The Bible gives the first and only true account of the origin of mankind. It is the only book containing an accurate record of the progress of man toward civilization, and it is the indispensable reference of all searchers after the real facts of the birth of humanity and its progress toward the civilization of today; beginning with his creation, it is the only authentic record of man; authentic because it is first hand, not a copy of something else or a scientific or literary review, but a dispassionate record of man's creation and progress, untrimmed, unshaped and unvarnished, to suit prejudice. It would not be a complete record if it did not show with the rest of them the origin of the black man and "Woe for all these pinnacle thieves"-it shows that he, the "black man" is the "father of civilization." The black man has been misrepresented by prejudiced historians and lecturers. It has been and is now quoted that Ham, the father of the black man, was cursed by his father, Noah. Now, in regard to this incident let us take the Biblical record for it, and anyone not totally blind with prejudice will be convinced by reading in the Book of Genesis the 9th Chapter from the 20th to the 27th verse inclusive, that Noah did not, "for he could not curse" Ham, although he did in a fit of intoxication pronounce a curse on Canaan, the son of Ham.

"The Bible gives the first and only true account of the origin of mankind. It is the only book containing an accurate record of the progress of man toward civilization, and it is the indispensable reference of all searchers after the real facts of the birth of humanity and its progress toward the civilization of today; beginning with his creation, it is the only authentic record of man; authentic because it is first hand, not a copy of something else or a scientific or literary review, but a dispassionate record of man's creation and progress, untrimmed, unshaped and unvarnished, to suit prejudice. It would not be a complete record if it did not show with the rest of them the origin of the black man and "Woe for all these pinnacle thieves"—it shows that he, the "black man" is the "father of civilization.""_x000D_ James Morris Webb (1878-1940) was an American scholar and preacher.

Not only does this book detail the colonial experiences in Africa through what the author refers to as a ‘social construct,’ it also vehemently criticises modern African governments for their current corruption and maintenance of the continent's situation. This book presents a two-pronged analysis of Africa’s predicament by looking at the duality of ethics and identity. It tries to trace the problematic aspects of westernization and modernization within the contexts of neo-colonialism and continued exploitation of Africa by external forces, as well as the complicity of Africans themselves.

Most white philosophers of religion generally presume that philosophy of religion is based on what is a false universality; whereby the white/Western experience is paradigmatic of humanity at-large. The fact remains that Howard Thurman, James H. Cone and William R. Jones, among others, have produced a substantial amount of theological work quite worthy of consideration by philosophers of religion. Yet this corpus of thought is not reflected in the scholarly literature that constitutes the main body of philosophy of religion. Neglect and ignorance of African American Studies is widespread in the academy. By including chapters on Thurman, Cone and Jones, the present book functions as a corrective to this scholarly lacuna.

Winner of the 2022 Gustave O. Arlt Award in the Humanities, award by by the Council of Graduate Schools Explores the role of jazz celebrities like Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams as representatives of African American religion in the twentieth century Beginning in the 1920s, the Jazz Age propelled Black swing artists into national celebrity. Many took on the role of race representatives, and were able to leverage their popularity toward achieving social progress for other African Americans. In Lift Every Voice and Swing, Vaughn A. Booker argues that with the emergence of these popular jazz figures, who came from a culture shaped by Black Protestantism, religious authority for African Americans found a place and spokespeople outside of traditional Afro-Protestant institutions and religious life. Popular Black jazz professionals—such as Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams—inherited religious authority though they were not official religious leaders. Some of these artists put forward a religious culture in the mid-twentieth century by releasing religious recordings and putting on religious concerts, and their work came to be seen as integral to the Black religious ethos. Booker documents this transformative era in religious expression, in which jazz musicians embodied religious beliefs and practices that echoed and diverged from the predominant African American religious culture. He draws on the heretofore unexamined private religious writings of Duke Ellington and Mary Lou Williams, and showcases the careers of female jazz artists alongside those of men, expanding our understanding of African American religious expression and decentering the Black church as the sole concept for understanding Black Protestant religiosity. Featuring gorgeous prose and insightful research, Lift Every Voice and Swing will change the way we understand the connections between jazz music and faith.

