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Posts Tagged 'militant americanist orthodoxy'

Pastitsio and Byzantine chant: in which one finds, at the very least, the best pastitsio recipe ever (also the worst)

Some friends the other night made a Moroccan chickpea stew for us. One of them said that he had altered the recipe a little bit with what he’d had on hand; I turned to Flesh of My Flesh and said, “See? He makes stew with what he has.”

Good joke. Everybody laugh. Roll on snare drum. Curtains.

I didn’t come here to tell you that.

One of the topics I’m frequently musing about in this venue is, what does it mean to sing “Byzantine chant”, and how best to teach it to a variety of people? Specifically in terms of that variety — what might it mean to have a pedagogical approach that assumes some knowledge of how to do it, an approach that tries to convey best practices to a person knowledgeable about music, just not Byzantine music, and then, what would constitute a misguided approach that throws misunderstood elements together haphazardly? For illumination on this point, I turn to — strange as it may seem during the third week of Lent — pastitsio.

IMG_0359When Anna, Theodore’s nona, was first getting to know us back in fall of 2006, she asked us one day — “Can I come and make Greek food in your kitchen sometime?” Wow, twist our arms. What she made for us, and what she has made for us and others many times since, and what we also have learned how to make ourselves on a fairly regular basis, was pastitsio.

You can call it “Greek lasagna” if you like; many do, including Michael Psilakis. To do so is kind of like calling Syriac “the language of Jesus”, though; there’s a certain sense that it makes, but it’s kind of misleading, and it doesn’t acknowledge the dish on its own terms. Pastitsio has multiple layers of long, hollow noodles (ideally, Misko #2 Pastitsio Noodles) with a flour-based Béchamel-cheese sauce and a meat sauce. It’s a Greek comfort food to be sure; not exactly the dish one is talking about in a conversation about the health benefits of the Mediterranean diet. All the same, my goodness is it delicious when made right, and a pan of pastitsio on the table is, in my experience, one of the best signs of a hospitable house, Greek or otherwise.

classic pastitsio recipe

Classic Pastitsio

Like all dishes, there are regional, familial, and maybe even political differences. To the right is Anna’s foundational recipe, a pretty basic, classic version that allows for some variation based on what you have on hand and what you prefer. It’s nothing particularly fancy, and it doesn’t take that long to make. You could do this with beef, veal, or lamb; you could do it with whatever cheese you have handy (and it doesn’t make any particular suggestions where that’s concerned); and it’s not picky about pasta. Maybe it’s a recipe that assumes, if you’re a Greek person who already knows how to cook this, you’ll know how to take this and, mutatis mutandis, turn it into “the way YiaYia made it”. And, if you’re not, well, you’ll use what you have handy and you’ll make it work in your own way.

That’s one approach. There’s another way, somewhat more complicated, what we might call the “foodie” approach. Here is how Michael Psilakis frames the recipe in his cookbook, How to Roast a Lamb:

This is a classic Greek dish, which I often refer to as a Greek version of lasagna. You will need a deep, lasagna-style pan, and it may be hard to find the pastitsio noodles called for here. Try a Greek or Middle Eastern market or, of course, the Internet. The crucial thing is that the noodles be both hollow and straight, so you may substitute bucatini, perciatelli, ditali, or long, straight ziti laid end-to-end. This casserole, as with lasagna, must rest before serving to set, or it will be difficult to serve.

Okay, already there’s a different tone here. This is a recipe written for somebody who knows food, but maybe doesn’t know Greek food all that well (and there’s the “Greek version of lasagna” shorthand). He details the essentials, and tells you where you need to find them.

Ingredients:

  • 3 tablespoons blended oil (90 percent canola, 10 percent extra-virgin olive)
  • 1 large Spanish or sweet onion, finely chopped
  • 3 fresh bay leaves or 6 dried leaves
  • 2 cinnamon sticks
  • 2 pounds ground beef
  • 1 1/4 teaspoons ground cinnamon
  • Pinch ground nutmeg (optional)
  • Pinch ground cloves (optional)
  • 1/4 cup tomato paste
  • 2 1/4 quarts water
  • 1 (28-ounce) can plum tomatoes, crushed slightly, with all the juices
  • 1 tablespoon red wine vinegar
  • 1 teaspoon sugar
  • Kosher salt and cracked black pepper
  • 1 (500-gram) package Misko Macaroni Pastitsio no. 2 (see above)
  • 1 3/4 quarts Greek Béchamel Sauce (page 274, with eggs)
  • 1 cup coarsely grated graviera cheese

And this is definitely a little different. Oil instead of butter (he goes into his reasons for cutting olive oil with canola oil earlier in the book; basically it’s a cost issue, and you can use all olive oil if you really want to), the seasoning is a little more robust (and more characteristic of a Constantinopolitan approach, perhaps), and he’s more specific about the meat, the noodles, and the cheese. Elsewhere he talks about possible substitutes for cheeses; gruyere is his principal recommendation. This is an ingredients list that wants to show an American cook how to be faithful to the model using the best of what’s available.

Going on:

Make the kima sauce: in a large, heavy pot over medium-high heat, add the oil and the onion with the bay leaves and cinnamon sticks for 3 to 5 minutes. Add the ground beef and brown thoroughly. Add all the spices and the tomato paste and stir for 1 to 2 minutes. Add the water, tomatoes, vinegar, sugar, about 2 tablespoons of kosher salt, and a generous grinding of pepper. Bring to a boil.

Reduce the heat, partially cover, and simmer for 65 to 75 minutes. Skim off the fat once or twice. Reduce until the sauce is almost completely dry. Proceed with the recipe, or cool and refrigerate.

Preheat the oven to 350 degrees F. In a large pot of generously salted boiling water, cook the macaroni until almost tender, a minute or so before the al dente stage. Drain well. Spread 1 cup of the Greek Béchamel Sauce on the bottom of a deep roasting pan or lasagna pan, and sprinkle with 1/3 cup graviera. Lay half of the noodles out on top of the béchamel. You should have 2 to 3 layers of noodles. Spread another cup of the béchamel over the noodles, without disturbing the direction of the noodles, to bind them. Scatter with 1/3 cup of the graviera. Spoon all of the kima sauce over the top and smooth flat. Spread 1 more cup of the béchamel over the kima sauce, scatter with 1/3 cup graviera.

Layer remaining pasta noodles over the béchamel. Spoon on the remaining béchamel and scatter with the remaining 1/3 cup of graviera. Bake uncovered until crusty, golden, and set, about 1 hour. If you don’t have a convection oven, you may want to increase the heat to 400 degrees F at the end, to brown the top. Cool for at least 40 minutes, to allow the custard to set so that the squares will remain intact when you cut them. Or, cool to room temperature, then refrigerate overnight.

And since he gives it its own recipe, here’s the Béchamel sauce:

Greek béchamel differs from French béchamel or Italian besciamella due to the inclusion of whole eggs. When a dish is baked, the eggs in the sauce create a custard. This basic ingredient is what makes many Greek dishes so special. Because of the large quantity of flour and the resulting thickness of the roux, you really can’t step away from the stove while you are preparing the sauce. Plus, you’ll need muscle to stir it thoroughly.

Ingredients:

  • 5 ounces unsalted butter
  • 10 ounces all-purpose flour
  • 1 1/2 quarts whole milk, warm
  • 2 1/2 teaspoons ground cinnamon
  • Large pinch nutmeg, preferably freshly ground
  • 1 1/2 to 2 teaspoons kosher salt
  • Cracked black pepper
  • 5 large eggs, lightly beaten

In a large heavy pot, melt the butter over low heat, whisking with a large balloon whisk. Add the flour and whisk to a very crumbly roux, not a smooth paste. Whisk constantly and energetically or about 5 minutes to cook off the raw flour taste, but do not allow to brown (slide the pot off and on the heat every now and then if you sense it is getting too hot).

Still whisking constantly, drizzle in the warm milk until smooth. Continue cooking, adjusting the heat as necessary to keep the mixture at a very low simmer, until very thick. Whisk in the cinnamon, nutmeg, kosher salt to taste, and a generous amount of pepper.

Scoop out about 1/4 cup of the warm sauce. In a bowl, whisk the sauce into the eggs to temper them. Remove the pan from the heat and whisk all the egg mixture back into the béchamel.

Dude. I’m hungry. Maybe I shouldn’t be writing this during Lent. Dang it all.

Anyway, some observations — first and foremost, this is not the quick ‘n dirty way to make pastitsio. The meat sauce, I can tell you from experience, takes more like 2-3 hours to reduce than the 65-75 minutes advertised, at least on the stoves I’ve used. At the same time — oh my goodness is the end result amazing and flavorful (such that Anna now uses Psilakis’ meat sauce in combination with her foundational recipe). Now, if you want to shave off time, just skip adding the water. With the basic recipe, if you know what you’re doing you might elaborate the bare bones instructions somewhat; by contrast, here, if you’re familiar with the dish, then you might simplify this version a bit. Both recipes, in the end, faithfully (I hate the word “authentically”) reproduce what is understood as “pastitsio”; one does so by presenting a basic, easy to reproduce (and vary) method, and the other does so by breaking the dish down and building it back up using the language and ingredients of American foodie culture.

Now, you can have an argument over just how “Greek” pastitsio is. Real Greeks didn’t use Béchamel sauce until a hundred, hundred and fifty years ago, one argument might go. There’s something there with the meat sauce and the cheese and the noodles, maybe, but Béchamel? That’s an Italian or French corruption, not Greek.

You might also have a conversation about some of the details. There are pastitsio recipes you can find that are adamant that no real pastitsio ever has had any kind of cinnamon or nutmeg or anything else in the meat sauce, because it doesn’t need it, period, and that’s not how YiaYia did it, dammit.

However, what you’re probably not going to have much of a disagreement about is whether or not this recipe is pastitsio:

  • 1 lb.  lean ground beef
  • 1 small  onion, chopped
  • 1 jar  (24 oz.) spaghetti sauce
  • 2 Tbsp.  red wine vinegar
  • 2 Tbsp.  butter
  • 1-1/2 cups  milk
  • 1 cup  plain nonfat Greek-style yogurt
  • 1/4 tsp.  ground nutmeg
  • 2 cups  elbow macaroni, cooked
  • 1/4 cup  DI GIORNO Grated Parmesan Cheese

BROWN meat with onions in large skillet; drain. Stir in spaghetti sauce and vinegar; simmer on low heat 15 min., stirring occasionally.

MEANWHILE, melt butter in large saucepan on low heat. Add milk; bring to boil on medium heat, stirring constantly. Simmer on low heat 3 to 5 min. or until thickened, stirring frequently. Remove from heat. Stir in yogurt and nutmeg. Add macaroni; mix lightly.

HEAT oven to 350ºF. Spread meat sauce onto bottom of 13×9-inch baking dish; top with macaroni mixture and cheese.

BAKE 45 to 50 min. or until macaroni mixture is heated through and top is lightly browned.

Um, no. No, no, no, no, no. You want to insult a Greek person? Put this in front of them and call it “pastitsio”. This is beyond parody, really. This is macaroni and spaghetti sauce layered with yogurt and had some cheese sprinkled on it; no Béchamel, no attention to cheese, no nothing. This is a clueless American who vaguely remembers that there was a dish he had at a Greek festival or something that had noodles, meat sauce, some white stuff, and maybe a pinch of spice in it, making something up that sort of fits the general description, and adding “Greek yogurt” (nonfat? That’s not Greek yogurt, folks) and nutmeg to justify claiming that it’s “Greek food”.

And, here’s the thing — by this point, pastitsio has been made at Chez Barrett a sufficient number of times that it isn’t really “Greek food”. It’s just “food you’re likely to eat when you’re a guest of the Barretts”. Or, for that matter, when we’re your guests; I made Psilakis’ recipe for Christmas Eve dinner one year at my mom’s house. Call it trying to pass on the tradition.

