Abstract
The unique character of Black preaching may be viewed in the context of two interrelated cultural phenomena: the oral tradition and ritual
drama. Among the most insightful commentaries on Black preaching are works by James Weldon Johnson, William H. Pipes, and Henry H. Mitchell. In an effort to contribute to the dialogue on a style of worship which has been submerged in misunderstanding and misrepresentation, this article seeks to examine the meaning and function of these phenomena.1