Las Posadas y ¿Quién es lo más importante?

Las Posadas y ¿Quién es lo más importante?

María looks over at Karen knitting a shawl while we wait for the bus to take us home. She looks at me and smiles. ¿Conoces la canción, Rebozos de mi madre? No, I say, smiling, remembering all that Sandra Cisneros says about rebozos in her novel, Caramelo. Diga me, por favor, María. And she sings: El rebozo de mi madre fue mi primer cuna, mi primer casa, en el mi madre me arrulló y con el mis lagrimas secó. María’s truth rocks us all, waking us.

We’re reading the parables in Mark in Chapter Four. They’re coming at us fast, one after the other. Like the rebozo, they take us back to our childhood, to our first stories of Jesus. Antonia reminds us of the song of the parable of the mustard seed, Si tuvieras fe como el granite de la mostaza. We ask her to teach us the song.

The parables of Jesus, for all of us, remains our first contact point with Jesus. This little light of mine. I’m going to let it shine.¿ Acaso se trae una lámpara para poneria debajo de un cajón o debajo de la cama? ¿No es, por el contrario, para poneria en una repisa? Do you bring in a lamp to put it under a bowl or a bed? Instead, don’t you put it on its stand?

On their way to Jerusalem, the disciples want to know how they’re doing. They want a pat on the back. They’re a bit competitive for recognition, too. Remember, they’re beginners, too. And many of us, muchos de nosotros tienes más experiencias que ellos. They ask, ¿Quién es lo más importante?

El que comparte la mesa con este niño.

Eliseo Pérez-Álvarez opens our eyes. Luego tomó a un niño y lo puso en medio de ellos. Abrazándolo, les dijo: El que recibe en mi nombre a uno de estos niños, me recibe a mí; y el que recibe a mí, no me recibe a mí sino al que me envió. / And he took a child, and set him in the midst of them; and when he had taken him in his arms, he said unto them, “Whosover shall receive one of such children in my name, receiveth me; and whosoever shall receive me, receiveth not me, but him that sent me.

And later: And they brought young children to him, that he should touch them; and his disciples rebuked those that brought them. But when Jesus saw it, he was much displeased, and said unto them, “Suffer the little children to come unto me, and forbid them not; for of such is the kingdom of God. Verily I say unto you, Whosoever shall not receive the kingdom of God as a little child, he shall not…”

--Dejen que los niños vengan a mí, y no se lo impidan, porque el reino de Dios es de quienes son como ellos.

Eliseo escribe, “Los niños en tiempos de Jesús no eran abrazables sino maltratables; eran más bien considerados objetos de placer, usados para la mendicidad o simplemente arrojados a la calle. Las niñas estaban más devaluadas. Únicamente un 40% de los niños alcanzaba la edad de los 16 años. La niñas no tenía estatus ni honor. Todas nuestras interpretaciones del Evangelio que aluden el espíritu noble de la niñez tienen más de un sentimentalismo inocente que de apoyo en la cruel realidad de aquellos tiempos. Llamar a alguien ‘muchacho’ era un insulto fuerte.” Marcos, p. 84

Eliseo unas frases después: “El que reciba en mi nombre. Es una alusión al sacramento de la hospitalidad cuyo centro es la mesa, lugar del sustento y la recreación divina. La buena noticia es que en el Reino de Dios la niñez sí centa y tiene un lugar como huésped de honor. Darles el portazo es negar el discipulado cristiano. Dios en persona se revela en estos seres excluidos de la vida plena. El Reino de Dios está a favor de las personas desheredadas como este desaliñado y mal oliente muchacho.” p. 84.

Al riesgo de un contexto peor desde otro ensayo, y  volviendo a las posadas, Eliseo Pérez-Álvarez, escribió de Guadalupe, en su libro Abya Yala; Discursos Desde La América des-Norteada, (Tierra llena de vida), “La Guadalupe sin Niño Dios aún simboliza la ecuación sexo–pecado. Todavía mientras el que esto escribe, se dice de la mujer mexicana embarazada: ‘está enferma’, y cuando pare: ‘se alivío’.