Okay, back to the question raised at the outset about Byzantine chant. How might the analogy of pastitsio be applicable here? What’s the equivalent of Anna’s foundational recipe, what’s the equivalent of Michael Psilakis’ recipe, and what’s the equivalent of the Kraft recipe?

Well, what are the fundamental ingredients of Byzantine chant, and what’s variable for, shall we say, ingredients that one has on hand? For present purposes, maybe we’ll say that the fundamental ingredients of Byzantine chant are:

  • it is a cappella,
  • it is monophonic (that is, not harmonized by multiple voices),
  • it employs drone that does not function as a harmonic bass line,
  • it employs a sacred text, drawn predominantly from the liturgical cycle of the Orthodox Church,
  • it employs the system of Byzantine modes, a centuries-old musical system with which the modern theoretical understanding as described by Chrysanthos of Madytos and clarified/affirmed by the 1881 Musical Committee of the Ecumenical Patriarchate is in continuity,
  • the melodies are composed formulaically — that is, there is a vocabulary of musical phrases (theses) proper to each mode, and the composer formulates compositions according to this vocabulary of phrases so as to fit the accentuation and rhetoric of the sacred text appropriately and in the intended musical texture (fast, slow, syllabic, melismatic, etc.),
  • and the melodies are notated using psaltic, or Byzantine, notation, and the notation is meant to be interpreted via a layer of oral tradition absorbed from one’s teacher.

Now, I’ve phrased much of that carefully. Not all Byzantine chant necessarily employs a liturgical text; there are examples that set paraliturgical poetic texts. The description of Byzantine modes allows for some leeway depending on local tradition; Lebanese and Syrian cantors might do certain things differently, as might some Romanian cantors. It also allows for a way of talking about medieval repertoire that was composed before Chrysanthos or the 1881 Committee. The point about notation might perhaps be controversial to some, but I would leave it there, simply because, as a prosodic and musical system intended specifically for that purpose, psaltic notation is the symbolic system that best expresses the musical and hymnographic repertoire we call “Byzantine chant”.

So what are ingredients that might be variable? Language, certainly; there’s nothing in that list that says that anything has to be in Greek or Arabic. It might be a lone man’s voice singing; it might be a choir of women. The point about oral tradition suggests that there is some level of acceptable variation of interpretation in some cases. There are different genres of hymns you can compose and sing within this framework; anything from quick, short, declamatory, syllabic hymns to long, slow, drawn-out compositions.

And, certainly, there are lots of arguments about some of the details. This, that, or the other musical development in the repertoire isn’t “really” Byzantine music, but rather a corruption arising from Turkish influence. No cantor who knows what they’re doing would ever sing this phrase the way you just did it. Some would argue that language actually isn’t an acceptable variable, at least not the way described above; it either has to be in Greek, or it has to adapt a Greek original in a way that favors the Greek version over the target language of the translated text at every point. Alternately, language may be generally variable to an extent, but there’s no way no how English is an acceptable language for this music. That kind of thing.

Whatever details one might argue about, however, here’s an indisputable example of a composition that is identifies itself as “Byzantine chant” but is, by any definition, the equivalent of the Kraft pastitsio recipe:

thy martyrs o lord, bad version

That’s from the pen of yours truly, written about ten years ago (do note that I do not credit a composer in the score, partially because even then I knew enough to know that I didn’t want to be blamed later). I cringe to show it to anybody because there is so much that it gets wrong, but in the spirit of being the chief of sinners, I’d rather hold up my own mistakes than point fingers at those of other people.

First, it’s the wrong mode. Yes, fine, fourth mode is the mode appointed for this apolytikion, but this is the wrong version of fourth mode — it is diatonic (legetos) rather than soft chromatic, because apolytikia in fourth mode use soft chromatic.

The second and third things wrong are related — this text actually is supposed to be metered for a model melody, usually known in English as “Be quick to anticipate”, which the melody I wrote doesn’t follow; alas, the text is not in fact metered, and the service book from which I got this translation doesn’t include a rubric for a model melody. You don’t know what you don’t know.

Fourth, if you look at the model melody (Byz notation version in English here, staff notation here, or get them from 27 September here if those links don’t work) it really is one note per syllable for the vast majority of the hymn. What I wrote isn’t obnoxiously melismatic, but neither is it sufficiently consistent in being syllabic.

Fifth, it’s not a terribly sensitive setting of the text. I have no idea what I was thinking on “our God”, for example.

Sixth, the use of drone is all over the place. It’s clear that this is by someone who has no idea what they’re doing on this point.

Seventh, my use of the theses bears basically no resemblance to the reality of how classical scores use them, and since at that point I was almost entirely influenced by Kazan, it is probably is more Sakellarides-esque (if we can even aim that high) than anything. You can sort of see what I thought I was doing, but I may as well be using yogurt instead of Béchamel.

Eighth, I made a deliberate choice to eliminate measures, partially because I felt that the “tyranny of the bar line” actually made Kazan much harder to use. This wound up obscuring the rhythmic structure that the piece should have had, and it had the technical effect, due to how Sibelius works, of obscuring how the accidentals function.

Ninth, because I was just writing note to note in staff notation, with no understanding of how the rhetoric of the theses was constructed in psaltic notation, it’s made an even lesser effort than it otherwise was. If I had had even some knowledge of the notation and the orthography, a few of the problems could have been minimized a bit.

In all of this, I was doing the best I could with what I knew, and I was doing so with foundational materials that were less than ideal but were what was available to me, to be sure, but that’s just the point — by way of comparison, I had had a taste of pastitsio at a Greek festival and thought, hey, I’m a good enough cook that I can replicate that — and I came up with a random combination of pasta, meat, cheese, and yogurt based on ingredients I had on hand. Yes, sometimes one makes stew with what one has (you knew I’d get back to that eventually), and one might argue that it’s not that bad on its on merits (if one were being maximally charitable), but you can’t really call it pastitsio, at least with no disclaimers or scare quotes.

Thankfully, these days there are more resources that allow one to go a route that is more along the lines of Michael Psilakis, taking apart the tradition and putting it back together for an Anglophone Orthodox audience that perhaps has decent musical sense but needs detailed help for Byzantine music. What is still needed is greater access to teachers who can provide enough of a living connection to the material, such that that one can manage with a more bare-bones set of resources, like the basic pastitsio recipe, but we’re getting there. In taking advantage of such resources, ideally we would produce a body of Anglophone repertoire that is both composed and sung knowledgeably and faithfully, and as a result, Byzantine chant would eventually become something that is no longer perceived as “Greek” or “Arab” or foreign in general, but simply “what we sing”.

We can apply this, really, to any Orthodox musical idiom, and even any element of Orthodox tradition; a confused jumble of ingredients put together out of a lack of understanding doesn’t actually cultivate a real “American” expression of anything. It’s exactly that — a confused jumble of ingredients. We’re far better off putting in the time and the humility to learn from people who know what they’re doing and have a living connection to the tradition. Yes, it will take longer, yes, it may take trying some things that don’t work the first time, yes, you may have to un-learn and re-learn some things.

Be that as it may — certainly, in the case of pastitsio, the end result tastes a heck of a lot better.

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Fr. Oliver Herbel’s Turning to Tradition: Converts and the Making of an American Orthodox Church and other thoughts about West being West and East being, at the very least, “not West”

My professional categories are sort of screwy. I have an undergraduate degree in music performance, a Masters degree in History with a PhD on the way, specializing in late antique Byzantine history. I am also a practicing church musician who has made a few professional-level contributions in that field, such as it is. My day job as a historian, in which I study the social and political context of liturgy, is informed by my lived experience as a church musician; both of these categories are informed by my conversion to Orthodox Christianity, which itself was informed by musical and historical endeavors. I’m not a historian of American issues as such, but as a historian who is an Orthodox Christian in an American context, I wind up thinking about issues of “American Orthodoxy” a fair amount, and this blog winds up being where those musings wind up. My efforts where the topic of “American Orthodoxy” is concerned aren’t really formal enough to be considered “research” or to function well as journal articles, but the blog is a fine enough outlet for the level of what I do, and probably winds up having appropriate readership numbers as a result (i.e., slim to none). If somebody came to me and wanted to do an essay collection, I wouldn’t sneer at it, but I certainly don’t see that happening anytime soon, so the blog it is.

On this topic, I’ve commented about the problems the topic of “American Orthodoxy” has as a scholarly category, particularly when tackled by people who aren’t fighting their intellectual weight and who have a strict ideological/confessional narrative that they want to support rather than an objective of honest inquiry. I’ve pondered the category errors that converts to Orthodoxy seem to represent for some people. I’ve talked about the struggles that some Americans seem to have distinguishing between cultural encounter and religious encounter in Orthodox Christianity — both in terms of not differentiating enough between them, as well as differentiating too much. I’ve asked the question, both as an American and as an Orthodox Christian, is Orthodoxy ultimately a solution for a problem America doesn’t think it has? Is Orthodox Christianity just fundamentally in the wrong “key”, as it were, for it to be taken on its own terms in an American context?

I have struggled with this question both on an intellectual level and on a personal level, and I have struggled with it at levels micro and macro, internal and external, local and regional. It’s a question that people make about music and language and architecture and heritage and so on, but it’s not really about any of those things, I don’t think. Translating the services into English isn’t enough. Building Orthodox churches that look like Methodist churches with domes isn’t enough. Adapting to an Anglican-style choir-and-organ musical model isn’t enough. Welcoming converts isn’t enough. There’s still something wrong, some people tell me, there are still ways it’s just too “Eastern” for me to not feel like I have to pretend to be something I’m not. So what’s the deal? Where does this sense of things being a put-on come from? Why is it that when a Roman Catholic or Anglican priest vests he’s, well, vesting, but when the Orthodox priest vests, he’s putting on a costume? Where does this sense of English services coming across as defective Greek or Slavonic services come from? How do you adapt for American culture without it feeling so self-conscious that it doesn’t really matter if it’s a good or a bad adaptation, it just feels wrong for some people?

What’s the end vision for what an “American Orthodoxy” will look like? Democratic? Run by lay committees and commissions? English-language — but which register? Liturgically redacted and shortened, if not completely revised? The Synaxarion and festal calendars started over more or less from scratch except for a few “greatest hits”, so that we can hopefully have room for Ss. Joe and Bob and Amy and Jennifer down the road and we can stop hearing so much about Photios and Paphnutius and Varvara and Thekla? Musically simplified, maybe using Gospel music or Sacred Harp or some such? Iconographically simplified, so that we don’t have all that gaudy stuff hanging around that looks like the Renaissance never happened, but then we don’t go to the naturalistic extremes of the Renaissance either? Architecturally simplified, so that we basically go with whatever size big concrete box that we can afford? Maybe we pull out historically relevant Byzantine or Russian prototypes of various things to emphasize particular feast days, but on the whole we recognize that to do it all every single service is just overdoing it, plain and simple, and we dial everything way back? Will it all feel “Western” enough if we do all of that? Will it feel enough like Orthodoxy actually belongs in twenty-first America if it does all of that? Or is the issue still something else?

