Black British Gospel Music is a dynamic and multifaceted musical practice, a diasporic river rooted in the experiences of Black British Christian communities. This book examines gospel music in Britain in both historical and contemporary perspectives, demonstrating the importance of this this vital genre to scholars across disciplines. Drawing on a plurality of voices, the book examines the diverse streams that contribute to and flow out of this significant genre. Gospel can be heard resonating within a diverse array of Christian worship spaces; as a form of community music-making in school halls; and as a foundation for ‘secular’ British popular music, including R&B, hip hop and grime.
Black British Gospel Music is a dynamic and multifaceted musical practice, a diasporic river rooted in the experiences of Black British Christian communities.
Introduction: Rivers of Babylon: Contextualizing Black British Gospel
Music
Pauline Muir, Dulcie Dixon McKenzie, and Monique M. Ingalls
1 Look Where God has Brought Us! Remembering the Religious Foundations of
Black British Gospel Music
Dulcie Dixon McKenzie
2 Gifts and Talents: Sacred and secular musical performance at a suburban
British Pentecostal church
Natalie Hyacinth
3 Just Like Church, Not Like Church, or Better Than Church? Community Gospel
Choirs as Lived Religion and Convivial Spiritual Practice in the Contemporary
United Kingdom
Monique M. Ingalls
4 Black British Gospel Music: A Perspective from A Reluctant Choir Director
Geraldine Latty Luce
5 Black British Gospel-Pop Crossover: Gospel Codes in the Music of Stormzy
and Mica Paris
Matthew Williams
6 The sacred and secular interplay within gospel grime performance
Samson Tosin Onafuye
7 Dont shoot the Messi(nJ)ah: Charting the growth of the Gospel in Great
British Grime music
Monique Charles
8 The Jamaican Bible Remix: A theomusicological praxis for bridging the gap
between Black Liberation Theology and Contemporary Gospel Music in Britain
Robert Beckford
9 Black British Gospel Music and the Question of Belief (in God)
Alexander Douglas
10 Decolonising Congregational Music
Pauline Muir
11 Black British Gospel Music Past, Present, and Future: Final Reflections
from the Editors
Dulcie Dixon McKenzie, Pauline Muir, and Monique M. Ingalls
Afterword: We Need Black Power, Lord! Reflections on Black British Gospel
Music
William Ackah
Dulcie Dixon McKenzie is the Director of the Centre for Black Theology at the Queens Foundation for Ecumenical Theological Education, Birmingham, UK. She achieved her PhD at the University of Birmingham and has published in the area of Black British gospel music and church history. She is a multiple award-winning pioneer of Black British gospel music Radio, including a lifetime achievement award.
Pauline Muir is a lecturer in Arts Management at Goldsmiths College, University of London. Awarded a PhD from Birkbeck College, University of London interrogating congregation music within UK Black majority Churches, her research interests are in the intricate interplay between race, identity, congregational music and the Black British Gospel industry.
Monique M. Ingalls is Associate Professor of Music and Church Music Graduate Program Director at Baylor University in Waco, Texas, USA. She is the author and editor of several books on congregational music-making and serves as series editor of Routledges Congregational Music Studies Book Series.
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