La buena noticia consiste en que, desde la perspectiva de la espiritualidad de la carne, tenemos interpretaciones liberadoras. María conquista su auto-determinación y voluntad libre en relación con su cuerpo. Las comunidades de base mexicanas reivindican la sexualidad de María y su ‘derecho de decidir’. La cultura Zinanteca considera a la La Virgen de Nazaret como una mujer que se acostó con muchos hombres, y por lo tanto nadie quería hacerse responsable de su hijo. El único que lo hizo fue su hermano mayor, José. En esto consiste, según esta teología, la naturaleza de Las Posadas, o procesiones que representan la cruda realidad de millones de madres solteras contemporáneas." Abya Yala, p. 89

Como María cantó, Mi primer casa.

Jim Bodeen

16 diciembre—20 diciembre, 2011

Las Posadas

Fe como el granito de mostaza

Si tuvieras fe —————————–mi mi mi mi mi la
como el granito de mostaza.——–mi mi mi fa, mi re do mi re
Eso nos dice el Señor—————–si so|# la si do* si si la
Si tuvieras fe —————————–mi mi mi mi mi la
como el granito de mostaza.——–mi mi mi fa, mi re do mi re
Eso nos dice el Señor—————–si so|# la si do* si si la
Tu le dirías a esa montaña———-la la la la fa, la do* si la mi
Muévete, muévete, muévete—–mi mi si, mi mi si, do* si si la
Tu le dirías a esa montaña———-la la la la fa, la do* si la mi
Muévete, muévete, muévete—–mi mi si, mi mi si, do* si si la
Y la montaña se moverá————do*do*do*do* do* la re*do* si
Se moverá, se moverá————–mi re* do* si, mi do* si la
Y la montaña se moverá————do*do*do*do* do* la re*re* do* si
Se moverá, se moverá————–mi re* do* si, mi do* si la

Si tuvieras fe —————————–mi mi mi mi mi la
como el granito de mostaza.——–mi mi mi fa, mi re do mi re
Eso nos dice el Señor—————–si so|# la si do* si si la
Si tuvieras fe —————————–mi mi mi mi mi la
como el granito de mostaza.——–mi mi mi fa, mi re do mi re
Eso nos dice el Señor—————–si so|# la si do* si si la
Tú le dirías a los enfermos, ———-la la la la fa, la do* si la mi
sánate, sánate, sánate. —————mi mi si, mi mi si, do* si si la
Tú le dirías a los enfermos, ———-la la la la fa, la do* si la mi
sánate, sánate, sánate. —————mi mi si, mi mi si, do* si si la
Y los enfermos se sanarán, ————do*do*do*do*do* la re*do* si
se sanarán, se sanarán. ————–mi re* do* si, mi do* si la
Y los enfermos se sanarán, ————do*do*do*do*do* la re*re* do* si
se sanarán, se sanarán. ————–mi re* do* si, mi do* si la
Si tuvieras fe —————————–mi mi mi mi mi la
como el granito de mostaza.——–mi mi mi fa, mi re do mi re
Eso nos dice el Señor—————–si so|# la si do* si si la
Si tuvieras fe —————————–mi mi mi mi mi la
como el granito de mostaza.——–mi mi mi fa, mi re do mi re
Eso nos dice el Señor—————–si so|# la si do* si si la
Tú le dirías a los cautivos, ———-la la la la fa, la do* si la mi
libre se, libre se, libre se. ————mi mi si, mi mi si, sido* si si la
Tú le dirías a los cautivos, ———-la la la la fa, la do* si la mi
libre se, libre se, libre se. ————mi mi si, mi mi si, do* si si la
Y los cautivos libres serán, ————do*do*do*do*do* la re*do* si
libres serán, libres serán. ————–mi re* do* si, mi do* si la
Y los cautivos libres serán, ————do*do*do*do*do* la re*re* do* si
libres serán, libres serán. ————–mi re* do* si, mi do* si la

Oracion de Santa Teresa

Oración de Santa Teresa


Oración
Nada te turbe;
nada te espante;
Todo se pasa;
Dios no se muda;
la pacïencia
todo lo alcanza.
Quien a Dios tiene,
nada le falta.
Sólo Dios basta.
Gloria a Dios Padre,
gloria a Dios Hijo,
igual por siempre
gloria al Espíritu.

