Abstract
Adamo's article on Ebed-Melech's protest brings fresh insight into my earlier article on Song of Songs 1:5-7, prompting me to reread the text as a protest song (essay) against the racial stigmata that continue to bedevil black people in the world. The current article, using hermeneutics of appropriation, maintains the meaning of שְׁחוֹרָה as a black person, who in the Song of Songs protests against the racism, which transformed her status to that of a socioeconomic other. The study is informed by the contemporary and historical contexts of racial injustices and stigma suffered by Blacks for 'being' while Black. The essay investigates this question: In which ways does Adamo's reading of Jer 38:1-17 influence an African reading of Song 1:5-7 as a protest against racism? The article employs African Biblical Hermeneutics, as part of a creative and literary art in the protests against racism, to read the biblical text as our story-a divine story, which in the language of Adamo, has inherent divine power that can empower oppressed black people.
Highlights
Adamo’s article on Ebed-Melech’s protest brings fresh insight into my earlier article on Song of Songs 1:5–7, prompting me to reread the text as a protest song against the racial stigmata that continue to bedevil black people in the world
In a theopoetic rendition—archetypal of the undying flame of the African spirit—Song of Songs 1:5–7 is read as a lament of the black people, which showcases our beauty and challenges the oppressors as we chant, sing and ululate our worth, successes and joys even in the face and furnace of injustice
The niche of this article is that the Bible is an African book, upon which we anchor our hope as portrayed in various works of David Tuesday Adamo
Summary
In a theopoetic rendition—archetypal of the undying flame of the African spirit—Song of Songs 1:5–7 is read as a lament of the black people, which showcases our beauty and challenges the oppressors as we chant, sing and ululate our worth, successes and joys even in the face and furnace of injustice. That is filled with injustice.”[4] In light of Adamo’s view, the current article reads Song of Songs 1:5–7 as a protest song (essay) in the contexts of historical injustices and, more importantly, recurrent abuses inflicted on black people for “being” while black. Motivated by the ideological drive that Yahweh cannot disappoint his people, the nobles could not tolerate Jeremiah’s utterances Due to their fear, they arrested and condemned Jeremiah to prison as a way of containing him. This article reads ְׁשחֹו ָרהas a person who is racially black and sloganises ְׁשחֹו ָרה ֲא ִני ְׁו ָנא ָוהand the rest of Song of Songs 1:5–7 as a protest song against historical and contemporary injustices and stigma suffered by the race for ‘being’ while black—reality that has destined black people to be economic nobodies.[6] The essay investigates the question: In which ways does Adamo’s reading of Jer 38:1–17 influence an Africana reading of Song of Songs 1:5–7 as a protest against racism? The essay investigates the question: In which ways does Adamo’s reading of Jer 38:1–17 influence an Africana reading of Song of Songs 1:5–7 as a protest against racism? The article employs African Bible Hermeneutics, as part of a creative and literary art in the protests against racism, to read the Bible text as our story—a divine story–which in the language of Adamo, has inherent divine power that can deliver the poor, the weak and the oppressed black people.[7]
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