Form, as they say, has much to contribute to content and its viability. A desirable (theological) content presented in an uninteresting form will not appeal, except to ones who have patience to decipher; but a (theologically) dreadful, painful or destructive ideology that is presented in a powerful form would draw a following. Indeed, the more dynamic the form the more intoxicating the experience of the content becomes; and the more powerful the experience the freer from the constraints of time and space the participants could become. When form and content bond, the energies of the event attract and captivate, and at once release the participants, even if momentarily, whether the event in question happens at a worship space or in a theological hall, as it often does at sporting arenas and night-clubs. When form and content gel, in other words, a high is attained.

Eventually, one hopes, form and content would meet at the realms of practicality. It is at that crossing point that Dramatizing Theologies: A Participative Approach to Black God-Talk stands, setting a space for the crossing of Black experiences and identities—with alertness to the subjectivity of the voiceless and the concerns of Womanists—with the scars of modern diaspora and displacement, theories and practices of Black Theology and Christian Education, and much more. The contact zone, if you may, is on the stage of drama and play.