Amén

May nothing disturb you.
May nothing astonish you.
Everything passes.
God does not go away.
Patience
can attain anything.
He who has God within,
does not lack anything.
God is enough!

PRAYER FROM EARL AND LUZ

Lord, I cannot wait,

For days without tears,

For days with enough food for all,

For days of radical hospitality,

For days when love is freely offered and warmly received.

Lord, I cannot wait, so until that day:

Give me grace to comfort others,

Give me courage to seek justice,

Give me opportunity to serve another,

And take away my fears so I live in your unconditional love.

Amen.

Señor, no puedo esperar,

por días sin lágrimas,

por días con alimentos suficientes para todos,

por días de la hospitalidad radical,

por días cuando el amor se ofrece libremente y es cordialmente recibido.

Señor, no puedo esperar, por lo cual hasta ese día:

dame gracia para consolar a otros,

dame valor para buscar la justicia,

dame oportunidad de servir a otro,

y quitame los temores, para que yo pueda vivir en tu amor incondicional.

=URL= (Pronounced "Earl")

From the Yakima of Washington - Enjoying our spirits

Defending the Ones First Called

LOVERS ON THE ROAD

Vengan, Siganme,--les dijo Jesús.

            Marcos 1: 17

The Night Mare is one of the cruellest aspects of the White Goddess. Her nests, when one comes across them in dreams, lodged in rock-clefts or the branches of enormous hollow yews, are built of carefully chosen twigs, lined with white horse-hair and the plumage of prophetic birds and littered with the jaw-bones and entrails of poets. The prophet Job said of her: ‘She dwelleth and abideth upon the rock. Her young ones also suck up blood.’

            Robert Graves, The White Goddess, p. 26

tea together in the purple starry eve;

new moon soon to set,

why does it take so

long to learn to

love,

            Gary Snyder, “Bedrock,” Turtle Island

Not easy work, this.

Primeros seguidores. First followers.

Let me speak direct.

Hablo desde mi corazón.

Nada escondido.

Those called the disciples.

No one learns this path at a lakeside retreat.

Son principiantes hasta el final.

Always beginners.

Jim Bodeen

12 October 2011—5 December 2011

¡Estoy más perdido que un juey bizco!

FROM AND TO

Head to heart

Geography of the imagination

Longest walk

‧

¡Ay, este baile es imposible!

¡Estoy más perdido que un juey bizco!

This dance! No!

I’m lost as a cross-eyed crab!

‧

Juey = crab. Bizco = crosseyed.

Juey = cangrejo

‧

“ Jesús les mandó que no dijeran nada a nadie (8:30, pues con las respuestas le tomó el pulso a su gente y se dio cuenta que estaban más perdidos que un juey (cangrejo) bizco.” Ninguno acertó en mencionar el Reino de Dios y su justicia para los condenados de la tierra.” p. 78 Eliseo Pérez-Álvarez, Marcos

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All, Todos, 1.    Could we have one more class this Wednesday, following Advent Services? So 7:35 pm in Room 108. Sótano. 2.    Please look at Jesus’ healing alongside the parables while in Galilee. 3.    Pastor Jim Engel’s final class in the chapel really helps set the tone for the journey to Jerusalem. Tragedia. Jesús muere abandonado por todos. (Recuerden Eliseo: El Reino de Dios.) “Unresolved chords. Cuerdas sin resolución. 4.    And consider this, from Eliseo: Pedro’s response to Jesus’ question: “¿Quien soy yo?” “Who do you say that I am?” “Tu eres el Cristo.” 8:29. “You are the Christ.” This requires, in the Hispanic community, a village to create a person, “…se require una aldea para criar una persona,” because: “Yo soy porque nosotros somos.” I am because we are. P. 78-79. Thanks be to you all. For you all.

