With its lenses trained on the formerly colonized nation of Trinidad and Tobago (Trinbago,) my dissertation explores the notion of a decolonial homiletic that merits a place among mainstream homiletical options. The study builds on the premise that Trinbagonians claim the Calypso as their indigenous music, a genuine, well-supported claim. If so, then what markers characterize this music as truly local, and what are its rhetorical distinctives as a marginalized act of proclamation? These clues are significant in my attempts to name a specific type of Trinbagonian pulpit speech as local, one divested of traditional hallmarks of colonial preaching. My ultimate claim is that since God speaks to God's people in various ways (Heb. 1:1), even the unconventional and marginalized modes of preaching convey the power of the gospel. Such modes deserve their place at the North American homiletical table since the growth of Christianity in this country is mostly attributable to congregations of marginalized communities, where non-mainstream preaching occurs with great effect. It is my hope that this project will ultimately illuminate ways in which mainstream and marginalized preaching can mutually enrich each other, particularly in the homiletics classroom.