I don’t have answers to any of that, but all of those are things that I’ve heard people say, converts, ex-converts, and ex-inquirers alike. In some cases, the people I’m thinking of seem to have realized that what they meant by “Western” was “Anglican” or “Catholic” or “Baptist” or, for that matter, even “unaffiliated”, and subsequently went to those places. It’s enough to raise the question — in an American context, can ecclesiology ever really trump “culture”, whatever we mean by that? What would it look like for it to do so? We value heritage in America, we tend to treat religion as a category of heritage, but then we also treat religion as something one self-identifies as, which you can’t really do with heritage. We also have a culture of pluralism where both are concerned, which means that no religion or heritage is (theoretically) any better than any other. So then what happens when somebody self-identifies, that is to say self-consciously identifies oneself as, a particular religious category that somebody else identifies with in a non-self-conscious way as a result of heritage? Ostensibly the religion is the same — but it doesn’t mean the same thing. Eventually the people self-identifying either isolate themselves so that they’re only interacting with other self-identifiers, they make some kind of peace with the issues of heritage, or they decide that heritage really is the determining factor after all and seek out a religious category where their heritage seems more appropriate. Various flavors of Anglo-European being the dominant heritage in the United States, it’s less of a weird thing, perhaps, for a Greek to become an Anglican or some other flavor of Protestant, because that’s a minority assimilating, as is, some might argue, not only appropriate but respectful to one’s “host”. For an Anglo-European American to become Orthodox — well, you’re not assimilating, and you’re self-consciously embracing abstractions that the heritage practitioners may or may not relate to, so, yeah, sorry, that’s just weird, and you’re really playing spiritual dress-up at the core of things. Go back to being whatever you were. Go be a Catholic, since that’s probably what you really want to be anyway, you just don’t want to be one those Catholics who sings “Gather Us In”. Ecclesiology has nothing to do with it — this is America, and ecclesiology is basically irrelevant here.

Is that basically what it boils down to? I don’t know. To reiterate something I’ve noted elsewhere — as Neo says, the problem is choice, or at least pluralism. What does it mean to choose a religious tradition that self-identifies as an exclusive truth in a context of inclusive religious pluralism, and then what does it mean when our weird American heritage and identity issues appear to create a conflict with that choice? How do you resolve the problem without factoring out lived experience and reducing the religion to a set of abstractions, or feeling required to “go native”, or effectively choosing one’s own adventure and creating a “personalized” version of the religion? Can you resolve the problem, or is one of those three choices effectively inevitable (with the tacitly expressed fourth choice being that you throw up your hands and walk away)?

This brings us to Fr. Oliver Herbel‘s book Turning to Tradition: Converts and the Making of an American Orthodox Church (Oxford, 2013). Fr. Oliver contributed some excellent essays to the site OCA News, he was a co-founder of the Society for Orthodox Christian History in the Americas, and he also became a bit of a folk hero in some circles for taking a rather unappreciated public stand with a particular hierarch. Both his writings and his questioning of this bishop managed to annoy, shall we say, the right people, and his work influenced, in no small part, this piece of mine on historiography of Orthodox Christianity in America. The publication of his book, if nothing else, means that there is now on the shelf a serious monograph on the history of Orthodox Christianity in America by a serious Orthodox scholar, rather than, well, less-than-serious books by less-than-serious people who may be Orthodox but are obviously non-scholars.

Fr. Oliver’s book is, effectively, a collection of case studies of conversions in an American context. First, he looks at the now-St. Alexis Toth, the nineteenth-century Carpatho-Rusyn Eastern Catholic priest who converted to Orthodoxy after he moved to America and found the Catholic scene here rather less-than-welcoming for “Uniates”. Toth evangelized many of the Carpatho-Rusyns in this country, convincing many of them to convert (and ultimately laying the groundwork for what would become the Metropolia and the OCA). He also looks at the case of Fr. Raphael Morgan, an Englishman of African heritage who was baptized and ordained in Constantinople in the early twentieth century, and traveled back to the United States to evangelize about Orthodox Christianity to African Americans, providing something of a counter-narrative to Marcus Garvey. In this context, Fr. Oliver briefly discusses the “African Orthodox Church” that attempted to establish a distinct presence in, among other places, Uganda, only to fall apart and eventually become Greek Orthodox. He then studies the conversion of Fr. Moses Berry, who identified his experience as a black American with the experience of late antique Egyptian Christianity, and eventually became Orthodox via a path that included the Holy Order of Mans. Finally, he spends two chapters on the Evangelical Orthodox Church, who would notably join the Antiochian Archdiocese via a mass conversion in 1986; in particular, he complicates the “sanitized” narrative of the EOC’s journey to canonical Orthodoxy as presented by Fr. Peter E. Gillquist in his book Becoming Orthodox.

This is what amounts to Fr. Oliver’s thesis:

In many respects, the idea that such a traditional church in America [such as the Eastern Orthodox Church] would attract outsiders seems counterintuitive… paradoxically, what one encounters in the West… is a tradition of change, or an anti-traditional tradition, as found in the scientist, whose duty it is to find a flaw in the tradition that has gone before. The point is not that an exemplar of the anti-traditional tradition will reject any and all aspects of what went before, but rather that he or she may select some individual part of the preceding tradition in order to enact something entirely new or at odds with the tradition itself. American religion is also characterized by an anti-traditional tradition. As a phenomenon within American religion, it is denoted by a long tradition of mavericks who engage in religious choosing and novelty-creation by selecting and emphasizing a part of the religious tradition they inherited to create something new. The result over the last two centuries has been that the American religious scene has become ever more diversified and complex. Indeed, here one ought to think of the many restorationist movements dedicated to restoring, or re-embodying, the early Christian Church.

[…]In the converts studied here, their conversions demonstrated their Americanness in two different (though overlapping) ways: as a response to oppression and as an ironic species of the anti-traditional tradition… Though intended as a break from the anti-traditional tradition, by utilizing restorationism, the turn to tradition becomes an expression of religious identity creation in a very novel way. The conclusion (Eastern Orthodoxy as the Christian Tradition over and against a diversified, fragmented American Christian landscape) may at first appear rather un-American, since it is not the creation of a new subset of Christianity, much less a new religion, but the road to that conclusion is, ironically, precisely an expression of the anti-traditional tradition. Furthermore, inasmuch as these converts are seen as exemplars for other other converts, these conversion patterns themselves establish a tradition, one more tradition built out of the anti-traditional tradition. (pp3-6)

In other words, the way of solving the problem in an American context is to appropriate the cultural anti-traditional instinct (exemplified by a church called The Salvage Yard on the south side of Indianapolis that, when it opened, had as its motto “No Traditions, No Politics, No Baggage”, but then after six months or a year it took the sign down, presumably because it realized that it couldn’t honestly advertise those absences after a certain amount of time of being in operations), re-analyze it as its own tradition, and redirect the effort towards restoring the historical imaginary of the “early church” under some kind of rubric of “authenticity” rather than joining a lived tradition. No, we’re not becoming Orthodox; we’re restoring the real — or perhaps “authentic” — Apostolic Church in the West, and the Orthodox Churches are just being smart enough to validate our efforts. The EOC was hipster Christianity before there was such a thing as hipster Christianity, one might say.

(The thesis, by the way, reminds me of this essay that I wrote some six and a half years ago. There are a few things I’d perhaps put differently today, but this is a pretty good snapshot of how I was expressing and working through some of Fr. Oliver’s questions myself after maybe four years of moving in Orthodox circles.)

In terms of the thesis of anti-traditional tradition — I’m also reminded of this piece, specifically the part about the “culturally Western” critique of Byzantine chant. Basically, so some would argue (like a former EOC priest, for example), the received tradition of Byzantine chant itself isn’t “authentically” Byzantine but rather Turkish and Arabic (an outdated scholarly argument, but never mind for now), so re-appropriating parts of it, doing something new with them, and throwing out the rest isn’t just okay, it’s actually more authentically Orthodox to do so, because “real” Orthodox Tradition adapts to the culture it finds itself in. So, we don’t just get an Orthodox music that’s “more authentic”, we get an Orthodox music that’s “more American” at the same time. This is wrapped up in a number of concerns like Orientalism, a search for some kind of “original purity” (manufactured for the here and now if we can’t find it organically), and also a desire to assert some kind of American national identity in a religious context that claims catholicity but, practically speaking, has a sacred history that ends 39 years before Columbus sailed to the New World.

Anyway, the point is, it seems to me that implicit in the embrace of Orthodoxy in a context of anti-traditional tradition is an assent to the content while also including a critique of the form. To a certain extent, that critique may be legitimate in an American cultural context; the combination of how religion works in this country with how Orthodox Christianity came here deals a pretty crippling blow, at least for now, to Orthodox ecclesiology, and I don’t see that ideal managing to reconcile with the practical reality on the ground any time soon. If you’re in a country like Greece or Russia, then you can see the diversity that exists in those places as a deviation from a strong mainstream; a diversity in unity, if you like (while acknowledging some outliers like the Old Calendar breakaway groups). Here, though, while the cultural ideal is perhaps unity in diversity, what we actually kind of have is a plurality in diversity. It seems to me, anyway, that there are, in effect, multiple “Orthodoxies” in the United States with no strong mainstream holding them together.

In terms of Fr. Oliver’s EOC material, I must say up front that it’s a bit awkward for me to say much knowing personally some of the players involved, but I will say that there was very little in the EOC material I hadn’t heard before (Becoming Orthodox being a sanitized version of the EOC’s history, the EOC was authoritarian and cult-y, etc.) and there were a couple of things I was somewhat surprised not to see; new to me was how Fr. James Bernstein’s departure for the OCA in 1981 was handled (that is to say, poorly), the EOC’s welcoming of a cleric (I assume he means Fr. David Anderson) disciplined by the OCA being the reason why the OCA seemed not to be on the table as a possible entry point for the EOC, and Fr. Thomas Hopko’s involvement in the inter-episcopal discussion leading up to the EOC’s reception by AOCNA. Over the years, a couple of knowledgable individuals in the Greek Archdiocese have told me that, in fact, Constantinople had given the EOC a conditional “yes”, but the sticking points were that the EOC clergy would have had to go to seminary, and Fr. Peter was insisting on being received as a married bishop (something alluded to, but never explicitly stated, in Becoming Orthodox). The trip to Constantinople, according to them, was the EOC’s attempt at an end run around these logjams. If that’s true — oh, how much hair-pulling and sorrow perhaps could have been avoided if they had gone to seminary! Again, if everything had been normalized from the get-go in the context of “living tradition”, with a full dose of having to co-exist from the start with clergy who had always been in that living tradition, rather than being allowed to persist in what amounted to “American exceptionalism” turned into its own vicariate, we would be having a very different conversation right now about so many things.

Fr. Oliver does a nice job, I think, of setting up studies of a number of subsequent questions. What are the forces at play in terms of a group like the EOC, or HOOM, or the African Orthodox Church wanting to “become Orthodox” but insisting on doing so on its own terms? If they want to be Orthodox, what’s to stop them from converting as individuals instead of being “received” as a group? Why the necessity of preserving a distinct group identity? What are the cultural dynamics at work, with a predominantly white, Anglo-American group like the EOC being under the ecclesiastical authority of Arabs/Arab-Americans?

How does the “restorationist” impulse cast Orthodox converts in comparison to explicitly “restorationist” Protestant groups? At least here in the Midwest, there are a lot of converts from Campbell/Stone circles — and they all say the same thing, some variant of “You’re brought up to believe that you’re in the one true church; you realize very quickly that this isn’t true if you think about it for more than few minutes, but then you’re left with the conviction that such a thing ought to exist.”

