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onsdag, augusti 27, 2008
onsdag, augusti 13, 2008
skönheten och helgonen: kyrkans apologetik
här kommer ett utdrag ur en Q&A med påven, för några dagar sedan. benedikt säger att det är helgonen och skönheten som är den enda verkliga apologetiken vi kan peka på. det är bara det helt överrumplande i något vackert och [därför] heligt som kan skaka om oss till tro.
1. "All great works of art are an epiphany of God"
Q: Holy Father, my name is Willibald Hopfgartner, and I am a Franciscan. In your address in Regensburg, you emphasized the substantial connection between the divine Spirit and human reason. On the other hand, you have also always emphasized the importance of art and beauty. So then, together with conceptual dialogue about God in theology, should there not always be a new presentation of the aesthetic experience of the faith within the Church, through proclamation and the liturgy?
A: Yes, I think that the two things go together: reason, precision, honesty in the reflection on truth, and beauty. A form of reason that in any way wanted to strip itself of beauty would be depleted, it would be blind. Only when the two are united do they form the whole, and this union is important precisely for the faith. Faith must constantly confront the challenges of the mindset of this age, so that it may not seem a sort of irrational mythology that we keep alive, but may truly be an answer to the great questions; so that it may not be merely a habit, but the truth, as Tertullian once said.
In his first letter, St. Peter wrote the phrase that the medieval theologians took as the legitimization, almost as the mandate for their theological work: "Always be ready to give an explanation to anyone who asks you for a reason for your hope" – an apologia for the "logos" of hope, meaning a transformation of the "logos," the reason for hope, into an apologia, an answer addressed to men. He was clearly convinced of the fact that faith is "logos," that it is a form of reason, a light issuing from the creating Light, and not a hodgepodge resulting from our own thought. This is why it is universal, and for this reason it can be communicated to all.
But this creating "Logos" is not a merely technical "logos." It is broader than this, it is a "logos" that is love, and therefore to be expressed in beauty and goodness. And in reality, for me art and the saints are the greatest apologia for our faith.
The arguments presented by reason are absolutely important and indispensable, but there always remains some disagreement somewhere. If, instead, we look at the saints, this great luminous arc that God has set across history, we see that here there is truly a power of goodness that lasts over the millennia, here there is truly light from light.
And in the same way, if we contemplate the created beauties of the faith, these simply are, I would say, the living proof of faith. Take this beautiful cathedral: it is a living proclamation! It speaks to us on its own, and beginning with the beauty of the cathedral we are able to proclaim in a visible way God, Christ and all of his mysteries: here these have taken shape, and are gazing back at us. All of the great works of art, the cathedrals – the Gothic cathedrals, and the splendid Baroque churches – all of them are a luminous sign of God, and therefore truly a manifestation, an epiphany of God.
Christianity involves precisely this epiphany: that God has become a veiled Epiphany, he appears and shines. We have just listened to the sound of the organ in all its splendor, and I think that the great music born within the Church is an audible and perceptible rendering of the truth of our faith: from Gregorian chant to the music of the cathedrals to Palestrina and his era, to Bach and then to Mozart and Bruckner, and so on... Listening to all of these great works – the Passions by Bach, his Mass in B minor, and the great spiritual compositions of 16th century polyphony, of the Viennese school, of all of this music, even by minor composers – suddenly we feel: it is true! Wherever things like these are created, there is Truth.
Without an intuition capable of discovering the true creative center of the world, this beauty cannot be created. For this reason, I think that we must always act in such a way that these two things go together, we must present them together. When, in our own time, we discuss the reasonableness of the faith, we are discussing precisely the fact that reason does not end where experimental discoveries end, it does not end in positivism; the theory of evolution sees the truth, but sees only half of it: it does not see that behind this is the Spirit of creation. We are fighting for the expansion of reason, and therefore for a form of reason that, exactly to the point, is open to beauty as well, and does not have to leave it aside as something completely different and irrational.