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Charla con café

Hablando de la tortilla como plato, cuchara y servilleta (gracias a Eliseo)

María dice, “No tráigame fierros, tráigame comida!”

Luz dice, “En la forma de agarrar el taco se conoce al que es tragón.”

You can’t hide your experience.

‧

Followers/Seguidores: Empezando/Beginning

Principiantes/Beginners.

Jim Bodeen

21-17 de noviembre 2011

GOODBY FROM THE LAKESHORE

WHEN WE GO SLOW

Words do different things

Time now

Time to leave Galilee

Walking like this

Walking witness—

names another, deep,

always descending,

place/breathtaking/path

Not knowing,

but after the fact

walking out

of our heads

into our own

purple heart

cherry from coffee

cupped in the hand

Jim Bodeen

23 November 2011

Tener Agallas

Comida Luminosa—Tener Agallas—En la geografía de la salvación

Poema encontrado en palabras y fragmentos

del ministerio de Jesús en Galilea por Eliseo Pérez-Álvarez

No temas, cree solamente

¿No es éste el hijo de María?

Fe comunitaria

Mesa abierta

Bastón y sandalias

Cabeza de Juan en un plato

Degradación de comida

Emociones más viscerales

Si estoy hambriento

Un vaso de agua

Cinco panes, dos pescados

Comía de pie

(La política del pan)

(Mantener la gente dependiente)

Mesa cristiana—ley divina

El punto desde donde no hay marcha atrás

Cabeza de Juan en un plato

Degradación de comida

Las migajas de las migajas

Diferencia de la tortilla

Plato, cuchara, servilleta

Fe de alto valor

Jim Bodeen

16 noviebre-22 noviembre, 2011

Medicine Man, Curandera, Machi

Black Elk, Ultima, Don Eduardo:

Medicine Man, Curandera, Machi

¿No es éste el carpintero? Eliseo Pérez-Álvarez, Marcos

“The Deathwalk. Everyday life leads to deeper experiences tan we would ever dream. But returning after these experiences to ordinary life is not always easy, for this mythic return means nothing less than living the dreamingbody and the ancient, wondrous world of the shaman in the here and now, where such experiences often seem forbidden.” Arnold Mindell, The Shaman’s Way

“A poet’s function—do not be startled by this remark—is not to experience the poetic state: that is a private affair. His function is to create it in others. The man of genius is the one who infuses it into me.” Paul Valery, quoted by John Dominic Crossan, In Parables: The Challenge of the Historical Jesus

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Black Elk

They told me I had been sick twelve days, lying like dead all the while, and that Whirlwind Chaser , who was Standing Bear's uncle and a medicine man , had brought me back to life. I knew it was the Grandfathers in the Flaming Rainbow Tepee who had cured me; but I felt afraid to say so. My father gave Whirlwind Chaser the best horse he had for making me well, and many people came to look at me, and there was much talk about the great power of Whirlwind Chaser who had made me well all at once when I was almost the same as dead.

Everybody was glad that I was living; but as I lay there thinking about the wonderful place where I had been and all that I had seen, I was very sad; for it seemed to me that everybody ought to know about it, but I was afraid to tell, because I knew that nobody would believe me, little as I was, for I was only nine years old. Also, as I lay there thinking of my vision, I could see it all again and feel the meaning with a part of me like a strange power glowing in my body; but when the part of me that talks would try to make words for the meaning, it would be like fog and get away from me.