How are forces of anti-tradition traditionalism and restorationism at play in the various American jurisdictions even without the issue of converts? He briefly looks at this at the very end, and I think it’s worth its own treatment. For American cradles who are accustomed to Orthodoxy as a lived tradition rather than a self-conscious “return to the early church”, “restorationism” can mean restoration of an “authentic” national Orthodox practice. In the Antiochian Archdiocese, for example, “Antiochian tradition” is a very complicated term that can mean one of four things — 1) “authentic” Patriarchate of Antioch tradition as practiced in Syria and Lebanon, 2) the parish practice of an “ethnic” parish in AOCNA (which is somewhat redacted from the first definition, and also depends somewhat on whether or not it’s a parish that was under Toledo or Brooklyn before 1975; those under Toledo seem to have been rather Russified, perhaps for obvious reasons), 3) Antiochian Village camp practice, and then since 1986 there’s definition 4) — practices imported by the EOC that have spread and been somewhat normalized. In the Greek Archdiocese, there are “restorationist” arguments about Byzantine chant, language, and so on — but at the same time, you have Greek-Americans for whom the music of Frank Desby and Tikey Zes are their “lived tradition”, not Byzantine chant. There is, of course, the issue of calendar and the “restorationist” overtones where that’s concerned; apropos to the book, I’m not sure that most of “continuing, real, authentic, Church Abroad in Exile” people who left ROCOR after they made nice with the MP in 2007 aren’t converts with a “restorationist”, or perhaps a “purifying”, impulse. Greek Old Calendarists are a somewhat different matter, but they’re certainly in the mix too.

I think there’s a bigger question too, of what “restorationism” means for people who convert. Is Orthodoxy in fact the intended end? Or is its function simply instrumental for another end? If its value is instrumental, why Orthodoxy in particular? Is it its relatively low profile in this country, making it attractive as something that can be “made over”, as it were? Is it a kind of paternalistic Orientalism, the taming of the exotic East by sympathetic Westerners both for its own good as well as for the good of other Westerners? Something else?

And, while I’m thinking about it, I will say that I’d be very interested to know what somebody who’s more up on race than I am as a historical category would make of Frs. Raphael Morgan and Moses Berry.

I still think that the definitive history of the EOC has yet to be written, but Fr. Oliver’s treatment of the material certainly outlines what I think some of the contours probably need to be. An idea that he outlines but never explicitly states is that one of the ways Gillquist sanitized the EOC’s history was to give the EOC’s objective, more or less from the start, as putting itself out of business and joining up with a canonical church. It’s clear from people I’ve talked to that this may have been a majority view, perhaps (and I do say “may”), but it was never universally held, and there were a good number of EOCers who wanted the EOC to be its own thing and to remain separate from the canonical churches. Some of this may have boiled down to xenophobia (something I still notice in a lot of oldtimer former EOC people), but I think some people just genuinely didn’t relate to the ecclesiological issues that Gillquist et al. were trying to push. I think on the whole there’s a lot more to be said — response to the ’60s hippie movement (it is very strange to me that nobody has done a scholarly comparative treatment of HOOM and EOC — same time period, same end more or less, but very different ideological starting point, different cultural context of NoCal vs. SoCal, and very different means to the end), Evangelical infighting (as Fr. Oliver points out), appropriation of “community” in a culturally conservative context (a former EOC cleric once told me that EOC communities were basically “right-wing communes”, and surely there is some hay to be made about the “fateful” meeting concerning the direction of the EOC in the early ’70s being entirely a group of middle-class white Protestant men), and the question of what “American identity” actually, particularly when counterposed with “Orthodox identity”. For the EOC, “American identity” seems to basically refer to the middle-class WASP, and they’re ultimately more liberal and syncretistic in terms of ecclesiastical practice; by contrast, former HOOM folks seem to be more inclusive in terms of race and class (Fr. Moses, Fr. Jerome Sanderson, etc.) but they embrace a far more conservative vision of Orthodox church praxis and polity. I think the lesson with both groups is “don’t receive groups as discrete bodies; receive individuals, period”, although obviously there are good things and good people that have come out of both (the priest my current GOA parish in Indianapolis is former HOOM, for example, and he’s wonderful; nothing guru-esque about him, to say the least). Indianapolis is an interesting case for all of this, actually; it’s very representative of the various Orthodox jurisdictions (except, curiously, cradle Russians; there’s a Bulgarian parish, a Serbian parish, and a Romanian parish, but no “mainstream” OCA parish or ROCOR parish — the cradle Russians all seem to have wound up at the big Antiochian parish over the years, which is perhaps not surprising given its status as a “Toledo” parish). Indy was home to an EOC as well as a HOOM community, both communities eventually became Orthodox (although the EOC group was one of the holdouts in 1986 and didn’t come in until later, and then under the OCA), and today there’s a lot of going back and forth between the two parishes. Indianapolis is also home to one of the splinter EOC remainder communities, and I’m told that the individuals who make up said remainder community are an interesting reminder of just how idiosyncratic these groups actually were.

I will note that I’m speaking from the point of view of presently being at a GOA parish, and that’s after I spent nearly a decade at an AOCNA parish that was never part of the EOC and was started by Greeks and Arabs, but functionally treated as an AEOM community because of its location in south central Indiana, ultimately becoming home to a plurality of Hoosier locals instead of the Greeks and Arabs who founded it, as well as sort of a home base for a big chunk of the Gillquist family. From my perspective, I once again say that it’s too bad that the EOC wasn’t “normalized” from the get-go. The idiosyncrasies introduced, and the way those idiosyncrasies have contributed to and exacerbated personal problems, have been counter-productive. Maybe it’s been a way to “engage America”, but I think it’s also set up false expectations about what Orthodoxy is and what it looks like.

Fr. Moses’ “flowers in God’s garden” image is actually really interesting in the light of the arguments about how to “Americanize” Orthodoxy. It’s fascinating to me that somebody like him can look at late antique Egyptian Christianity and see the continuity with Orthodox Christianity as well as with contemporary African American existence. And yet, we “Anglo” types are constantly wringing our hands over Orthodoxy not being “Western” enough or “American” enough or whatever. Somehow, Fr. Moses is able to see the flowers that look like him, so to speak, in Orthodoxy, where many Westerners cannot, or at least will not, see the flowers that look like us. What is that saying? Does it have more to do with Orthodoxy or with us? Is that, perhaps, a manifestation of white, or at least Occidental, privilege that we expect to be catered to and for things to be customizable for our ends? Again, does it boil down to a form of Orientalism and/or xenophobia that’s just culturally ingrained?

From a practical, pastoral standpoint (insofar as I have any business claiming such a perspective), much of what Fr. Oliver has to say about anti-traditional tradition is why I find myself at this point really resistant to self-conscious “Americanizing” efforts. How is it going to be helpful to make “American Orthodoxy”, whatever we mean by that, more idiosyncratic rather than less? Multi-generational models of lived experience are needed for the convert, I think, not reconstructions and restorations done by people who are still drying off from their baptism. The trouble with that, though, is that it’s counter to the American instinct to “do it yourself”, and for reasons I’m still not sure I understand, it seems that a good number of people think that the practical upshot of what I’m suggesting is that they need to “pretend to be Eastern”. I go to a Greek parish, I speak some Greek, I chant partially in Greek, and so on, but I don’t think of myself as “pretending to be Greek”; as far as I’m concerned, I’m just trying to understand how to be Orthodox, what that means and what that looks like, from people who have been Orthodox all their lives and whose families have been Orthodox for as long as they can remember. Maybe that’s a distinction without a difference; your mileage may vary.

A more immediate practical concern than “Americanization” is — yes, converts need multi-generational models of lived experience. Are we going to able to produce them ourselves if we experience them? To put it another way, is there a second generation that will come about by births, or is “American Orthodoxy” effectively the Shakers without celibacy, hoping to grow by conversion rather than procreation? I know my share of kids of convert priests who either left or are simply indifferent, and then geographic mobility means even if you stay, you’re probably not at the parish Mom and Dad went to/converted at/helped establish/etc.

Which brings me to this talk by one Fr. John Bakas of St. Sophia Greek Orthodox Cathedral, delivered in November 2010 at a conference of The American Hellenic Institute Foundation. The talk is titled “The Challenges Facing the Greek Orthodox Church in America”.

So, here we have a cradle Orthodox expressing perhaps exactly the opposite concern of the individuals studied by Fr. Oliver. Here is not restorationism, but the question of how to rearticulate a lived tradition in a new cultural context in a way that is distinctive but inclusive — and doing so to ensure survival, so that it doesn’t have to be “restored”. While I grant that Fr. John’s use of the word “Hellenism” probably will go over like a ton of bricks for some, but I think what he’s saying needs to be understood properly. To me it’s clear he’s drawing a contrast between “Greekness”, Greek heritage as simply Greek heritage, and “Hellenism”, which he’s using here in a very Byzantine way, to mean the best parts of “Roman” culture which both provided a framework for Christianity and which were also transformed by Christianity — and it’s telling to me that he uses “converting the Russians to Christianity” and “Hellenizing the Russians” interchangeably. (I recently read the Greek life of St. Maximus the Confessor, and one of the things it says is that St. Maximus leaves the service of Heraclius’ court to pursue “philosophy” — a very Byzantine way of repurposing the word for an aspect of Hellenic culture to describe something in Christianity — i.e., monasticism.)

I’m not going to disagree that this sounds way off-key to American ears, but again, in terms of what I think he thinks he means, I actually think he could do a lot worse. One can argue about it being an effective strategy for evangelism; “translated” properly, shall we say, he might have a point. I think he’s also explicitly agreeing with the statement “You don’t have to be Greek to be Orthodox” (which itself is a paraphrase of Isocrates saying in the Panegyricus that one is Greek by education and culture, not blood), as evidenced by his example of the African-American cathedral parishioner at the end.

Okay, fine, I can get that, but is that going to be a meaningful distinction, or paint an attractive picture, for anybody else? Is even an inclusive “Hellenism”, that is to say an inclusive lived tradition of Orthodox Christianity, going to look inclusive enough to mean anything to the person who can’t handle how “non-Western” it is once he/she sees Greek or Slavonic script (and let’s not even bring up Georgian or Arabic), or a three-bar cross, or a Byzantine-looking icon? Are restorationism and anti-traditional tradition really the only ways forward? Can it be “Yiayia’s church” and my church at the same time, or are those always going to be mutually exclusive categories?

Enough for now; we’ll talk more soon.

Center, periphery, and shaking the dust off one’s feet (long)

(Warning: long and rambly. Sorry.)

This has been a difficult semester.

I’m at the point in my program where I’m having to jump over the big hurdles; this is no bad thing on the face of it, because I don’t want to be in grad school forever, I’d like to have a real job before I’m 40, and there are certain funding realities that mean it’s in my best interests to get to candidacy/ABD (“All But Dissertation”) sooner than later. To that end, this year has been all about getting myself through those hoops. Fall term I spent getting my Latin back in shape, I got that exam out of the way back in January, and now I’m three weeks out from my oral qualifying exams. Assuming all is well there, then I have a paper that I need to rework into a dissertation proposal, and then I can defend that before the end of April. Once I’m on the other side of all of that, then there are certain kinds of doors I can knock on. I don’t necessarily have to go knocking on them, since I still have two years of funding left and I’m pretty sure that if push comes to shove I can get the dissertation done in one year, but on the other hand, we’ve now been in Bloomington ten years, and we’re very much feeling like our own internal sell-by date has passed for this town. It would be very much to our advantage, on a few fronts, to be able to move on soon, and some of the research/teaching fellowship opportunities that are out there once both Barretts have unlocked the PhD candidacy achievement would be more than helpful in allowing us to move on.

See, we’ve basically been here long enough that we’ve outlasted just about everybody who moved here within our first two or three years. It’s one of the very weird things that can happen in this kind of town; you come here for one reason, thinking you’ll be in and out in two years, three years max, and then life takes a turn that keeps you here. It can be very subtle, really; it becomes clear that there’s really not a ton here that can keep you sufficiently busy if you’re not on one of a handful of very specific tracks, but somehow there’s a center of gravity here that can hold you in place even when you don’t really want it to. (A friend of mine calls this “getting Bloomingtoned”.) Part of it is that it’s logistically a difficult town to get in and out of; you can’t just hop a plane or train and be on your merry way. Part of it is that it can seem like there should be plenty to do here if you can just come up with the right opportunity; some of those opportunities only cycle through once a year, and by the time you realize that they’ve passed you by for the year it’s too late to make plans to do something someplace else, so you’re stuck until the window re-opens. Maybe you manage to make one of those opportunities work, and then the next thing you know, you’ve looked up and four years have passed. Eventually, one way or the other, stay here long enough, and not only will most of your friends have left, but the avenues that bring new arrivals into your social circle will re-orient around other people.