Christian art is a rational form of art – we think of Gothic art, great music, or the Baroque art right here – but this is the artistic expression of a much broader form of reason, in which the heart and reason come together. This is the point. This, I think, is in some way the proof of the truth of Christianity: the heart and reason come together, beauty and truth touch. And to the extent that we are able to live in the beauty of truth, so much more will faith again be able to be creative, in our own time as well, and to express itself in a convincing artistic form.
om du vill läsa resten av artikeln hittar du den här.
1. "All great works of art are an epiphany of God"
Q: Holy Father, my name is Willibald Hopfgartner, and I am a Franciscan. In your address in Regensburg, you emphasized the substantial connection between the divine Spirit and human reason. On the other hand, you have also always emphasized the importance of art and beauty. So then, together with conceptual dialogue about God in theology, should there not always be a new presentation of the aesthetic experience of the faith within the Church, through proclamation and the liturgy?
A: Yes, I think that the two things go together: reason, precision, honesty in the reflection on truth, and beauty. A form of reason that in any way wanted to strip itself of beauty would be depleted, it would be blind. Only when the two are united do they form the whole, and this union is important precisely for the faith. Faith must constantly confront the challenges of the mindset of this age, so that it may not seem a sort of irrational mythology that we keep alive, but may truly be an answer to the great questions; so that it may not be merely a habit, but the truth, as Tertullian once said.
In his first letter, St. Peter wrote the phrase that the medieval theologians took as the legitimization, almost as the mandate for their theological work: "Always be ready to give an explanation to anyone who asks you for a reason for your hope" – an apologia for the "logos" of hope, meaning a transformation of the "logos," the reason for hope, into an apologia, an answer addressed to men. He was clearly convinced of the fact that faith is "logos," that it is a form of reason, a light issuing from the creating Light, and not a hodgepodge resulting from our own thought. This is why it is universal, and for this reason it can be communicated to all.
But this creating "Logos" is not a merely technical "logos." It is broader than this, it is a "logos" that is love, and therefore to be expressed in beauty and goodness. And in reality, for me art and the saints are the greatest apologia for our faith.
The arguments presented by reason are absolutely important and indispensable, but there always remains some disagreement somewhere. If, instead, we look at the saints, this great luminous arc that God has set across history, we see that here there is truly a power of goodness that lasts over the millennia, here there is truly light from light.
And in the same way, if we contemplate the created beauties of the faith, these simply are, I would say, the living proof of faith. Take this beautiful cathedral: it is a living proclamation! It speaks to us on its own, and beginning with the beauty of the cathedral we are able to proclaim in a visible way God, Christ and all of his mysteries: here these have taken shape, and are gazing back at us. All of the great works of art, the cathedrals – the Gothic cathedrals, and the splendid Baroque churches – all of them are a luminous sign of God, and therefore truly a manifestation, an epiphany of God.
Christianity involves precisely this epiphany: that God has become a veiled Epiphany, he appears and shines. We have just listened to the sound of the organ in all its splendor, and I think that the great music born within the Church is an audible and perceptible rendering of the truth of our faith: from Gregorian chant to the music of the cathedrals to Palestrina and his era, to Bach and then to Mozart and Bruckner, and so on... Listening to all of these great works – the Passions by Bach, his Mass in B minor, and the great spiritual compositions of 16th century polyphony, of the Viennese school, of all of this music, even by minor composers – suddenly we feel: it is true! Wherever things like these are created, there is Truth.
Without an intuition capable of discovering the true creative center of the world, this beauty cannot be created. For this reason, I think that we must always act in such a way that these two things go together, we must present them together. When, in our own time, we discuss the reasonableness of the faith, we are discussing precisely the fact that reason does not end where experimental discoveries end, it does not end in positivism; the theory of evolution sees the truth, but sees only half of it: it does not see that behind this is the Spirit of creation. We are fighting for the expansion of reason, and therefore for a form of reason that, exactly to the point, is open to beauty as well, and does not have to leave it aside as something completely different and irrational.