 

Black Elk Speaks, Black Elk, with John Neihardt
‧

Ultima

“Buenos día le de Dios, Ultima,” I muttered. I saw in her eyes my dream. I saw the old woman who had delivered me from my mother’s womb. I knew she held the secret of my destiny.”…”This was the last child I pulled from your womb, María. I knew there would be something between us.”….“As you wish, Grande,”… “I have come to spend the last days of my life here,” Ultima said…“You will never die, Ultima,”…“And with Ultima came the owl…In many cuentos I had heard the owl was one of the disguises a bruja took…”

“Give me your face,” Ultima demanded. “Have you not the strength to face an old woman? Why do you keep your back to me?..I am a curandera, Ultima said softly, “and I have come to lift a curse…”

“They can’t see him, Tony, they can’t see him. I know every man from Guadalupe who fishes, and there ain’t a one who has ever mentioned seeing the golden carp. So I guess the grown-ups can’t see him—…The Indian, Narciso, Ultima—“

Bless Me, Ultima, Rudolfo A. Anaya

‧

HAWKS OF THE MIDNIGHT SUN

--for René San Martín

I.              Arriving

This medicine

of the machi

is not medicine

of today,

esta medicina

tiene mil años,

the young man says,

holding up the urine

from his suegro

who has skin problems

German doctors

from Temuco can’t heal.

The Machi, is man

and woman al mismo

tiempo, he says.

He is not mágico,

but he was born

knowing the culture.

He has been Machi

since 11 years old.

II.            Learning

Blue makes us happy

because it is where

rain begins. But

there is too much rain.

Rain is the flowering

of el campo, but

it is also aggressive.

Do you understand?

Bad spirits exist

with the good.

Machi protects

el pueblo.

Family is important.

Because we lived

only with family

we could fight

the Spaniards

for 300 years.

Your Hitler studied

Mapuche guerreros.

III.           Beginning to Listen

It is not easy

to know the culture

so well that

one only fits

as machi.

The dream only says,

You’re different.

Then you must be able

to say: I am.

I am Machi.

Yo tengo

la capacidad

a ser curandero.

I value the pain.

Then I must act

to protect el pueblo.

IV.          Going In

Going between

gods and pueblo,

la lucha con la fuerza mal,

bailen, cantan, tocan,

one must go with a map

and one makes the map

as he goes. All machis

know this. It is not

the map into dis-ease

that causes trouble

for machi. Anyone

can fall into

a sick mind. Trouble

comes with the machi

who doesn’t have his map

back to el pueblo.

V.           Machi Before the Fire

Reading the urine

of the sick, talking

trying to find what

provoked the spirits,

this is from our fathers.

But as we sing

when we walk, we walk

on this road, under

these feet, we must

sing a new song.

Urine is part

of the ancient music

like this fire

in this ruka,

this thatched roof house,

with this ancient fire

on this dirt floor. We

are very far from

the banks and markets

of the cities

where we sit now,

surrounded by smoke

of this fire. I know this.

And like I know

our young people go

to the markets in Temuco

and Santiago, I know

what happens when

my people bring children

or fathers to the ruka

who are ill. We lay

them before the fire,

surround them with

this land you call Chile.

We have their families

and we have fire. The smoke

opens up time.

The family stands

and we beat the drum

and sing. When I go in

seeking the trouble,

Dungu Machife, beside me,

memorizes all

that I do. He knows

where I am. His map

will help me return.

I know something

of maps. I know

how far on the map

you have come to see

the machi. I know.

The maps are different.

It is all right.

I like your maps, too.

Impulse to Love, Jim Bodeen

Temuco, Chile

with Don Eduardo, Machi

July, August, 1991

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"Writing is an art, translation is a religious art, even when it is heretical and going its own way, since God of the sacred original is hanging over the shoulder of the translator, along with his critical angels, hunting for any shift in dogma, smelling out disobedience, assuming total authority. The inspired translator is a friend of disobedient Eve, a Gnostic who rejects imposed faith and believes her life is a return to the realm of light where both her soul and the soul of the original writer (speaker) will merge and reside in a new interpenetrating permanent third text. The way to that text, however, is not through the eye of the Demiurge nor by obedience to his first created word.” Pierre Grange, Dream time and Other Earthly Signs.

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“It is hard to follow one great vision in this world of darkness and of many changing shadows. Among those men get lost.” Black Elk, from Black Elk Speaks, with John Neihardt