We’re feeling this right now particularly keenly, at least in part, because of Theodore. We just don’t have any access to family out here; my mom is in Alaska, Megan’s is in Washington state, my sisters are in Arizona and Oregon, and Megan’s brothers are in Hawaii, eastern Washington state, and Chicago. (Chicago seems like it shouldn’t be that bad, but it’s a lot harder than you might assume.) The plan this academic year was that theoretically our respective teaching/research schedules were going to allow for somebody to always be at home; well, that didn’t quite work out. Flesh of My Flesh got a last-minute (like, three weeks into the semester) teaching reassignment that threw a massive wrench into our schedules, and what we’ve realized is that just about everybody we would have asked for help in terms of watching the Fruit of My Loins for an hour here or an hour there has moved on. Every day has really turned into a juggling act, and it’s been hard to manage with basically not much local social network left.

One of the other things that’s contributed to feeling this diminution of our social circle is the fact that we’re no longer hooked in to the parish that is ostensibly local to Bloomington. (You perhaps notice that I’ve phrased that somewhat circuitously. That’s intentional, and I’ll come back to that.) Since January, we’ve been going to Holy Apostles Greek Orthodox Church in Indianapolis; it’s one of the shorter drives, they’ve been very nice and welcoming, they’ve fawned over Theodore, and they’ve been receptive of what I have to offer in the way of chanting. They also only meet twice a month, which means that we’re not missing out on much by commuting. But, even being one of the shorter drives, it’s still an hour and fifteen minutes away, and it means that our contact with the community is by necessity pretty sporadic. Anyway, the upshot of all of this is that a couple of weeks ago, when all three of us got really sick simultaneously, a friend of ours in Indianapolis who, like us, used to go to All Saints, asked us — “Is anybody checking in on you guys?” I just had to shrug and say, who’s left to do so?

Last week, I found out that a good friend of mine, whose time here has been very much the definition of “getting Bloomingtoned” (he and his wife moved here to be close to family and to apply for grad school; the family moved away shortly thereafter, grad school didn’t work out, and they kind of got snookered into staying indefinitely, under somewhat less than ideal employment conditions, for reasons I won’t deal with specifically) and who has been waiting for the opportunity to go to seminary for the last seven years, will finally be going to seminary this fall, come hell or high water. Last I had heard, while certain necessities had managed to fall into place in the last month, they had decided to wait until fall 2014; well, no, they’re getting the heck out of Dodge and they’re doing it now. They’re done feeling stuck here; time to take the opportunity to move on. Another couple of friends of ours are also moving in May, we’ve only recently found out, but they just arrived last May. The wife was starting a PhD program in education and the husband was doing some exploratory things for nursing, and, well, let’s just say that none of that really worked out as intended. They still thought that they’d stick around Bloomington for a few years simply to try to be rooted someplace for a little while, but as I found out, in the last few weeks they’ve seen that that way lies madness, and they’re moving back to their home state in a couple of months. They are, in other words, determined to avoid “getting Bloomingtoned”. I am happy for all of those folks. At the same time, much of our small handful of remaining friends here is also moving on to greener pastures come May, and we’re really starting to feel more alone than we have in awhile.

But my point here isn’t really to complain; my point is to give a personal window into the weird way this town works. To use theoretical terms, the way center and periphery function here is a bit tough to wrap one’s brain around. One way to look at it is that Indianapolis is a center, and Bloomington is on the periphery; some might argue that actually Chicago is the center, Indianapolis is part of Chicago’s periphery, and Bloomington amounts to the outer reaches of the solar system. Well, maybe; I tend to think that Indianapolis and Chicago are both centers; culturally, my impression is that northwestern Indiana seems to rely more on Chicago as a center, and central Indiana seems to rely more on Indianapolis as the center (which is to say, it feels a lot like a slightly rougher-around-the-edges version of Ohio). But then, Bloomington is, in its own way, also a center — Indiana University is here, for example, which makes it a particular kind of center. It’s not what anybody would call a “world class city”, but it neither tries to be nor wants to be, and there’s enough activity here for there to be surrounding areas that consider Bloomington to be “town”, which means that Bloomington has its own periphery.

The trouble with Bloomington being a center is that, even at a mere hour away from Indianapolis, it’s a pretty isolated center. It’s a short drive that feels long, partially because you don’t actually get to make it on a real highway; you’ve got a couple of choices of state highways that, instead of overpasses, have intersections and therefore stoplights, it also feels long partially because so there is so little between here and there. Its nature as an isolated center has let it become something of a SWPL paradise for people who can afford it; we’ve got a food co-op with three (soon to be four) locations, we’ve got a whole street of different kinds of ethnic restaurants (no real Greek restaurant, alas), we’ve got culture provided by the university, we’ve got all kinds of green initiatives, we’ve got birthing subculture, we’ve got a winery, we’ve got homebrewing galore, we’ve got alternative schools, we’ve got biking, and we sort of have buses. This has sort of led to Bloomington’s own kind of parochialism; the feds are supposed to build part of the I-69 corridor going through here, and the SWPL folks do not want it in any form at any price. Probably if there were a commuter train between here and Indianapolis, that’d be one thing (and I myself would love such an option, because I hate the drive), but on the whole, they like Bloomington the way it is.

Well, fair enough, but then there’s a whole separate crowd that lives here, one that lives more than 2-3 miles from the university campus, that actually doesn’t see the university as the economic center of the town; they see it, rather, as mostly irrelevant at best and an unwelcome attempt to co-opt the kind of life they had 15-20 years ago. “The university is actually only a small part of the picture,” a lifelong resident told me once, telling me that the only people who see IU as rooting the activity of Bloomington are people who work for IU. “Bloomington’s main economic driving force right now is retirement,” he said.

See, 15-20 years ago, Bloomington’s economy was far more diverse in general; there were the quarries, there was RCA, there was Otis Elevator — you had a substantial blue collar sector, in other words, that could co-exist, however uneasily (see the movie Breaking Away), with the eggheads, the retailers, and the burger-flippers. All of that’s gone now, for all intents and purposes; my first year here, I worked for Kinko’s FedEx Office for a few months, and my manager was a guy who had worked for years in management at RCA. It was a great job; eventually the plant relocated most of the labor “south of the border”, as it were, and laid him off. They called him up the day after they would have had to bring him back at his old salary with full benefits and pension, and offered him his old job with no benefits, no pension, and half the salary. As he told me, “I had two words for them that weren’t happy birthday.”

So the question then becomes — how do you lure talented people here, and how do you keep them? You used to be able (I almost wrote “You used to could” — I’ve been here too long) to do it with the cost of living. The IU Jacobs School of Music voice faculty became known as “the graveyard of the Met” because they could offer star singers past their prime a salary that looked small, but in the context of a cost of living that was negligible compared to what they were used to in New York. But that was 50, 60 years ago; Bloomington now has the highest cost of living in the state.

The university certainly gets people here, both in terms of faculty and students, but a chunk of those people aren’t really here to stay. If you’re here for a terminal graduate degree, it’s almost a foregone conclusion that you aren’t going to be getting a job here. That’s just not how major universities work. It might have been a different story 30-40 years ago, but not now. There are exceptions, sort of; if the completion of your PhD times out nicely with a faculty opening, then you might get a yearlong Visiting Lecturer appointment while they do a search, but you’re not realistically going to have a shot at the tenure track position. That said, there are people who come here, fall in love with the place, and decide that they’ll be Dr. Broompusher just so that they don’t have to leave. If you’re really creative you can find ways to carve out niches for yourself, but often these can turn into ways of making a living as a self-promoter.

When I was working in support staff jobs for the university, one of the things I discovered was that a lot of longtimer secretaries and such had been gradually pushed further and further out to the outlying areas of Bloomington. Basically, if you work for the university, unless you’re faculty or in the professional track of administration, you can’t really afford to live anywhere near it — partially because East Coast undergrads whose parents are used to New York and New Jersey prices have bid up the cost of housing. We’ve experienced that a bit ourselves; the apartment that we lived in our first couple of years here was about a 15-minute walk to campus, and it was in undergrad party central. It was $850/month the first year (incidentally, only $100/month less than our apartment in Seattle); it got bumped up to $950 the second year, and then they wanted to jack it up another $100 the third year. We said no, and the very next day they were showing it. They ultimately rented it for $2,000 a month.

Anyway, the point is, Bloomington seems to function as a center, at least in some ways, and they’ve created some of their own periphery. But it’s also a periphery in its own way — it’s a periphery that’s sort of a center among other peripheries. One of the results seems to be that there is a lot of socio-economic elbowing and jostling here, and a lot of cultural discomfort amongst the different strata.

So — and this really is my main point — what do you do as a church in such a situation? Well, normally, the way this seems to work out is that people on the periphery go to their churches, people in the center go to their churches, and you’ve got different cultural groups instinctively coming together at their respective churches. You certainly see that here; you’ve got Primitive Baptist communities in some of the areas a half hour away, you’ve got Campbell/Stone and Pentecostal and Baptist churches out in the outskirts of Bloomington, you’ve got the conservative Catholic parish way out in the northwest corner of town, you’ve got the moderate suburban Catholic parish less than a mile away from the campus, and you’ve got the ultra-liberal Newman Center that hosts the Dalai Lama when he’s here (“St. Paul Outside the Faith” as I’ve heard conservative Catholics call it) right on campus. On the main commercial drag through the university’s part of town, you’ve got the big Methodist church, the Episcopal church, the Disciples of Christ church. And so on.

So where do the Orthodox fit into such a picture? Well, here in Bloomington, they kind of don’t. There is one Orthodox church here, and the idea is that it serves all the Orthodox in Bloomington and can be a home for Orthodox college students and inquirers for as long as they need it. That’s a lovely idea, but how does that work out in practice given the situation that’s here? And, again, it kind of doesn’t. The problem is that All Saints has intentionally located itself in the periphery; it’s six miles from campus, two and a half miles into unincorporated county. It’s at the intersection of a couple of country roads that are neither pedestrian nor bike friendly; I used to say that if I lived across the street I’d still drive. As a result, it’s not easily accesible from the center, and in the time I was there, I saw the demographic shift substantially away from the center and more towards the rest of the periphery. And yet, it’s ostensibly the church that is serving the center, even though, for all intents and purposes, it doesn’t, and it doesn’t really want to, either. You can’t really elide all of the geographic, socio-economic, and ethnic differences all at the same time with a little shoebox church out in the middle of nowhere; maybe in a perfect world you could, but we’re talking about human beings with human foibles, and it doesn’t really work that way. Anyway, the net effect is that being close to the center allows it to function as a central location for the other peripheries, but that means that it’s a very different culture and demographic than what you would have if it were actually in the center and serving the center. So, while there’s technically an Orthodox church with a Bloomington address, there isn’t really an Orthodox church in Bloomington.

The other tricky dynamic such a community has to navigate is one of long-term vs. short-term participation. There are people at All Saints who were born and raised in Bloomington and who will be buried in the church’s cemetery. There are people who moved there for school and decided to stay. There is the small handful of students that come and go. There are people who have moved there for various reasons, seen them not work out, and simply gotten stuck (“Bloomingtoned”). There are people like me, who came thinking we’d be here 2-3 years tops, 10 years later we’re still here, but we’re still planning on being gone sometime in the very near future — long-term short-termers, in other words. How do you work out issues of leadership within that kind of dynamic? In my case, I was on the parish council, the building committee, I directed the choir and chanted, I was OCF chair for a couple of years, and so on — and for everything I was involved in, I took the stance that, however long I’m here, I’m going to participate in decision-making as though I’m going to be here in 50 years. I took an approach of trying to build things that I would want to see still standing in my grandkids’ day, in other words. But should I have done that? Did I have any business taking the long view? Or does it simply throw off the balance if a short-termer, however long-term their short-term becomes, doesn’t defer on long-term issues to the people who actually will still be there in 50 years? Does it make any sense for somebody like me to be part of the effort to build a new church, for example, when I’m not planning to be around long enough to see it built? Are people like me just creating messes that other people will have to clean up? But then, what happens when the people who are going to be around aren’t willing to be involved?

