“British missionary William Carey is often called the father of modern missions,” writes Rebecca Hopkins in Christianity Today. “Adoniram Judson has been titled the first American missionary to travel overseas.”
And for many of us, that pretty much sums up the origin of missions in the West. But Rebecca has more to tell us in “How Black Missionaries Are Being Written Back into the Story,” as she adds in Rebecca Protten and George Liele. Why are they notable? Because both left America and planted churches before Carey or Judson went out—Protten to St. Thomas and later present-day Ghana, and Liele to Jamaica—and both were former slaves.
If Protten’s and Liele’s names are new to you, grab the January/February issue of CT to read their stories, stories that, as Rebecca writes, “add depth and complication to the sometimes too-simple narrative of missions history.” Depth, because of the inclusion of Black Christians that sit outside the traditional narrative of the White American church. Complication, because Protten and Liele were not “commissioned” and “sent out” in the traditional sense, and because questions remain as to how complicit they were in the evils of their day—Protten in regards to “cultural genocide” and Liele in regards to slavery.
I like the phrase “depth and complication.” Too often we Christians find comfort in our “too-simple narratives,” leaving out difficult details, and leaving out people, as well.
Rebecca’s article and that phrase were in the back of my mind a few weeks ago (pardon me while I go on a stream-of-consciousness trek here) when I heard on the radio the end of an interview with the African-American composer Thomas Dorsey. I looked up more on Dorsey, known as the “Father of Soul Music,” and here’s what I found.
The son of a Baptist preacher and church organist, Dorsey started his musical career as a blues piano player, often performing in bars and brothels, and later toured with the “Mother of the Blues,” Gertrude “Ma” Rainey. Then in 1921, after attending the National Baptist Convention, he committed himself to writing gospel music. But it wasn’t a full commitment, as he didn’t completely turn his back on the blues culture of the time, which included “dirty blues,” risqué songs filled with double entendres. It was in this genre that he cowrote his most popular blues piece, the hit “It’s Tight like That.” As Dorsey tried to introduce his bluesy gospel songs in churches, his mixing of the secular and holy rankled many preachers. And as Dorsey tells Steven Kaplan in Horizon, he believed preachers felt upstaged by his music. “I got kicked out of some of the best churches in town,” he says.
He found a better welcome in Ebenezer Baptist Church, where, in 1931, he helped establish the first gospel choir. But it was the next year when his life truly changed, resulting in his writing the classic gospel song “Take My Hand, Precious Lord.” Following is the story, told by Dorsey in the documentary, Say Amen, Somebody. It takes place after he had travelled to St. Louis, while his wife remained in South Chicago. . . .
Continue reading, for more about Thomas Dorsey, Horatio and Anna Spafford, and Lilias Trotter, at A Life Overseas.
(Rebecca Hopkins, “How Black Missionaries Are Being Written Back into the Story,” Christianity Today, December 13, 2021)
[photo: “Sand Dune Patterns and Shapes,” by Jeff Sullian, used under a Creative Commons license]