After God but behind the Cross: The Procession as a Way to Re-Encounter God in a Culture beyond Classical Liturgy

Klomp, Mirella; Veldsman, Daniël P.

doi:10.1177/003932071704700103

Cited by 2 publications

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“…As empirical research has shown, these are some of the motives people have to actively participate in the procession of the cross (van den Hemel 2020, pp. 70-96; Klomp and Veldsman 2017).…”

Section: Different Approaches To the Eventmentioning

confidence: 99%

The Passion of Christ on Television: Intertextuality as a Mode of Storytelling

Gärtner

2020

Religions

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The Passion is a contemporary performance of the passion of Christ live on stage, combined with pop music, city marketing, social media, and entertainment. The result is an encounter between the Christian gospel and traditional elements of devotion like a procession of the cross on the one hand, and the typical mediatization and commercialization of late modern society on the other. In this article, I will first briefly describe the phenomenon, including the different effects that the event has upon the audience and the stakeholders and benefits it has for them. It is one characteristic of The Passion that it allows for a variety of possible approaches, and this is, at the same time, part of its formula for success. Another characteristic is the configured intertextuality between the sacred biblical text and secular pop songs. In the second section, I will interpret this as a central mode of storytelling in The Passion. It can evoke traditional, but also new, interpretations of the Christian gospel. The purpose of the article is to interpret The Passion as an expression of constructive public theology. It is an example of how the gospel is brought into dialogue with secular society.

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“…As empirical research has shown, these are some of the motives people have to actively participate in the procession of the cross (van den Hemel 2020, pp. 70-96; Klomp and Veldsman 2017).…”

Section: Different Approaches To the Eventmentioning

confidence: 99%

The Passion of Christ on Television: Intertextuality as a Mode of Storytelling

Gärtner

2020

Religions

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Playing On: Re-staging the Passion after the Death of God

Klomp¹

2021

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Reception 43 Who Watches The Passion and What Do They Think of It? 44 Viewers' Social-Structural Characteristics 46 Church Background/Affiliation 48 General Ideological Traits 49 Spirituality 50 Collective Cohesion 51 Conclusion 51 Contents ix 5 Playing with the Sacred: A Ludic Practice 119 Religious Changes in Late-Modern Societies 122 Religion and Play 124 Ludification of Culture 125 The Passion as Ludic Practice 127 General Observations 128 The Dutch Queen of Plastic Surgery in the Role of the Servant Girl 129 After His Arrest Jesus Christ Appears in an Iconic Orange Jumpsuit 131 An Accused Actor in the Role of Barabbas 132 Conclusion 134 Side Light: @deusludens. A Twitter Thread 136 6 Dealing with Society's Secular Self-Understanding: A Reflexive Practice 138 Exploring Uncertainties around National Identity 141 Background: From Secular to Post-secular in European Public Preface A choir rehearsal in an Amsterdam church building on the Saturday before Holy Week. I am taking part in an ad hoc amateur choir that is to perform J.S. Bach's Matthäuspassion at the end of the day. During the break, the professional baritone soloist who will be singing the role of Christ comes to me and asks: "Didn't I see you in the Concertgebouw yesterday?" He is right to recognize me: I am here for fieldwork, and had been at the Concertgebouw the day before, attending a rehearsal of the same Passion performed by professionals. The baritone had seen me interview members of the Royal Concertgebouw Orchestra and the Netherlands Radio Choir (the choir of which he was a part). I smile at his question, because it immediately reminds me of that famous scene in the Christian passion narrative in which Peter is recognised for the third time as one of Jesus' followers: "Did I not see you in the garden with him?" Now I am recognised-by Christ, of all people!-and we exchange phone numbers so that I can contact him later on for an interview. Later the same week, I am in Rotterdam with two colleagues for participant observation at an open-air passion event that will be broadcast live on national television. At one point during the show we stand in the path of the camera, which catches us singing along with one of the pop songs. After the show, I find that I have received a text message from the baritone: "WTF! I turn on the telly, first thing I see is you coming in the shot!" This series of events occurred in 2012, two years into my research project on contemporary musical performances of passions in the Dutch cultural domain, and, during this busy week, I engaged in fieldwork on far more than just these three passions. Despite the efforts of some to liberate passion performances from the Christian liturgical calendar, most passion concerts still take place during Lent, especially Holy Week. So, I found myself immersed in the field, and there were plenty of opportunities for fieldwork at multiple passion performances every day. Research in such a rich field, of course, had its limits: it was impossible to investigate every single passion performa...

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After God but behind the Cross: The Procession as a Way to Re-Encounter God in a Culture beyond Classical Liturgy

Abstract: The authors would like to thank their colleague Joyce Rondaij for her tremendous support and advice on this article. Her knowledge of the theory as discussed in section 3, provided insights that greatly assisted their reflection on the case.

Cited by 2 publications

References 3 publications

The Passion of Christ on Television: Intertextuality as a Mode of Storytelling

The Passion of Christ on Television: Intertextuality as a Mode of Storytelling

Playing On: Re-staging the Passion after the Death of God

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