by Maria Alina Asavei
April 8 is celebrated worldwide as the International Roma Day. Romani people both honour their culture across the world and commemorate the centuries of persecutions and mistreatment in light of present Romaphobia and persistent discrimination against the most vulnerable ethic group in Europe. On this occasion, the Archbishop Andrei of Cluj-Napoca celebrated the liturgy both in Romanian and Romani language. Several daily magazines reported about what they call an “unprecedented event in the history of the Romanian Orthodox Church,” highlighting the fact that the Archbishop Andrei also held a religious memorial service that commemorated the Romani victims deported to Transnistria and Auschwitz-Birkenau. Although in 2009 another Orthodox service has been celebrated in the Romani language in the capital of Romania (Bucharest)—by the Orthodox priest of Romani origin Daniel Gangă—the liturgy celebrated in Cluj this year, on the occasion of the International Roma Day, brings to the fore front a commemorative practice that nevertheless acts as historical consciousness. By commemorating the Romani victims of deportations in both Romanian and Romani, the Orthodox service revealed that the painful past is not covered in oblivion. The liturgy was celebrated by the Archbishop Andrei and other Orthodox clerics, including Marin Trandafir Roz (the first Orthodox priest of Romani ancestry from Cluj). Romanian press reveals that the Roma community attended the liturgy with enthusiasm, while children received candies and other goodies from the priests. Continue reading
by Michael Peppard | ελληνικά
I spent over an hour there, in that small rotunda, about twenty feet across. Display cases of manuscripts in Coptic, Syriac, Arabic, and Armenian encircled me, the only one of the museum’s patrons to linger so long in that spot. The rest of the exhibit, outside this temporary cloister, was equally worthy of attentive study, but this room captured my senses and held me still. It was the music, played on a loop, that transfixed me: the Akathist hymn, the ancient prayer about the life of the Virgin Mary, resounded in Armenian, in Arabic, in Greek, in Syriac, and in Coptic. Choirs from each tradition sang their version of the hymn, a shared patrimony that emerged from Syria to inspire Orthodox Christian worship everywhere. On the wall near the entrance flashed full-size, high-resolution renderings of frescoes from medieval churches in Lebanon. This installation was titled “Languages and Liturgy,” and it certainly felt liturgical to the senses. Only the incense was missing.
I needed the whole hour not only for the manuscripts, but also for the monumental icon of the Akathist hymn on display. Attributed to Youssef al-Musawwir of Aleppo, painted between 1650-67, and part of the famed collection of Georges Antaki, the icon’s panels depict the twenty-four strophes of the hymn, surrounding a central image of King David. The panels are labeled in Greek, while David holds a phylactery with text in Arabic. Though the Akathist is attributed to Romanos the Melodist, the icon portrays the Psalmist David as a divine guarantor of the icon’s revelatory authority about the Virgin Mary. And just as the Theotokos is central to Orthodox Christian prayer around the world, so also is she to this rotunda, in a small museum in northern France. Continue Reading…
by Matthew Cooper
China is now portrayed in much of the news media as the world’s fastest-growing Christian country, and an increasing amount of attention is being paid to the plight of Christians inside China. Without downplaying either the successes or the struggles of modern Chinese Christians, particularly vis-à-vis the state, much of this coverage lacks a certain historical dimension, relevant to modern Orthodox and Catholic efforts inside China. Christianity – Eastern Christianity – has a long history in China which includes notable and well-respected individuals in Chinese culture.
An interesting factoid I came across recently in my traverses through Chinese opera in prose translation, is that郭子仪, the ‘loyal and martial’ Prince of Fenyang 汾阳郭忠武王, historical military governor (jiedushi 节度使) of Shuofang Prefecture 朔方郡 (centred on present-day Ordos in Inner Mongolia) during the Tang Dynasty (618-907 AD) and literary inspiration for one of the heroes of Hong Sheng’s opera The Palace of Eternal Youth 《长生殿》, was in fact a member of the Syriac-Persian Nestorian Church of the East, a committed advocate for the rights of Christians in the Tang Empire, and – if such a thing can be believed – a peaceful warrior. Continue Reading…