In This Issue: "Reclaiming the Power of Pentecost: Carlton Pearson, the Azusa Conference, and the Influence of Black Pentecostalism" (Part II)
The issue of Liturgy entitled “Revival,” guest-edited by Melanie Ross, explores the meaning of Christian revival in the multiple forms that have used that term. Here is an excerpt from “Reclaiming the Power of Pentecost: Carlton Pearson, the Azusa Conference, and the Influence of Black Pentecostalism” by Donté A. Ford recounting the 1906 Azusa Street Revival and the influence of the ensuing Azusa Conferences on establishing Pentecostalism––and especially Black Pentecostalism––with its spirited worship experiences. –– Melinda Quivik
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The Azusa conference truly embodied a multiethnic and multigenerational worshiping community/experience, that was diverse on both domestic and international fronts. The music,
arts, and preaching included Whites and Blacks alike, along with those from the global com-
munity; it served as a space to bridge cultural and generational divides. Furthermore, many
musicians and preachers of present-day notoriety have passed through the Azusa Conference.
Appearing on that platform pulled their names from obscurity and thrust them into household
familiarity.
In remembrance of the life, work, and ministry of Bishop Carlton D. Pearson (1953–2023),
this article lifts up Pearson’s Azusa Conference as a paradigm from which we can glean strategies for successful worship ministry in the twenty-first century. The article begins by providing a brief overview of the Azusa Street Revival of 1906—the inspiration for Pearson’s later work. It then offers a short biography of Pearson and orients his Azusa Conferences in relation to their 1906 predecessor. The article concludes with observations based on YouTube video footage of Pearson’s conference. I observe five characteristics about Pearson’s Azusa worship gatherings, suggesting them as points of learning and lifting them up as models and encouragement for worship leaders and curators today.
. . . As has been stated at many points throughout this article, the Azusa Conference (and the Higher D, for that matter) was a multiethnic, multiracial gathering, and this conference maintained ethnic (in this case, Black) senior leadership and a characteristically Black Pentecostal worshiping flare. This point should not go unnoticed as the present-day trend of multicultural/multiethnic congregations tends to be governed by White leadership and worship sensibilities, reinforcing an expectation that parishioners of color should assimilate. Of course, Pentecostalism is not an exclusively Black or ethnic worship experience. However, given that the revival of 1906 was perpetuated by the religious facilitation of a Black Christian, White Pentecostal denominations have a worship expression that retained, perhaps co-opted, features from a Black experience. Thus, such congregations, along with non-denominational, contemporary-worship-music-driven, charismatic-leaning congregations, would do well to acknowledge the influence.
. . . In his invocation or opening prayer during the Live at Azusa 3 recording, Pearson refers to the gathering as a presentation of the Gospel through song. I find this nuance quite compelling and affirming of music ministry and the role of music in corporate worship. Even today, it is not
altogether uncommon to encounter pastors who relegate—or ministers of music (and all related
titles and iterations) who self-relegate—music’s contribution to corporate worship only as the
warm-up or pre-show to the “most important, most powerful, most meaningful” portion of
corporate worship, the preached word. Doing so dismisses music’s ability, specifically singing
together, to communicate the gospel in a powerful, edifying, and soul-sustaining manner. Of
course, that relegation/viewpoint actually seems to contradict what might be a view held by
some that music in corporate worship should be undergirded by and rooted in biblical truth.
If this perspective and belief is true, which I affirm, it stands to reason that music in corporate
worship can and should be considered capable of effectively communicating the gospel and
could at least include a clear articulation of such.
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Donté A. Ford is assistant professor of music and associate chaplain for worship arts at Wheaton College in Wheaton, IL. Best described as a musician, minister, and scholar, Ford’s research foci are in Black sacred music and the music and theology of Black Holiness and Holiness-Pentecostal traditions.