What’s the priest’s role in figuring out such questions? It seems to me that there’s a complicated problem of priests not being able to afford to tell people with energy and ideas and willingness to participate that they need to sit things out, but at the same time, if the priest is letting those people spearhead projects that he’s not willing to take on or support himself, then at what point do such people just become, effectively, cheap labor in whom the “permanent” congregation has no investment?

I’ve mused a lot on this blog about mission and outreach. Orthodox outreach is something I care very deeply about; what I keep saying is, “If we actually believe we are what we say we are, we ought to be shouting it from the rooftops.” Taking mission seriously also, it seems to me, entails taking issues of community access seriously. How do you do that in a town like Bloomington? If you build a church in the center that is first and foremost for the center, probably people in the periphery aren’t ever going to care. In that sense, All Saints really is a mission to rural southern Indiana in a way that it couldn’t be if it were better positioned to serve the population center of Bloomington. But, at the same time, the way it has positioned itself, it’s close enough to the center to count as “the Orthodox church in Bloomington” even though it effectively isn’t, which makes it very difficult for anybody else to justify getting a mission started that would intentionally serve the center. The periphery folks have their church, and they’ve got it exactly the way they want it; it’s away from everything, it’s small, it’s relatively inexpensive, it’s low-maintenance, nobody bothers them, they don’t have to worry about a proliferation of the forces they keep away from (like the university) taking over. But then, since it’s the only game in town, you have the all-too-frequent phenomenon of certain kinds of inquirers or students walking in, realizing it’s not really intended for them, and leaving. Some of them commute to Indianapolis; some of them just don’t bother considering it further.

I was almost one of those people as an inquirer, ten years ago; not gonna lie. I walked in for the first time and really wanted to walk right out (this after getting lost on the way there because the directions on the website were unclear). I tried to make it work for nine and a half years, and it sort of did, for awhile. As I said, however, I’ve seen the demographic change while I’ve been there, and while there were still vestiges of the original self-conception as “the Orthodox church for all the Orthodox in Bloomington” 10 years ago, any sense of that is completely gone now. The families that started the church have moved away or passed on; there isn’t a second generation of those folks still hanging around. As a result, the demographic has narrowed, and it has also aged and moved outward. A new generation of converts is coming in, yes, but they’re coming in from even farther away, from points further southward. We have friends there, to be sure, and our very dear godparents, but that’s a different beast than fitting in to a community. The parish has developed, and continues to develop, a very strong identity as a church for rural southern Indiana; this isn’t a bad thing on the face of it, but it means that, after nine and a half years of trying to be part of the community, we find ourselves having to commute northward now, without a local community to speak of, at exactly the time when we find ourselves most in need of it. And we’re neither the first ones to have this problem here nor the only ones currently having to navigate it.

I should say that this isn’t an issue of university snobs not wanting to rub shoulders with the townies; that should be borne out by the fact that, as I said, we tried to make it work for almost ten years, and we were involved with community life on several fronts. The issue is that, sometimes, despite everybody’s best efforts, you just don’t fit in, and eventually you’re told, “Look, this isn’t going to get any better. It’s probably time for you to stop beating your head against the wall.” Also, as I said, we’re not the only ones in this boat.

The short-term solution, for my family, is making a concerted effort to get someplace where there can be a local community. This solution may neither be easy or soon in coming, so we just have to suck it up and deal at the moment. But what’s the long-term solution for this area, and what are the lessons here for others? For all I know, the lesson is, “Don’t let uppity college punks think they have any say in how we do things because it’ll just be an exercise in frustration for everybody”, but surely there’s something more constructive.

A final observation (yes, I know that coming from me that’s as empty a promise as hearing “Let us complete our prayer to the Lord” in an Orthodox service) — All Saints has been described to me as “an experiment in seeing if you can establish an Orthodox church somewhere where there have never been the usual reasons for having one”; that is, where there haven’t been groups of cradles who have established parishes. Well, to the extent that it has been successful, I’d argue it has done so by creating its own “ethnicity” that you belong to or you don’t. Maybe that’s what you have to do; I don’t know. The thing that’s very curious to me is that there have always been big groups of people here of ostensibly Orthodox heritage — Greeks and Russians in particular. I say sometimes that there is a big Greek community in Bloomington; they’ve started a church (the community that became All Saints was originally a group of Greeks and Arabs) and they’ve started several restaurants, but they’ve never started either a Greek church or a Greek restaurant. (Semi-untrue now — there’s Topo’s 403, but it’s less of a “Greek restaurant” and more of an upscale trendy place that happens to be somewhat Mediterranean-influenced.) There was a rembetiki concert here a couple of years ago that got around 200-250 of the Greeks in the area all under one roof; it made me very sad to hear one of them say, “It’s so nice to see everybody in one place. Maybe someday one of us will start a restaurant and we can all see each other there.” Also, the Russian Church Abroad had a mission here in the 1950s, but for one reason or another they never quite managed to keep it together. They fell apart in the ’60s, sort of re-integrated in the ’70s, and then fell apart for good in the ’80s. They started out with a building in the center of Bloomington and then moved out to the periphery, buying an auto garage out in the county. Then, as somebody told me irony-free, “the big money went with Antioch and we had to shut our doors.” (The infamous “Indiana listserv” was run by one of their minor clergy, who is now a priest in one of the “continuing” Russian Orthodox groups who didn’t like that ROCOR made nice with Moscow.) The people have been here (and are here); they just don’t seem to feel that they have any skin in the game — which, again, seems to me to be a problem with the periphery gathering in the center while simultaneously ignoring the center.

I don’t know what the answer is, and I don’t think I’ll be here long enough to see how it gets answered (noting that I’ve been wrong about such things before), but it seems to me that there’s an object lesson here. I’m just not sure what it is.

Two weeks and a day until exams. Please pray for me.

Another contribution elsewhere

Just FYI — Fr. Andrew Damick invited me to contribute an essay to the Orthodoxy and Heterodoxy blog considering the points raised by this piece, and my essay was published this morning. Should you be coming here from Orthodoxy and Heterodoxy, welcome. There’s a decent amount to read in the archives; oral exam prep and fatherhood have slowed my output down somewhat, but I still treat this blog as a going concern, so do please stick around.

Greek Orthodox Archdiocese releases standard version of Paschal apolytikion

About a year ago, Vicki Pappas, national chair of the National Forum of Greek Orthodox Church Musicians, circulated an e-mail asking for people to send her the English translations of the apolytikion for Pascha (Χριστὸς ἀνέστη/”Christ is risen”) that were used in their parishes. This would be in aid of a standard English text for the entire Greek Orthodox Archdiocese. Despite not being at a GOA parish, I sent her the translation we use at All Saints.

Somewhere around late fall or early winter, following a St. John of Damascus Society board meeting, she asked if I would be willing to round up a few of my choir members to record the version that they were trying to settle on as the final draft. The recording would serve as a model, principally for priests. After Christmas, I put together a quartet, we learned it and recorded it, Vicki liked it, and said that the Synod still had to decide if it was the final version or not.

Earlier this week, the standard English version of the hymn for GOA was released. You can find it here. Alas, that’s not us singing on the model recording — it would appear that it went through at least one more round of revision, because that’s a different text than what we had, but oh well.

I am appreciative that a Synod would take the time to try to get everybody on the same page with respect to a particular hymn text, and I suppose this is as good as any to start with. I am also appreciative that GOA would go to the trouble of making sure that it is available in both staff notation as well as neumatic notation. There has been some discussion in some circles about how closely it follows proper compositional conventions; I would never dare to argue proper application of formulae with some of the people talking about this, but my guess is that the main point raised was probably known, and that preference was given to where people would be likely to breathe. It’s an issue that I suggest stems from the translation more than anything, and from what Vicki has told me, every nuance of the translation was discussed thoroughly, so what I think I know at least is that it’s a version of the text that says exactly what the Synod wants it to say. I’ll acknowledge that I don’t find this text to be note-perfect compared to how I might translate the Greek; to begin with, in modern English, “is risen”, while it used to be how you do a perfect tense in English, doesn’t really convey the same sense of the action as preterite ἀνέστη or even qam for the Arabic speakers — “Christ rose” would be the literal sense, but that doesn’t really “sing” the same way. “Christ has/hath risen” is an acceptable compromise, since the distinction between simple past and perfect is muddier in English than it is in Greek. And “trampled down upon” seems to me to be a little bit overthought as a way of rendering πατήσας. Still, I’d much rather sing this version than the one that’s normative for my parish, where the Greek melody is left as is, requiring “Christ is risen from the dead” to be repeated, usually with a rhetorical, campfire-style “Oh!” thrown in beforehand — “Christ is risen from the dead, oh! Christ is risen from the dead!” etc. Ack.

In any event, between being willing to argue about a standard text and acknowledging the neumatic notational tradition, there is much I wish the Antiochian Archdiocese would emulate here, and I congratulate GOA on taking the time and energy to at least make the effort, even if there wind up being tweaks down the road. I’m a little disheartened by the response I’ve observed in certain fora that basically criticizes GOA for making their standard version a brand new variant that nobody outside of GOA will ever use, that that’s hardly a unifying move across jurisdictions, not when there are translations that are common to both the OCA and AOANA. Well, maybe, but kudos for GOA for at least trying to get their own house in order first, even if maybe it winds up being a beta test.

Reminiscences from PSALM, Chicago, 2-5 August 2006

A comment prompted me to look up a series of e-mail I sent to the members of my choir from the thus far one-and-only PSALM national conference held back in August of 2006. This was back in the days before I had a blog. I sent these to my choir partially because I wanted them to engage some of the things I was hearing while I was there; truth be told, I’m not sure they all understood why they were getting long e-mails from me. Such is life.

Reading through them, it seemed perhaps worthwhile to share some of those notes here. My perception — and someone can correct me if I’m wrong — is that PSALM peaked with this event; I think there was talk back then about trying to set up regional PSALM identities and events and then do a regular national conference every other year, but none of that ever happened, for better or for worse. My experience with the PSALM Yahoo! group in its present form is that the ideals expressed five and a half years ago are by no means universally held these days, or even necessarily approved of. I can’t really say for sure I understand what’s going on there, but there we go.

Anyway, without further ado —

Day 1: Hello from Chicago! Day 1 has been packed with a lot of stuff that hopefully will be useful for all of us in the long run, and the days to come look similarly stuffed. The Indiana representation has been significant: the opening remarks were from Fr. Sergei Glagolev, an Indiana native; Vicki Pappas and Fr. Joseph Morris (from Ss. Constantine & Elena in Indy) were both part of a panel discussion; the Paraklesis service was sung by IU alum Jessica Suchy-Pilalis; and I finally had the occasion to meet Lori Branch, about whom I have heard so much over the years. She sends along her love and best wishes to all who might remember her.

We had a rehearsal for the Divine Liturgy Saturday morning, and about two-thirds of the conference participants are making up the choir–that is, probably somewhere around 100 people. It’s like the Sunday of Orthodoxy choir, only about four times the size. In the enormous nave that St. George in Cicero has, one is bathing in the sound when all of sing. It’s quite something. Mark Bailey, one of the instructors in liturgical music at St. Vladimir’s, is conducting the conference choir–and it might be worth mentioning that, when we looked at the “Lord, have mercy” sections, the first thing he did was tell us to drop the r in the word “Lord” so that it came out “Lohd”. Just so you know that it’s not that I’m crazy. (Well, not just that I’m crazy, anyway.)