Christian art is a rational form of art – we think of Gothic art, great music, or the Baroque art right here – but this is the artistic expression of a much broader form of reason, in which the heart and reason come together. This is the point. This, I think, is in some way the proof of the truth of Christianity: the heart and reason come together, beauty and truth touch. And to the extent that we are able to live in the beauty of truth, so much more will faith again be able to be creative, in our own time as well, and to express itself in a convincing artistic form.
om du vill läsa resten av artikeln hittar du den här.
torsdag, augusti 07, 2008
hjärtat
från den nyss avlidne Aleksandr Solzhenitsyn:
"It was only when I lay there on rotting prison straw that I sensed within myself the first stirrings of good. Gradually it was disclosed to me that the line separating good and evil passes not through states, nor between classes, nor between political parties either, but right through every human heart, and through all human hearts. This line shifts. Inside us, it oscillates with the years. Even within hearts overwhelmed by evil, one small bridgehead of good is retained; and even in the best of all hearts, there remains a small corner of evil.
If only there were evil people somewhere insidiously committing evil deeds, and it were necessary only to separate them from the rest of us and destroy them. But the line dividing good and evil cuts through the heart of every human being. And who is willing to destroy a piece of his own heart?” [via glory to God]
när han betonar hjärtat som den plats där kampen mellan det onda och det goda utspelars sig visar han sig vara i direkt kontinuitet med den östliga kristna traditionen som han så djupt formats av. jämför till exempel med makarius, som skrev dessa rader på 400-talet:
"The heart itself is but a small vessel, yet dragons are there, and there are also lions; there are poisonous beasts and all the treasures of evil. But there too is God, the angels, the life and the kingdom, the light and the apostles, the heavenly cities and the treasuries of grace—all things are there." (H.43.7)
"It was only when I lay there on rotting prison straw that I sensed within myself the first stirrings of good. Gradually it was disclosed to me that the line separating good and evil passes not through states, nor between classes, nor between political parties either, but right through every human heart, and through all human hearts. This line shifts. Inside us, it oscillates with the years. Even within hearts overwhelmed by evil, one small bridgehead of good is retained; and even in the best of all hearts, there remains a small corner of evil.
If only there were evil people somewhere insidiously committing evil deeds, and it were necessary only to separate them from the rest of us and destroy them. But the line dividing good and evil cuts through the heart of every human being. And who is willing to destroy a piece of his own heart?” [via glory to God]
när han betonar hjärtat som den plats där kampen mellan det onda och det goda utspelars sig visar han sig vara i direkt kontinuitet med den östliga kristna traditionen som han så djupt formats av. jämför till exempel med makarius, som skrev dessa rader på 400-talet:
"The heart itself is but a small vessel, yet dragons are there, and there are also lions; there are poisonous beasts and all the treasures of evil. But there too is God, the angels, the life and the kingdom, the light and the apostles, the heavenly cities and the treasuries of grace—all things are there." (H.43.7)
onsdag, augusti 06, 2008
kristen utbildning
på jamie smiths blogg meddelar han att han kommer ut med en ny bok till våren. kanske vore ngt för våra vänner i SSU att läsa. de debatterar ju om friskolornas existensbeträttigande, via en PR-kupp där man säger sig vilja starta en friskola byggd på socialistisk ideologisk grund. som joel halldorf påpekar i sin lysande artikel i GP är det en illusion att jämför poltisk ideologi med religion. "religion är inte ideologi - det är ett sätt att leva". läs den här.
här förklarar jamie lite vad hans bok kommer ta upp:
"The animating impetus of the book is rethinking the shape and practices of Christian education, particularly in Christian colleges and universities in North America (I recognize that these are strange beasts to those in Europe and elsewhere). In particular, I'm pressing the limits, even distortions, that attend "worldview"-talk which tends to now dominate Christian higher education. Such worldviewism, I suggest, continues to reduce Christianity to an intellectual system that can be grapsed apart from the church and is then "taught" as information to be merely transferred from one head to another. In contrast, I argue that Christian discipleship is a matter of formation, not mere information--and that "Christian" education should be fundamentally a matter of shaping our love, our desire, to be oriented to the shape of the kingdom of God. And such formation happens not primarily via the heady, cognitive "lectures" (whether in our Protestant sermon factories or our Christian college classrooms) but through embodied practices that seep into our imagination and get hold of our gut, our heart, our kardia.
