（按上圖或按此免費下載）

黃詠貽

撮要

當世界正在經驗藍調的「不和諧」，我們應如何以宣講作反思、回應與更新？本文以莫斯三世（Otis Moss III）提出的「藍調宣講」為基本，分析藍調音樂、 非裔美國人歷史，與藍調宣講三者密不可分的關係。藍調音樂的「不和諧」特性， 成為連結一個獨特社羣過去、現在，與未來的載體，具現了羣體的集體創傷經驗， 並塑造出屬於這個社羣的藍調宣講模式。本文主張藍調宣講，改變了每個宣講者的凝視向度。在世界與聖經種種黑暗、不和諧、失衡之中，藍調宣講讓每個獨特處境下受創的基督社羣，仍能在共同宣講時，認知「神在其中」的信息。藍調宣講因而賦權予每個基督羣體，一同凝視那存於世界的黑暗、福音的應許，與延遲的解放之間的失衡，並拒絕跌入絕望之中。每個宣講者與聆聽者也能以參與重述 及重構受創的敘事，並從中發現耶穌基督，成為我們活於失衡的世代中仍然可以盡情發出歡呼、讚美的原因。

ABSTRACT

 When the world is experiencing the dissonance of Blues, how should we reflect upon and respond to it with our preaching on the pulpit? Based on the “Blue Note Preaching” model proposed by Otis Moss III, I would analyze the intertwining relationship between Blue music, African American history, and Blue Preaching/ Blue Note Preaching. The “dissonance” characteristic of Blues is a carrier that connects the past, present, and future of a unique and contextualized community, embodying the collective traumatic experiences and shaping a Blue preaching model belonging to this particular group. I argue that Blue Preaching has changed preachers’ direction of gaze. In the midst of the darkness, dissonance and conflicts that are present in both the world and the Bible, Blue Preaching allows every contextualized Christian community to realize the fact that God is among us, and it empowers each participant who is living in a collective trauma experience. Through Blue Preaching, we hold the dissonance between the darkness of the world and the delayed deliverance promised in the Gospel, and we refuse to fall into despair. Both preachers and listeners are participating in retelling and re-forming the traumatic narrative, in which we shall discover that Jesus Christ is the reason for us to celebrate while living within dissonance.

原載於《建道學刊》55期（2021年1月），頁 25-43。