Passover Seder Orange

Recently at Albright College in my senior seminar capstone course we had a Passover Seder that Dr. Mehta led. The Seder was my first and I learned a lot about the traditions of the Passover Seder. There was a good bit of food present, there would have been more but I forgot to bring my dish that day, but we only ate a small portion of the food that was present. There was a turnip that represented how the Lord passed over the homes of the Jewish ancestors; there was a roasted egg that is associated with mourning and the destruction of the temple; and also an orange that represents the notion that there is a place for everyone regardless of gender or sexual orientation.

The orange use to be a peculiar part of the Passover Seder plate because where the orange was there use to be bread. And the bread represented that being of a different sexual orientation was useless and went against Judaism. To have an orange be transformed into a religious artifact that is representative of inclusion was an eye opening part of the Seder. The orange not only represents inclusion but also represents fruitfulness that all member, including transgender gay men and women, can provide to Judaism.

The class and I also went on a field trip to the Ephrata Cloister. At the Ephrata Cloister the class and I learned that their theology included a God that had two parts. The God of the Ephrata Cloister had a male half and a female half. There was, interestingly enough, also a fruit found in the iconography of the Ephrata Cloister. The fruit was a pomegranate that represented the soft feminine side of God.

The involvement of fruit both in the Passover Seder and the imagery of the Ephrata Cloister opens the door to a realm of enclosure. In the Passover Seder there use to not be a place for the LGBTQ community but now there is a place for everyone. There also is a shift in the viewing of ostracized as well. The Haggadah talks about the fruitfulness that is provided by them when they work together in Judaism. The fact that this falls under the food as religion section of our course expresses intertwining intricacies of food and religion.

The presence of the orange reminds me of the open table that came to be the model in the African Methodist Episcopal Church. During Communion Sunday we recite the Ten Commandments and take communion in order to wash away our sins. Originally the only way to take communion was to be a member of the church for ninety days but the AMEC seeing that this was keeping sinners away from washing their sins away embraced the open table model.

One thing to remember is that they are human, work, and contribute, to the cause just like the rest of humanity. The notion does not carry over into the Seder because it is commemorative but for communion the person cannot receive help if they are not able to get to the help.   

The Hope Angel

The Hope Angel in the picture above was given to me as a graduation gift by my grandmother. The angel came in a pretty white box and has a crystal angel inside. The crystal angel has a golden halo, golden laced wings, and golden laced hands together in a praying fashion. The angle also has a card inside that says “When you need some cheering up, You know just what to do: Peek inside this box to find An Angel just for you; Then remember you are special, And may you always understand That as you hold your angel, God holds you gently in His hand.” in the lid. 

My hope angel, like my painting of the Prodigal Son, also falls into the category of kitsch. Kitsch is the category of mass production to obtain low cost manufacturing. The guardian angel is not made by Tiffany, Zale’s, or by Jared so there is not an original that is being mass produced but there are other well-known artists that have made angels before. The angel also falls into the category of consumerism. I do not know if this angel was made “by Christians for Christians” but this does make a difference as well. If the angel is made for Christian but not by Christians the question becomes a question of authenticity and intent. Colleen McDannell’s has a chapter in her book Material Christianity entitled “Christian Retailing.” Christian Retailing is defined as “the selling of Christian goods and services to a buyer for personal or household use…” Recently there has been a lot of influence placed on not prostituting the Gospel. To prostitute the gospel is to sell the Gospel for financial gain. This was also discussed in the History of Reformations class taught by Dr. Turning of the Albright College History Department. The Catholic Church in early fifteenth century instituted Indulgences which brought salvation for loved ones in purgatory. This according to McDannell is “Christian Retailing” and also is selling the Gospel for financial gain.

Turning back to the Hope Angel one can rarely miss that there is a made in china sticker on the bottom of the box which means the angel definitely kitsch. However the question of does the Hope Angel prostitute the Gospel still remains. The Hope Angel is not selling salvation like the indulgence system of the Catholic Church nor does the Hope Angel offer any life changing alterations such as found in the theologies of Prosperity Gospel (Prosperity Gospel is a Gospel that states God wants you to be prosperous and after salvation there is large amounts of prosperity in the form of material wealth). But the Hope Angel is still falling into the category of Christian Retailing because there are persons, i.e. my grandmother, exchanging money for them in exchange for personal or household use. The angel does not transform your life or bring loved ones out of purgatory but because the angel is being exchanged for financial gain which means the angel is prostituting the Gospel.

Prodigal Son

There are many artworks that are religious in nature and are specifically trying to depict a likeness that has not been seen for a long time. An example of this is Warner Sallman’s painting of Jesus the Christ’s head. Many people have had spiritual connections with the painting and talked about the sense of comfort that Sallman’s painting of Jesus the Christ’s head gave. In Colleen McDannell’s book there was a section about the significance images played in the home of Christians. Families would hang photos of loved ones next to the photos of prominent religious figures to show status as well as guidance for their loved one.  