The Paraklesis service was lovely–unison women’s chant from Dr. Suchy-Pilalis and one other. Really very beautiful.

I’ll have a full account of all the goings-on later, but there are a number of things panelists and clergy said which I’m chewing on already. Some of them are pretty challenging and clear-cut in terms of communicating a strong point of view and expectation:

“There is no such thing as a quick fix, only hard work… We have to have the ability to change, because when things don’t change, they’re dead.”–Fr. Sergei Glagolev. Fr. Sergei also challenged us to think about what we want to pass on to the next generation in terms of singing in church.

Fr. Joseph stressed the need for the choir to be dignified and sober, and to have a servant mentality–that we come on time, and we are prepared. “If you can’t make it on time, you can’t make it on time,” he said. “Better to sing with the faithful in that case. You’re not a bishop.” He also noted that, in his parish, there is the expectation that the singers treat Vespers, Matins, and Divine Liturgy as one piece–that is, if someone is singing in the choir for Divine Liturgy, he expects them to have been there for Vespers and Matins as well. “My expectation is that my singers are Orthodox in practice as well as name,” he said.

Valerie Yova, PSALM president, observed that, in general, there is a lack of effective musical leadership in the Church in this country, and noted the following symptoms/factors:

  • Choirs are shrinking and aging
  • People are living further and further away from where they go to church
  • School music programs are dying
  • Parishes are falling into financial trouble
  • There are an almost impossibly small number of places to be trained as an Orthodox church musician
  • The old chanting masters are dying and not being replaced
  • The musical element of worship is being devalued

The panel discussion (David Drillock, Fr. Joseph, Fr. John Rallis, Fr. Lawrence Margitich, Fr. John Finley, Alice Hughes, Carol Wetmore, Rachel Troy, and Vicki) observed that synergy between choir director, singers, and clergy requires time and regular effort, and e-mail cannot be all there is. To that end, not only are regular rehearsals vital, but clerical involvement in rehearsals on some regular basis is also important. Vicki Pappas made the point that volunteerism cannot be an obstacle to excellence, that church musicians have a sacred role, that of being responsible for leading the people’s worship, and that this should inspire us to better things. Fr. Joseph followed this up by saying, cf. St. John Climacus, “If it is possible for one, it is possible for all.” One priest (Fr. Lawrence Margitich, I think) put it this way: we shouldn’t confuse volunteerism with stewardship. As church singers, we are stewards of God’s talents, not mere volunteers, and we should act and think of ourselves accordingly. David Drillock, choirmaster emeritus at St. Vladimir’s expressed this by saying that being in the choir should be a “high calling”.

Other nuggets from the panel: if we as singers are truly connected to the text we’re singing, it will be communicated to the congregation naturally. Also that the church school should be excellent recruiting ground for the choir. Fr. Joseph also suggested that congregational singing should not drag the Liturgy down; it should appropriately done and led. Dovetailing onto that, Vicki suggested a clear intent with respect to which sections we should encourage the congregation to sing, and those which we intend the choir to sing. Having said that, the panel followed that up by saying that it is foolish to replace something people love unless one knows it’s being replaced with something they’ll love at least as much.

Fr. Thomas Hopko, Dean Emeritus of St. Vladimir’s, minced no words: “I disagree that dead things don’t change. Rather, dead things become more rotten, corrupted and stinky.” He also issued a rather direct challenge: “The Orthodox Church seems to be the only place on earth where you don’t have to be competent to be asked to do something. How does this come about? What happened? Why will people join a community choir, not miss a rehearsal, pay attention to the choir director, and then then not do the same in their parish choir? If we’re not taking church and everything we do in it seriously, then we’re just re-arranging deck chairs on the Titanic. You can’t raise the bar when you still have to convince people that there’s a bar to be raised in the first place.”

In aid of this sentiment, he told the following story: a parish started talking about buying a new chandelier. It came to the parish council, and one person stood up and said, “I am absolutely against this. We don’t need a chandelier, we don’t want a chandelier, and we can’t pay for a chandelier.” The priest asked, well, what do you mean? “It’s too expensive,” the man said, “and we don’t even know where to buy one.” (Scattered laughter from the audience.) He went on: “Plus, there’s nobody in the parish who can play one, and it’s not even part of our tradition anyway.” (More laughter from the audience.) He finished by saying, “I just can’t understand why we’re talking about buying a chandelier when what we really need is more light!” (Peals of laughter from the audience.)

Like I said, all very challenging stuff, but there was a truly remarkable consistency to the message I heard today. It’s going to take me a while to process all of it, but there was one more thing that was stressed today, and I’ll close with that for now–

Fr. Thomas Hopko also said that, as church musicians, in terms of purpose and practice, we must start no other place than Christ crucified and glorified, that it is only by starting there we will end up in the right place. In the same vein, the panel also reminded us of Metropolitan +ANTHONY Bashir’s insistence that, once love is manifested, all things are possible.

All of these things are worth thinking about, and I encourage you all to do so as well.

More to come on Day 2.

Day 2: Again, too much to summarize in one e-mail, but a small handful of highlights:

First two presentations this morning were from Fr. Ephrem Lash, who looks and sounds like Gandalf as portrayed by Ian McKellen (and who has a wonderful website, http://www.anastasis.org.uk), who is also a scholar from England (I believe he is a colleague of Bp. KALLISTOS Ware, but I could be mistaken) who has quite a bit to say about translations of the Bible and liturgical texts into English, and Mark Bailey, instructor of liturgical music at St. Vladimir’s. The topic for both was the fittingness of English as a liturgical language, the necessary approach to translating texts, and then how best to set these texts to music so that a) the meaning is communicated and b) the musical tradition is carried on. Both had wonderful things to say about the necessary principles to make these things work. Before the first presentation, we sang “O Heavenly King”, and Fr. Ephrem noted that the setting took the word “impurity” and placed the stress on the last syllable, making it “impuriTEE”. “In the language I speak, English, it’s pronounced ‘imPURity’,” he observed. Mark Bailey had all kinds of fantastic practical examples of good text-setting and bad text-setting, and further suggested, “We’ve gotten our parishioners and singers too used to bad settings, and they’ve become attached to them as a result.” Fr. Thomas Hopko then commented, “Most of our churches are just copying what they’ve heard on recordings. Can we put out new recordings that do it the way you’re talking about?” Something to think about.

The second morning session consisted of presentations from the various heads of jurisdictional sacred music departments as to what they’re up to–Chris Holwey from the Antiochian Archdiocese, David Drillock from the OCA, and Vicki Pappas from the Greek Archdiocese. While interesting, I found it fascinatingly unnecessary to have such redundancy. All three of them are essentially doing the exact same job, providing the exact same resources in exactly the same manner. One fervently hopes that eventually there will be no need for multiple separate departments of sacred music.

The afternoon panel I attended was on the topic, “Educating Liturgical Musicians in the 21st Century.” Vladimir Morosan, a musicologist who specializes in the Russian repertoire, was the moderator. He framed the panel discussion by asking, “How do we explain that the oldest and richest singing tradition in Christendom does so little to formally prepare liturgical musicians? What do we do about it?”

Anne Schoepp, a choir director in the OCA in California, argued passionately that Orthodoxy is a singing culture, and we need to do everything we can at the parish level to start our kids singing and to get them used to singing and loving singing. Fr. John Finley of our own Archdiocese suggested that the model of the Classical School that is starting to pop up in Orthodox circles could be a way to disseminate this kind of curriculum; I suggested that there’s an even more obvious answer, the tradition of the choir school as it still survives in England and even some places here in the US like the St. Thomas Choir School in New York and the Cathedral Choir School at the Cathedral of the Madeleine in Salt Lake City. “Let’s talk,” Fr. John said.

However we do it, the panel continued, people need to be immersed in good liturgy in order to be able to do good liturgy–it must be soaked in, the liturgical aesthetic must be ingrained in us. To this end, one panelist said, the power of the priest cannot be underestimated in terms of cultivating potential–kids as well as adults need to come to events like this, for example.

After the afternoon panel was choir rehearsal; Mark Bailey is very exact, and it’s a real learning experience to watch him conduct. It continues to be something else having a 100-voice choir singing in a church where the acoustics are as favorable as they are here. Then Vespers, where a small ensemble sang the stichera and whatnot, not dissimilar from what usually happens at All Saints.

After dinner was a concert performed by a group called the St. Romanos Cappella (as opposed to Cappella Romana, a completely different ensemble), singing a program entirely of music by modern Orthodox composers–all but one of whom were in the audience. Tikey Zes (who composed our All Saints troparion), Ivan Moody, Kurt Sander (formerly of Indiana University Southeast), James Green (the one not in attendance), Mark Bailey (man, the guy is everywhere), and Fr. Sergei Glagolev. Each one of them brings something different to the table, but it was all wonderful. It would be nice to learn several of these (particularly the Glagolev, Sander, and Bailey material), because it would be a shame to have all of this beautiful music out there representing a living continuation of the tradition and then have it never actually be sung in our churches. It would also be especially nice to finish learning Fr. Sergei’s setting of Psalm 103/104 for Vespers; now having heard what it actually sounds like in a church and not just on a recording, I’m more convinced of this. (And Bp. MARK already approved it back in December, which is handy.) Besides Psalm 103/104, they also sang one of his settings of the Cherubic Hymn, the Anaphora, the Megalynarion, and the Alleluia before the Gospel (including the refrains), and it was made very evident what a treasure trove his liturgical music actually is. He received a standing ovation at the end of it–surely every composer there deserved one, but he was quite appropriately the man of the hour. It was very moving.

After a looooooooooooooooooong, far-reaching conversation with Dn. Kevin Smith, choirmaster at St. Vlad’s, we managed to miss the shuttle back to the hotel and had to get a ride back from a Bulgarian woman named Danielle. And now it’s time for me to fall over and go to sleep. More to come tomorrow.

Day 3: There was a lot of theoretical stuff talked about today. I found it fascinating, but there’s little I can just summarize into an anecdote. Mark Bailey again had interesting things to say on a variety of topics; one issue he described was that of a common faith not necessarily uniting the Orthodox into a common sense of heritage. In terms of what that means musically–well, for many of us who are converts, “all Orthodox music is music for all Orthodox”, but that’s a very unique attitude to some (by no means all) American converts. He noted that in Russia right now there’s an argument over what kind of liturgical music from their various indigenous traditions (common chant, znamenny, etc.) will adequately represent the Russian culture. In this country, we have the opposite problem–we as yet have no indigenous Orthodox musical tradition, and so are trying to determine what bits and pieces from other national practices will best express Orthodoxy as it exists in America. Do we do a little bit of everything and make it a “checklist”-style approach? Do we pick one thing–Byzantine chant, Russian 4-part chant, whatever–and try to make it our own?

Mark Bailey is really big on liturgical singing doing no more and no less than supporting the liturgical action. That is, that liturgical singing either prepares for, accompanies, or is a liturgical action or rite. To do something other than one of these three things is, therefore, not liturgical and therefore spurious as far as this context is concerned. To that end, he says, musical form should elaborate on, and therefore draw the member of the congregation in to, a sacred action. At the same time, David Drillock two days ago reminded us that a large part of what we do is “proclamatory”–the exact opposite of drawing somebody in. I’m coming to the conclusion after hearing all of this discussed for two days that, as is so often the case in Orthodoxy, it cannot be “either/or”–it must be “both/and”. Part of its musical beauty come from the way in which the liturgical event is supported, and part of its ability to support the liturgical event must come from its beauty.

See what I mean about a lot of theoretical stuff?