In short, I'm suggesting that before we can ever articulate a Christian "worldview," we are engaged in the practices of Christian worship. Drawing on Charles Taylor, I argue that the practices of Christian worship "carry" within them an "understanding" of the world that is better described as a "Christian social imaginary." Thus Christian education needs to be more integrally and intimately connected to the church and her worship then has generally been the case in North American Christian higher education.
There's also a correlate to this analysis: that cultural practices and institutions are not just venues for conveying "messages" or "abstract values;" rather, they constitute liturgies which function as pedagogies of desire bent on getting us to love rival kingdoms, visions of human flourishing that are antithetical to the biblical vision of shalom."
här förklarar jamie lite vad hans bok kommer ta upp:
"The animating impetus of the book is rethinking the shape and practices of Christian education, particularly in Christian colleges and universities in North America (I recognize that these are strange beasts to those in Europe and elsewhere). In particular, I'm pressing the limits, even distortions, that attend "worldview"-talk which tends to now dominate Christian higher education. Such worldviewism, I suggest, continues to reduce Christianity to an intellectual system that can be grapsed apart from the church and is then "taught" as information to be merely transferred from one head to another. In contrast, I argue that Christian discipleship is a matter of formation, not mere information--and that "Christian" education should be fundamentally a matter of shaping our love, our desire, to be oriented to the shape of the kingdom of God. And such formation happens not primarily via the heady, cognitive "lectures" (whether in our Protestant sermon factories or our Christian college classrooms) but through embodied practices that seep into our imagination and get hold of our gut, our heart, our kardia.
In short, I'm suggesting that before we can ever articulate a Christian "worldview," we are engaged in the practices of Christian worship. Drawing on Charles Taylor, I argue that the practices of Christian worship "carry" within them an "understanding" of the world that is better described as a "Christian social imaginary." Thus Christian education needs to be more integrally and intimately connected to the church and her worship then has generally been the case in North American Christian higher education.
There's also a correlate to this analysis: that cultural practices and institutions are not just venues for conveying "messages" or "abstract values;" rather, they constitute liturgies which function as pedagogies of desire bent on getting us to love rival kingdoms, visions of human flourishing that are antithetical to the biblical vision of shalom."
torsdag, juli 31, 2008
onsdag, juli 09, 2008
om ni inte omvänder er och blir som barn, kommer ni inte in i himmelriket
Not too many years ago, a young monastic aspirant went to Mount Athos. In talking with the venerable Abbot of the monastery where he wished to stay, he told him, 'Holy Father! My heart burns for the spiritual life, for ascetism, for unceasing communion with God, for obedience to an Elder. Instruct me, please, holy Father, that I may attain to spiritual advancement.' Going to the bookshelf, the Abbot pulled down a copy of David Copperfield by Charles Dickens. 'Read this, son,' he said. 'But Father!' objected the disturbed aspirant. 'This is heterodox Victorian sentimentality, a product of the Western captivity! This isn't spiritual; it's not even Orthodox! I need writings which will teach me spirituality!' The Abbot smiled, saying, 'Unless you first develop normal, human, Christian feelings and learn to view life as little Davey did—with simplicity, kindness, warmth, and forgiveness—then all the Orthodox 'spirituality' and Patristic writings will not only be of no help to you—they will turn you into a spiritual monster and destroy your soul'.
från Kyriacos Markides "The Mountain of Silence: A Search for Orthodox Spirituality", s. 194-195.
från Kyriacos Markides "The Mountain of Silence: A Search for Orthodox Spirituality", s. 194-195.
måndag, juni 30, 2008
Maria
"920. Marias liv sammanfattas i tre ord: Ecce, Fiat och Magnificat. Inpränta dessa ord i ditt hjärta med brinnande iver, begrunda dem och agera utifrån dem: "Se, jag är Herrens tjänarinna", Ecce, "Må det ske med mig som du har sagt", Fiat (Luk. 1:38), "min själ prisar Herrens storhet", Magnificat (Luk. 1:46)."
från den vietnamesiske kardinalen Francis Xavier Nguyen Van Thuans bok "Hoppets väg". Han spenderade 13 år i fängelse, 9 år i total isolering. Där skrev han boken.
tisdag, juni 10, 2008
15 megabyte sommarläsning
har "scannat" in några voveller av den fantastiska sydstatsförfattaren falnnery o'connor, till en läsegrupp jag ska vara med i. men det är väl lika bra att dela med sig till resten av världen också, eftersom hon inte läses här i sverige.
