pennsylvania Press
Aug2007
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=26375901&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 26375901 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 10926690 H01 jtl: Nova Religio: The Journal of Alternative & Emergent Religion issn: 10926690 maglogo: N pubinfo: dt: Aug2007 vid: 11 iid: 1 pid: 4636 pub: University of Pennsylvania Press artinfo: ui: 26375901 10.1525/nr.2007.11.1.61 ppf: 61 ppct: 23 formats: tig: atl: "I Saw You Disappear with My Own Eyes": Hidden Transcripts of New York Black Israelite Bricolage. aug: au: Dorman, Jacob S. affil: Department of History, 3001 Wescoe Hall, 1445 Jayhawk Boulevard, University of Kansas, Lawrence, KS 66045. su: Matthew, Wentworth Arthur Black Hebrews Religious identity African American religions Religion & culture sug: subj: Matthew, Wentworth Arthur Black Hebrews Religious identity African American religions Religion & culture ab: To date, scholars have tended to view Black Israelites as mercenary, derivative, or imitative. However, this microhistorical reading of the public, partial, and hidden transcripts of New York Rabbi Wentworth Arthur Matthew's beliefs and ritual practices demonstrates that Black Israelites did not simply imitate Jews, but rather they were bricoleurs who constructed a polycultural religion that creatively reworked threads from religious faiths, secret societies, and magical grimoires. Black Israelite religious identity was imagined and performed in sidewalk lectures and in Marcus Garvey's Liberty Hall; it was embodied through Caribbean pageants, and acted out in parades. Black Israelism was lived through secret Spiritualist and Kabbalistic rituals, and taught openly through Sunday Schools and Masonic affiliates. Finally, it was an identity that was formed and performed in a mixture of Sanctified and Judaic rites. Print culture, performance, and complex social networks were all important to the imagination and realization of this new Israelite religious identity. Recognizing the subversive quality of this bricolage and the complexity of its partial and hidden transcripts belies attempts to exclude esoteric African American new religious movements from the categories of protest religion and black religion. When one combines the study of Black Israelism with similar studies of African American NRM's of the 1920s, it is possible to appreciate a remarkable wave of overlapping esoteric religious creativity that accompanied the much more famous artistic creativity of the Harlem Renaissance. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2007 holdings: @attributes: islocal: N |
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