In the photo above is a graduation present that one of my cousins gave me. The photo is of a painting of the prodigal son. The Parable of the Prodigal Son is found in the Gospel of Luke and is a story about an impatient young man that wants his inheritance from his father before the father has passed. The young man squanders the inheritance, ends up working as the equivalent of a farmhand, and returns home to his father to beg for forgiveness. The father celebrates the young man’s homecoming as depicted in the painting above. The painting is very vibrant using many colors of royalty such as purple, gold, and white. The artist behind this painting, Alan Hicks, is not trying to paint a portrait of detail like Sallman but Hicks is making a statement by making the characters black. The Characters of the Bible, as demonstrated by Sallman’s Head of Christ, are not typically thought to be black. By making the characters black, Hicks is doing what Ewen, Clement, and Broch said should not be done which is sentimentalize the artwork.   

Since the artwork is a mechanized reprint of an original the question of kitsch, from McDannell’s book, can also be applied to the painting. The painting is however a sentimental piece that tells a story of abandonment and affection for what was lost. The painting can be found on the internet for $31.97 so whoever buys the painting knows that they are not getting a Picasso or a Vincent Van Gogh. But the artist is not what makes the painting valuable. On the contrary, in this case the background knowledge about the prodigal son and knowledge about my cousin gives value to the painting. The downside is that kitsch has the bad reputation of demoralizing and devaluing the great works of art in order to position the lower class with the upper class. For the upper class there is certainly a diminishing effect on the original work when someone mass produces the work to lower the cost but for the consumer the artwork becomes affordable and also heightens the status and esteem of the lower class individual.   

1 S. Colleen McDannell, Material Religion (New Haven: Connecticut, 1995), 32-35. 

  

      

MPK Chapel

The Merner Pfeiffer Klein (MPK) Chapel is one of the three existing chapels that still stands on Albright College’s Camps. There were four chapels but Albright College recently demolished the White Chapel because of structural issues on July 17, 2015. The other two standing chapels are Sylvan Chapel and Kachel Chapel. MPK Chapel is by far the largest chapel on campus and is home to both the religious studies department and the philosophy department. The MPK Chapel also has the largest seating capacity on campus. The MPK Chapel holds 900 people which makes the MPK Chapel a desirable place for large events but unfortunately nearly impossible for any religious organization to fill. In my past experience I have only seen the Albright College Gospel Ensemble pull in a large enough crowd to fill the MPK Chapel.

The MPK Chapel is a hybrid between an auditorium and a chapel. The rumor is that Albright College did not know which they wanted more, a chapel or an auditorium, so Albright decided to build both inside the same building. I have also heard that the MPK Chapel use to be referred to as the chapeltorium which is a mixture between a chapel and an auditorium. There is a big cross and a mural that is in a cut out in the front of the chapel. In addition to the cross and mural there is also a curtain that hangs between the stage and the cross. The idea behind there being a separating curtain is when the curtain is open and the cross is showing the building transforms into a chapel but when the curtain is closed and the cross is not showing the building functions as an auditorium.

The MPK Chapel has be a place of both spiritual exhortation as well as secular enjoyment. The hybrid “Chapeltorium” of Albright College is the last installment of my three religious spaces trilogy. I have talked about two other locations in the blog. The first location being a hospital “meditation room” and I also talked about the Buddhist temple in the multi-faith center of Albright. The notion of the MPK Chapel transforming once the curtain is closed and the cross is no longer showing does not sit well with me as a ministry bound student. During orientation week, otherwise known as pops weekend, the MPK Chapel served as the meeting place for all the incoming freshman to receive information. The most jarring instance of this weekend was the encouragement of safe sex by throwing out condoms inside the chapel. The cross was covered by the curtain but as you can see from the picture posted above there is still a large cross that dawns the front of the chapel which still signifies the sacredness of the building. I am not trying to demonstrate my beliefs or theology but just trying to offer some fertile ground to culminate these ideas about the connections between the sacred and the profane.          

Buddhist Temple

This is the Buddhist Temple that is inside the Multi-faith Center of Albright College. The Albright College Multi-faith Center is a building that has a long history with the religious organizations of Albright College. The College is affiliated with the United Methodist Church but has placed a high level of focus on being multi-faith. The idea of being multi-faith seems a bit at odds when thinking about some religions though. I recently did a blog post about a neutral worship space that I found while visiting my great aunt in the hospital. I researched the topic and found that there were once chapels attached to just about every hospital but because of the changing dynamic of the melting pot we call the United States, Christianity is no longer among the majority. The solution to this problem was to build a natural space for everyone instead of specialized spaces that met the needs of the various religions. I questioned whether the neutral worship space would be able to properly accommodate the multiple religions that the singular room is trying to appease.

            The Buddhist Temple upstairs is decorated in multiple reds, oranges, pinks, and gold. There was a lot of symbolism in the room including a wall tapestry that I have posted above. In addition to the tapestry, there also was a shrine with a Buddha and candles on the shrine. I have not been to a session but I have had the opportunity to meet a couple of the members that come to meditate on Thursday nights. There are also incense that are burned to add to the atmosphere. I think that the multi-faith center of Albright College does a much better job at accommodating the multiple religions that pass through. The hospital has gone the utilitarian route by creating a universal neutral space. Albright College has pushed the same concept in a way because there is still only one dedicated space but inside the space there is still room for specialization as presented in the fact that we have a Buddhist Temple that is in use.         