VARNING: hon är katolik.
ladda ner här
måndag, juni 09, 2008
lördag, juni 07, 2008
sång
en text av min gode vän och lärare david wright. om att sjunga.
This I believe.
This I believe.
Contributor: David
Location: Champaign, IL
Country: United States of America
Series: Contemporary
The A Cappella Voice
Every week when I lead singing at my church, I signal the pianist to drop out during a verse of one of the hymns. This is a selfish act. Our congregation sings well, and I need to hear them sing unaccompanied, to be held up by and be part of their voices, offered up together in our plain Mennonite Church.
As each of us sings our part, however imperfectly, I am reminded again how much I believe that the a cappella human voice is sacred.
All my life I’ve been shaped by voices singing. Growing up in school and church, I sang in choirs and quartets. The pleasures of blending my often changing voice with the girls and boys around me, responding to a leader’s direction taught me all my really important lessons about community and hard work. To learn a simple tune or to sing a polyphonic madrigal required that I give up a bit of myself to the composer and to others in the choir or congregation We became intimate, sharing breath, voice, text in a way different from any other experience I’ve ever had.
Yet I also came to know that my individual voice mattered. I had to stay on pitch, to sing in rhythm, and, most importantly, to listen. Singing in parts helped me to learned what poet Jean Janzen calls “the world's secret . . . to enter and be close, yet separate.”
I hear this secret not only in traditional choral or church music. The high harmonies of Appalachian folk songs, the guttural loveliness of Tuban throat singers, the call and response of the Jewish cantor or Muslim imam, these also show what it is like to sing in relation to others, to have bare human voices responding to each other in time.
And as much as I love singing with others, I also love the separate, lonesome a cappella voice. In an age of recorded and reproduced and amplified sound, nothing marks an individual like her own voice lifted in a simple, familiar melody.
When I remember my father, I think most often of his voice, of him singing, not especially well, old hymns—“Tell Me Why” or “The Old Rugged Cross.” I have a video of him, one I cannot bring myself to watch, rocking my newborn daughter as he sings in his baritone, “Count your blessings, name them one by one.”
As a writer, I have had to learn to admit that nothing I’ve written approaches the beauty I experience in the unaccompanied human voice in song. Still, all my writing aspires to this aesthetic. I always find myself, then, in communities both familiar and far away, hoping and listening for those moments when the accompaniment drops away and I hear (and perhaps join in) to this most basic and sacred of acts—the human voice riding on nothing but breath, offering up the mystery of song.
Location: Champaign, IL
Country: United States of America
Series: Contemporary
The A Cappella Voice
Every week when I lead singing at my church, I signal the pianist to drop out during a verse of one of the hymns. This is a selfish act. Our congregation sings well, and I need to hear them sing unaccompanied, to be held up by and be part of their voices, offered up together in our plain Mennonite Church.
As each of us sings our part, however imperfectly, I am reminded again how much I believe that the a cappella human voice is sacred.
All my life I’ve been shaped by voices singing. Growing up in school and church, I sang in choirs and quartets. The pleasures of blending my often changing voice with the girls and boys around me, responding to a leader’s direction taught me all my really important lessons about community and hard work. To learn a simple tune or to sing a polyphonic madrigal required that I give up a bit of myself to the composer and to others in the choir or congregation We became intimate, sharing breath, voice, text in a way different from any other experience I’ve ever had.
Yet I also came to know that my individual voice mattered. I had to stay on pitch, to sing in rhythm, and, most importantly, to listen. Singing in parts helped me to learned what poet Jean Janzen calls “the world's secret . . . to enter and be close, yet separate.”