One really practical thing he said with which I really agree is the idea that we need to not turn antiphons into anthemic pieces–they are a liturgical dialogue, not a big choral moment. What does that mean for us at All Saints? I don’t know yet; as it is we have a soloist sing the verse followed by the choir singing the refrain. What about this–rather than soloist plus choir, maybe it’s something like having the men intone one verse, the choir sings the refrain, the women intone the next verse, choir sings the refrain, etc.? We will play with possibilities at future rehearsals.

The afternoon panel, “Where do we go from here?” was interesting. People talked about a number of things, from PSALM formally getting behind issues like jurisdictional unity and a standardized English translation, to spearheading an English musical setting of the entire Octoechos (using, of course, this as-yet nonexistent “American chant” as the medium), to devising a music curriculum for use in parish schools. I think there are all kinds of things we can accomplish, we just need to think big. One of the issues, of course, is that in the past it has been possible for these issues to be solved in a “top-down” manner; the patriarchate or synod or whatever ruling body standardizes the practice/text/chant/whatever and promulgates it. The reality in this country, however, is that we’re having to solve many of these problems from the grassroots level on up. There’s a lot of “rolling our own” that takes place (as I found out earlier this week when I thought I needed a hierarchical “Before Thy Cross” and couldn’t find one to save my life), simply by necessity, because if we don’t do it, nobody else will.

Vespers was lovely. The large conference choir sang everything, and it was something. Being able to worship together (and commune together, tomorrow morning) is what makes this more than just a conference.

The evening panel, on composing liturgical settings for the English language, was made up of Ivan Moody, Fr. John Finley, Fr. Ephrem Lash, Mark Bailey, Fr. Sergei Glagolev, Vladimir Morosan, Tikey Zes, and Nicolas Resanovic. All I can say is–to have all of these people in one room was simply stunning. Not just their brilliance and talent, but their clear love for God and the Church as well. Ivan Moody provided a deft touch of dry, droll Englishness as the moderator. He provided a wonderful quote from St. John Chrysostom: “The tongue is made holy by the words when spoken by a ready and eager mind.”

There was a question where somebody described the situation of somebody coming up to the kliros or into the choir and being told, “Here’s the music for this service. We don’t actually do it that way, but here’s the music.” Big understanding laugh from the audience.

There was a fascinating moment where someone stood up and said, “You know, I’m from the Deep South. The South is a ripe field for Orthodox evangelism–the people there are crying out for the truth. Culturally, however, if we don’t bring it to them in English, their English, they are not going to care what we have to say.” This prompted Mark Bailey to remind us that, in this country, we are a missionary church with a missionary imperative, and that must inform what we do musically.

And then that, as they say, was that.

Day 4: Day 4 was short and sweet. With a 7:30am Matins service, I had to wake up at 6 to check out of the hotel. They did Matins and Liturgy as separate services, as opposed to Matins running right into Liturgy. There was a pause of a few minutes as Mark Bailey got set up to conduct the conference choir, and as the octet (into which I was roped) got into our places.

I may quibble with some (but by no means all) of the settings that were selected (I’ll be honest–the Russian chant in English is very jarring to my ear), but I have to say, having that 150 piece choir singing most of it and getting to sing in the octet that did the rest, in that church, with that conductor, was absolutely something else. I wish you all could have been there to take part, and my hope is that when this happens again, perhaps more of us can go. Fr. John Finley celebrated and homilized; it being the Pre-Feast of the Transfiguration, that was his topic. He started out with the quote from the Gospel reading, “It is good to be here.” It was quite apt. He exhorted us to “embrace the struggle” that we have adopted over the last few days, which was well-taken.

And that was that, more or less. There were some parting remarks at breakfast, and I think a lot of people are coming away from this event feeling like it was something seminal, that there has been good seed sown. Time will tell how God’s hand is in all of this, but one way or the other, it seems that the conference has exceeded everybody’s expectations.

A funny anecdote and a really cool thing: I went up to Fr. Ephrem Lash (the priest who looked and sounded like Ian McKellen’s Gandalf) and asked for a blessing. He sized me up and said (you’ll have to imagine the Ian McKellen-like voice), “Young man, did you receive Holy Communion this morning?”

“Yes, Father.”

“You never ask for the priest’s blessing after receiving Communion. You never ask for a blessing or kiss an icon. You have the Lord inside of you, so what can they possibly add? The Russians and the Arabs have gotten very bad about this.” I took it in stride, because I’m aware that it is an issue where there is not uniformity of practice or opinion. It was funny nonetheless. I then told him that I found his talk very edifying and he said, “Ah, ‘edifying.’ I never mean to edify, my boy; I only wish to make people laugh.”

So there we have it. Thanks for reading my ramblings; I just wanted to make sure that you all knew for sure I was where I said I was going to be, and hadn’t just taken off for Hawaii or something for a few days. If anybody wants to know more about anything I’ve talked about (or anything I haven’t, for that matter), let me know, I’d love to talk about it, particularly now while the memories are all still fresh.

In Christ,

Richard

 

“Learning to chant” vs. “learning to sing” – or, do you learn to play Mendelssohn or do you learn to play the violin?

I’m working through the recently-released Byzantine Music Theory and Practice Guide with members of my choir. Part of the motivation is to try to make them a little less intimidated by “the squiggles”; I’m also curious to see just how well the book actually works as a textbook for people of a range of musical backgrounds, everything from basically zero up to a degree in music education. It’s an interesting exercise; we’ve only had two meetings thus far, but I’ve been surprised by the level of willingness to participate. We’ll see where it all goes.

Last month, I was fortunate enough to get to spend a few days at Holy Cross Greek Orthodox Theological Seminary. I’ve got more to say about that trip, but among other things, I sat in on a couple of the chant classes taught by their new permanent Byzantine chant instructor, Dr. Grammenos Karanos (also credited as providing the “academic oversight” for the Byzantine Music Theory and Practice Guide), and I also got to sing in the left choir for a few services. Dr. Karanos is doing some nice work, and as somebody who for the time being attends an Antiochian parish, I’m really happy that there are twelve Antiochian seminarians there right now who are benefiting from his efforts.

Something that I’ve wondered about in recent months is the relationship between learning Byzantine chant and learning, more generally, how to sing. To put it another way — I’ve encountered people who can read the notation, understand the modal theory, can do this, can do that, but what they can’t actually do is sing terribly well. This is by no means the rule — I also know cantors who can pretty much sing whatever you put in front of them, whatever the repertoire, whatever the notation, whatever the style — but there does seem to be some kind of phenomenon of “learning to chant” without any additional context of “learning to sing”.

There are some, I expect, who might argue that that’s not only okay, that’s preferable. I’ve heard a counterargument that goes something like this: Byzantine chant isn’t only music; there’s an ethos and a spirituality that goes along with it, and you have to learn the technical end of it within the context of that ethos and spirituality. Otherwise, if you come in with a musical education that you’re figuring out how to “apply” to Byzantine chant, then you’re always going to be approximating what it’s supposed to be rather than actually chanting the repertoire the way you would have if you had just received the tradition from the ground up without preconceived notions or grafted onto an existing set of musical concepts. Notation, vocal technique, performance practice, modal theory — it’s a whole package that you have to receive as a whole package, preferably by imitating the psaltis at the parish you grew up at from young age rather than by doing things like going to classes or learning from books. Conservative imitation starting as child. Any other way is really departing from the tradition.

Now, there are parts of this that I can see. The more I force myself to sing off of scores written in neumatic notation, the more it is apparent to me why transcription into staff notation can only ever be a halfway measure at best. If you’re trying to write in every last bit of ornamentation that you want somebody to sing using staff notation, your score is going to get really busy really fast. Intervals become problematic. And, to be honest, at least speaking for myself, there’s a “look and feel” issue, where the psaltic notation is a good visual cue that you shouldn’t sing this the same why you might sing Mozart.

Vocal technique becomes a trickier matter, however. There are people who are 100% “natural voices”. They’ve never needed a voice teacher, they’ve always instinctively known how to use the instrument that they have to great effect, and they can use it to do whatever they want. I am not, emphatically not, one of those people. Singing has been a 100% learned skill for me. I have had to solve a lot of vocal problems, and often the worst trouble I’ve ever been in vocally has been when my teacher has said, “Sing it like this,” and has me imitate him/her. I’d say that as I have gradually learned some of the things to do and things not to do with the Byzantine repertoire, what has changed the least has been the fundamentals of how I sing; I breathe the same way, in general I produce my tone the same way. Musicality and phrasing are still important. Projection, placement, and resonance is still important. (Incidentally, here I might say that I question the characterization of the proper Byzantine vocal quality as “nasal”. I’ve sung next to people who insist that it’s “nasal”, but to my ear, they’re not singing nasally. They’re singing brightly, with a good deal of pharyngeal resonance, but that’s not the same thing as “nasal”. Nasality is often a poor shortcut in solving resonance problems, so it seems to me necessary to make this distinction.) What’s different is a matter of doing less rather than doing more. For example, vibrato becomes an ornament, a choice to be employed judiciously, rather than where you’re living all the time. Nonetheless, it’s still important to drop your jaw and raise your soft palate on higher notes, it’s still important to keep your tongue forward, it’s still important to keep your vowels in line, and you still have a passaggio that has to be negotiated properly. I don’t think those issues magically go away just because it’s Byzantine chant, and I don’t think, unless you’re one of those 100% “natural voices”, you’re going to figure those things out instinctively by standing next to your psaltis starting at age 5.

To put it another way, if you want to learn to play the Mendelssohn violin concerto, you first have to learn to play the violin. You don’t just say, as somebody who’s never picked up the instrument before, “I want to learn the Mendelssohn violin concerto.”

Anyway, the point I’m making is that I think it’s probably necessary to learn to sing as a component of “learning to chant”. That said, I grant that there aren’t a lot of voice teachers out there who are equipped to teach vocal technique in a way that’s obviously applicable to a chant context. Somebody who wants to learn to chant probably is going to feel like their time is wasted on the 24 Italian Songs and Arias book, and Joe NATS Voice Teacher isn’t likely to have the slightest idea what to do with an Anastasimatarion.

Incidentally — as somebody with a voice degree, I had to do a term apiece of Italian, German, and French diction with no actual language comprehension; in addition, I also had to do a year apiece of normal language study of those languages. For me, then, it’s simply intuitive that learning Byzantine chant would involve some Greek and Arabic. Language study — diction and comprehension — is just part of the deal, and it has the extra added bonus of improving your ear and makes you more aware of how your apparatus is actually working while you use it. Yes, fine, there are those of us at English-language parishes who don’t understand why we as Americans need to learn anything in a different language, but there’s almost no musical study of any kind that doesn’t involve having to learn some kind of specialized vocabulary that isn’t in English. Even if you’re a Western musician, you need to know what diminuendo and pianissimo mean. If you sing Byzantine chant, you need to know what a kentemata and a petaste are.

I will say I like the “starting as young as possible” part of the “conservative imitation starting as young as possible” pedagogical model. If only there were some kind of model of a school that existed where that kind of thing was done…

Update, 6:28pmSomething I forgot to mention — amplification. Proper church acoustics + knowing how to sing = no need for microphones. My first semi-scholarly publication had to do with the impact amplification has had on both singers and listeners, and while I’d probably write the piece differently now 8 years later, my rather strong opinions haven’t changed. “Strong opinions” — as in, it shouldn’t exist in certain settings. This is where I have a certain sympathy for the guys who want to call electric lights in church a heresy; the trouble with certain kinds of technology is that it makes it too easy for people to do a bad job and have nobody notice. Church is one of them as far as I’m concerned. If the architect does his/her job properly, and the singer/speaker does his/her job properly, and the teacher of singing/speaking does his/her job properly, then there should be absolutely no need for “acoustic enhancement”.


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