            There is still, however, the question of how well a space can provide the necessary atmosphere when it’s attached to another space. This question does not only apply to hospitals and Albright College but the question also applies to the religious buildings in cities where they might be connected to other buildings that do not have the same vales. An example would be a catholic church is built, a complex is built around the catholic church as the place is developed, a Verizon Wireless store is built next to the church but goes out of business, and lastly planned parent hood moves into the Verizon wireless building. I know this is quite an extreme case and most likely will not happen but the question about proximity and the effect it has on religious spaces still remains.   

Religious Tattoos and The Meanings They Hold

Many people get tattoos with different meanings, but a large amount have religious value behind why they have it. Varying faiths and symbols all can be found in different forms. Common ones are quotes or verses, and of course the places of the tattoos vary. These specific tattoos hold significance for reasons not necessarily religious, even if the symbol or quote is religious. Many find peace and inspiration from religious sayings even if that religion is not their own, as well as the symbols associated with them.  

The quote is from Ghandi. Though she is not a follower of that particular faith, she believes in the ideals of it. The quote is very inspiring to her, and one that meant enough for her to put it on her side permanently as a reminder. She said how it hit her very hard and she could relate to it in many ways. She appreciates it for what it stands for in her life and how it has helped her through difficult times. One does not have to be a religious follower of Ghandi to appreciate his words and be motivated by his teachings.   

By religion, she identifies as a Christian. Out of an act of commitment to her faith, she got a cross on her neck. It was meaningful to her for the reason that it was permanent, just as she considers her commitment to God to be. It is a reminder to herself of a lifelong devotion to her faith. It is also something that stands out to others, including myself. She is one of my closest friends that I met at Albright and I found out a lot about her by asking about that particular tattoo. It gave me a reason to ask what it meant to her, and through that, I got to know a lot about her that I may have never thought to ask. She has become a very influential and inspirational person in my life for many reasons, two of which can be related to what her tattoos stand for and how we can relate to each other through their significance.   

A great way to get to know more about someone is to ask the meaning behind something so permanent as a tattoo. The same cross, scripture, or quote can mean multiple things to multiple people. Tattoos have become a huge part of the material culture of religions though, having more and more people make that commitment of putting something meaningful on their skin for life. A tattoo can show just how serious someone is about what a symbol or saying stands for, whether out of religious devotion or personal reasoning. Each tattoo is as unique as the person who gets it, and taking the time to find out the importance they hold can give insight into a vital part of someone's life. 

Religion and Jewlery

Jewelry can often be associated with specific cultures and religions. Some are more commonly identified, such as a cross being related to Christianity, but other jewelry is not as easily determined. For some religions, such as Judaism, the cultural aspect can be more prominent than the actual religious markings. Some are very uncommon, and not easily recognized as anything more than a nice necklace or earrings, but it is the story and significance behind it that makes it special to the owner.  

The Jewelry's origin may not start out at specifically religious. It can be something that happened to it, or where it is from that makes it special. This necklace, in itself, is not religious. However, during its ownership it was blessed by the Dalai Lama. That changes the value and meaning entirely of the piece. It went from being profane, to sacred for the owner.  

This specific necklace, is a piece of Israeli jewelry, from Doctor Mehta. The necklace really has no religious value or meaning, but it is connected to the culture that is very intertwined with the Jewish religion. Israel is a Jewish nation, so one can associate objects with Israeli origins with the Jewish people. The jump from culture to religion is not a big one either. There are also Christians and Muslims in Israel, but it has technically been a Jewish nation since 1948, so the predominant religious association is, of course, Judaism. Through the years it has been more and more difficult to separate the religious aspects and the cultural aspects, which then can be seen with the objects that are possessed for the varying reasons. Many things are done for one or both aspects. The Jewish culture, objects, and rituals are all so essential to the survival of their heritage that they are still carried on by believers and non believers all over the world.  

Another piece that is more commonly recognized as specifically Jewish is the star of David. As with the cross and Christianity, the Star of David is seen as religious for the Jewish faith, and has been for centuries. It is more likely to be noticed for its religious origins than the Israel jewelry, for its distinct symbolism, but some wear it for the same reasons as they do the Israel jewelry, culture not religion. A cross can be much the same, the wearer may have been raised in a church, but wears it for tradition rather than personal conviction. That can be seen across the board with most religious objects in today's society. Things often stray from one meaning to another, or carry both. Sometimes it is important simply because of who gave it to you, or where it came from. It is a good example to never assume the reason for people wearing what they do, a cross does not instantly mean a religious Christian, nor does the star of David instantly mean a religious Jew. On the other side of that, necklaces like the Israel one, or the one blessed by the Dalai Lama, may mean a religious Jew, but it is not as easily recognized because it is unique. Religious objects can hold many meanings, sometimes not religious ones at all to those that possess them. Whenever I see someone with a unique piece of jewelry, I like to ask the story behind it, and see if there is a special significance or origin.