I hear this secret not only in traditional choral or church music. The high harmonies of Appalachian folk songs, the guttural loveliness of Tuban throat singers, the call and response of the Jewish cantor or Muslim imam, these also show what it is like to sing in relation to others, to have bare human voices responding to each other in time.
And as much as I love singing with others, I also love the separate, lonesome a cappella voice. In an age of recorded and reproduced and amplified sound, nothing marks an individual like her own voice lifted in a simple, familiar melody.
When I remember my father, I think most often of his voice, of him singing, not especially well, old hymns—“Tell Me Why” or “The Old Rugged Cross.” I have a video of him, one I cannot bring myself to watch, rocking my newborn daughter as he sings in his baritone, “Count your blessings, name them one by one.”
As a writer, I have had to learn to admit that nothing I’ve written approaches the beauty I experience in the unaccompanied human voice in song. Still, all my writing aspires to this aesthetic. I always find myself, then, in communities both familiar and far away, hoping and listening for those moments when the accompaniment drops away and I hear (and perhaps join in) to this most basic and sacred of acts—the human voice riding on nothing but breath, offering up the mystery of song.
måndag, maj 26, 2008
söndag, maj 25, 2008
Guds uppochnervända pyramid
"Fr. Sophrony [Sakharov], in his book on St. Silouan, presents this theory of the “inverted pyramid.” He says that the empirical cosmic being is like a pyramid: at the top sit the powerful of the earth, who exercise dominion over the nations (cf. Matt. 20:25), and at the bottom stand the masses. But the spirit of man, by nature [unfallen nature as given by God], demands equality, justice and freedom of spirit, and therefore is not satisfied with this “pyramid of being.” So, what did the Lord do? He took this pyramid and inverted it, and put Himself at the bottom, becoming its Head. He took upon Himself the weight of sin, the weight of the infirmity of the whole world, and so from that moment on, who can enter into judgment with Him? His justice is above the human mind. So, He revealed His Way to us, and in so doing showed us that no one can be justified but by this way, and so all those who are His must go downwards to be united with Him, the Head of the inverted pyramid, because it is there that the “fragrance” of the Holy Spirit is found; there is the power of divine life. Christ alone holds the pyramid, but His fellows, His Apostles and His saints, come and share this weight with Him. However, even if there were no one else, He could hold the pyramid by Himself, because He is infinitely strong; but He likes to share everything with His fellows. Mindful of this, then, it is essential for man to find the way of going down, the way of humility, which is the Way of the Lord, and to become a fellow of Christ, who is the Author of this path."
Archimandrite Zacharias in The Enlargement of the Heart
Archimandrite Zacharias in The Enlargement of the Heart
torsdag, maj 15, 2008
mer fairouz
fairouz (som även sjunger sången "li beirut" i klippet nedan) är en av arabvärldens största artister. hon är från libanon och är maronitisk kristen. jag hörde många säga i syrien att det alltid börjar sin dag med fairouz, för att kunna arbeta med frid i sinnet.
jag kommer alldrig glömma när jag sjöng och dansade till hennes sånger med nunnorna på klostret mar yakoub, nu i påskas. flera av dem är libanesiskor och dessa sånger sitter i deras blod, och uttrycker ofta sorgen över deras lands historia.
pray for the peace of beirut
sångtexten på engelska:
To Beirut - peace to Beirut with all my heart
And kisses - to the sea and clouds
To the rock of a city that looks like an old sailor's face.
From the soul of her people she makes wine,
From their sweat, she makes bread and jasmine.
So how does her taste become a taste of fire and smoke?
fredag, maj 09, 2008
ordtrött och inte ett dugg imponerande
från ochlophobist: "the finding of words is a strain today. It is just as well. Poverty and silence are the natural abode of truth, or so Rouault wrote. Kenosis and the unsounding melody of humility. To spend a life trying to grasp and hold such things when the discipline, all there is to do, is to be held, to accept the heldness. This all feels nice upon first thought of it, but time teaches that silence is experienced as the sharpest of violence. Still, that violence heals, as our elders teach us, if a heart given to the cadence of sin would bear the quiet."