James Morris Webb argues that the black man was the father of civilization, born in the land of Egypt, and that the different branches of science and art were simply transmitted to other races, which, as the ages have rolled by have only been enlarged, and to some extent improved upon. A seminal text, The Black Man was widely read within the Garvey Movement, the Rastafarians, and other early African identity and Black Nationalist groups.

The development of Afrocentric historical writing is explored in this study which traces this recording of history from the Hellenistic-Roman period to the 19th century. Afrocentric writers are depicted as searching for the unique primary source of "culture" from one period to the next. Such passing on of cultural traits from the "ancient model" from the classical period to the origin of culture in Egypt and Africa is shown as being a product purely of creative history.

Paul Harvey uses four characters that are important symbols of religious expression in the American South to survey major themes of religion, race, and southern history. The figure of Moses helps us better understand how whites saw themselves as a chosen people in situations of suffering and war and how Africans and African Americans reworked certain stories in the Bible to suit their own purposes. By applying the figure of Jesus to the central concerns of life, Harvey argues, southern evangelicals were instrumental in turning him into an American figure. The ghostly presence of the Trickster, hovering at the edges of the sacred world, sheds light on the Euro-American and African American folk religions that existed alongside Christianity. Finally, Harvey explores twentieth-century renderings of the biblical story of Absalom in William Faulkner’s Absalom, Absalom and in works from Toni Morrison and Edward P. Jones. Harvey uses not only biblical and religious sources but also draws on literature, mythology, and art. He ponders the troubling meaning of “religious freedom” for slaves and later for blacks in the segregated South. Through his cast of four central characters, Harvey reveals diverse facets of the southern religious experience, including conceptions of ambiguity, darkness, evil, and death.

As early as the 1780s, African Americans told stories that enabled them to survive and even thrive in the midst of unspeakable assault. Tracing previously unexplored narratives from the late eighteenth century to the 1920s, Laurie Maffly-Kipp brings to light an extraordinary trove of sweeping race histories that African Americans wove together out of racial and religious concerns. Asserting a role in God's plan, black Protestants sought to root their people in both sacred and secular time. A remarkable array of chroniclers—men and women, clergy, journalists, shoemakers, teachers, southerners and northerners—shared a belief that narrating a usable past offered hope, pride, and the promise of a better future. Combining Christian faith, American patriotism, and racial lineage to create a coherent sense of community, they linked past to present, Africa to America, and the Bible to classical literature. From collected shards of memory and emerging intellectual tools, African Americans fashioned stories that helped to restore meaning and purpose to their lives in the face of relentless oppression. In a pioneering work of research and discovery, Maffly-Kipp shows how blacks overcame the accusation that they had no history worth remembering. African American communal histories imagined a rich collective past in order to establish the claim to a rightful and respected place in the American present. Through the transformative power of storytelling, these men and women led their people—and indeed, all Americans—into a more profound understanding of their interconnectedness and their prospects for a common future.

"Africa for the Africans" was the name given in Africa to the extraordinary black social protest movement led by Jamaican Marcus Mosiah Garvey (1887-1940). Volumes I-VII of the Marcus Garvey and Universal Negro Improvement Association Papers chronicled the Garvey movement that flourished in the United States during the 1920s. Now, the long-awaited African volumes of this edition (Volumes VIII and IX and a forthcoming Volume X) demonstrate clearly the central role Africans played in the development of the Garvey phenomenon. The African volumes provide the first authoritative account of how Africans transformed Garveyism from an external stimulus into an African social movement. They also represent the most extensive collection of documents ever gathered on the early African nationalism of the inter-war period. Here is a detailed chronicle of the spread of Garvey's call for African redemption throughout Africa and the repressive colonial responses it engendered. Volume VIII begins in 1917 with the little-known story of the Pan-African commercial schemes that preceded Garveyism and charts the early African reactions to the UNIA. Volume IX continues the story, documenting the establishment of UNIA chapters throughout Africa and presenting new evidence linking Garveyism and nascent Namibian nationalism.