De är säkert trevliga personer bägge två men det är ju inte diskussionen. En värld väntar på evangelium som sätter människor i frihet från just religion och slaveri. Här finns vårt kall!"
från joel: "Mon dieu, vad är denna värld för ett djur och vad bor däruti för narrar, att man inte kan få leva i ro och bli hos dem man älskar. När jag det rätt betraktar så kommer det mig för som det största narrspel i världen."
från stefan g (grevle?), här: "Jag tycker det är tragiskt att läsa hur Janne Blom skriver att Benjamin är “teologiskt bevandrad” och framhäver det som att han är på rätt väg.
Jag har läst hans blogg och är inte ett dugg imponerad.
Jag är heller inte Imponerad av Halldorf som jag anser förleder svensk kristenhet. Står och svänger rökelsekar och skvätter vatten i hörnen. De sitter och beundrar Ikoner som Gud själv varnat för. Ärligt talat. Kallar ni det kristendom? Det är allvar och inte lek.De är säkert trevliga personer bägge två men det är ju inte diskussionen. En värld väntar på evangelium som sätter människor i frihet från just religion och slaveri. Här finns vårt kall!"
mer om det när jag inte är så ordtrött.
jag är inte här för att imponera på någon.
söndag, april 27, 2008
psalm 50/51 på arabiska, damaskus, syrien
här kommer nästa klipp i serien. detta är min vän ossama (som nämndes i texten om sjusovarna), som är ikonmålare och oud-musikant. här sjunger han sin tonsättning av psalm 50/51, den stora omvändelsepsalmen. ännu ett exempel på hur psalmerna lever vidare som bönebok. "erhamna ya Allah", förbarma dig O Gud. detta är ju kontroversiellt för vissa, att kalla Gud för Allah, men det är vad kristna har gjort på arabiskan sen urminnes tider, och jag vande mig snabbt i syrien.
lördag, april 26, 2008
Yosef Karduner - Shir La'maalot - Brooklyn, Nov '05
vi fortsätter med temat gamla liturgier. här har vi en modern version av Psalm 121, sjungen av en ortodox jude. vallfartpsalmer kallas de ju på svenska. Då gillar jag engelskans "songs of ascents" bättre. (det är ju förresten titeln på stanley jones självbiografi) dessa sånger har tröstat pilgrimer i årtusenden. psalmerna blev ju sen den tidigaste tiden kyrkans bönebok. vallfartspsalmerna sjungs bland annat i Ortodoxa kyrkans veckoliturgier under den stora fastan (de förutinvigda gåvornas liturgi). det judiska arvet lever vidare i dessa gudstjänster.
Psalm 121:
Jag ser upp emot bergen: varifrån skall jag få hjälp? Hjälpen kommer från Herren, som har gjort himmel och jord. Han låter inte din fot slinta, han vakar ständigt över dina steg. Han sover aldrig, han vakar ständigt, han som beskyddar Israel. Herren bevarar dig, i hans skugga får du vandra, han går vid din sida. Solen skall inte skada dig om dagen, inte månen om natten. Herren bevarar dig från allt ont, från allt som hotar ditt liv. Herren skall bevara dig i livets alla skiften, nu och för evigt.
torsdag, april 24, 2008
bön under fastan på klostret mar afrem i syrien
jag bodde på dettta fina kloster under ett par tre veckor nu under våren. på höger sida av altaret kan ni se ett blondare huvud bland seminaristerna, det är min gode vän Johan Anderson som studerar där just nu. han är ett exempel för hur invandrarkyrkorna skapar nya möjligheter, och en trofasthetens utmaning till kyrkorna i sverige.
det var fantastiskt att se dessa unga fromma män kasta sig på knä inför Gud. det är ju i denna miljö som islam växte fram, och detta är ett exempel på hur kristen praxis inkorporerades i muslimsk. det språk de sjunger på är den klassiska syriskan, en dialekt av Vår Herres modersmål arameiskan.
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