Russian Easter

Each year the essence of Christian belief is encapsulated by the celebration of Easter. This religious holiday marks the resurrection of Jesus Christ, God’s only son, three days after he was crucified. Christians believe, through his actions, Christ inherited the sin of the world, and promised all of those who believe in him eternal life. While Easter has a collective significance among all Christian sects, its celebration is a tradition deeply woven into the fabric of Russian society and identity.

The Eastern Orthodox Church’s celebration of Easter holds many similarities to the Western Church’s traditions. For instance, its use of eggs is also a universal symbol associated with Easter. In the Orthodox tradition, eggs represent new life, the resurrection of Christ, and the regeneration of believers (Fairchild). During Easter, eggs are traditionally painted or dyed; the most common color is red to represent the blood of Christ that was shed on the cross (Fairchild). Russians exchange eggs, followed by the ritual of cracking them open (‘Christ is Risen’). An old, Russian, fable says an Easter egg given from the heart will never spoil (‘Easter in Russia’).

While the theological beliefs of the Eastern and Western churches remains constant, the biggest discrepancy between their Easter celebrations lies in a more technical aspect. Both churches celebrate Easter on the first Sunday after the full moon following the March equinox (‘Christ is Risen’). However, Western Christianity uses the Gregorian calendar to set the date, while Eastern Christianity sets the date in accordance to the Julian calendar. The Eastern Orthodox Church also applies the formula so that Easter always falls after Passover, since Christ entered Jerusalem to celebrate Passover before his crucifixion and resurrection (Brunner). This minor deviation of dates has been the topic of debate amongst Christians worldwide. Many Christians believe Easter should be changed to a fixed holiday to gain continuity. In 1963, the Second Vatican Council made an attempt to mend differences by making Easter the second Sunday in April (Brunner). Again in 1997, the Council of World Churches proposed a solution using the meridian of Jerusalem as the point of the most advanced astronomically accurate calculations (Brunner). Today a consensus is yet to be reached; however, both Easters frequently fall on the same date.

Easter is the single most important day in the Orthodox calendar and its significance goes hand-in-hand with over one thousand years of tradition (‘Easter in Russia’). Today, 80 percent of Russians call themselves believers, yet less than 10 percent of the Russian population attends religious services regularly (Bodin). In Russia, religion is more of a matter of identity than of practice. It provides a foundation of values and a feeling of historical continuity with the time before the horrible and meaningless parenthesis of the Soviet Era (Bodin). In many ways Easter in Russia also celebrates how the Church overcame communist rulership. During that time, the government made various attempts to lure people away from the church. Police and Communist league members would blockade the doors at some churches and chase away the younger generation (Gallagher). The government offered rarely seen foreign movies in theaters and rock concerts during religious celebrations (Gallagher). Communists even tried to supplant Christian occasions with state oriented ones (Gallagher). Christmas was replaced with “New Year’s”, and Easter was replaced with “May Day”, the national spring holiday which occurs five days after Easter (Gallagher). The latter proved to be far less effective.

Beginning under Mikhail Gorbachev, the presents of the Orthodox Church in Russian society improved dramatically. It was a time where the Communist party and government needed the church as a partner to implement the new policies of glasnost’ and perestroika (Bodin). Since the demise of Soviet-Russia, the Church has returned to a privileged position in Russian society. The number of open churches has grown threefold up to over 20,000, and monasteries have multiplied by about 45 times and now total more than 650 (Bodin). Globally, Easter services are also being held at over 36,000 Russian Orthodox churches across the globe (‘Christ is Risen’).

For the 40 days preceding Easter, many Russians observe the Great Lenten fast which mirrors the isolation and diet that Christ experienced before his resurrection (‘Easter in Russia’). This period, where certain foods such as meat products, milk, eggs, alcohol and oil are prohibited, begins with “Maslenitsa,” meaning Pancake week (‘Easter in Russia’). This is the first week that meat is forbidden and the last week the consumption of cheese is acceptable (‘Easter in Russia’). Consequentially, Maslenitsa is a week where Russians traditionally enjoy pancake dinners. A key Eastern principle in Lent, which is seemingly lost in the West, has to do with self-discipline. Eastern Orthodoxy believes that self-discipline is good for the body, soul, and mental health (‘Easter in Russia’). The Orthodox Church refers to the Sunday before Easter (Palm Sunday in the West) as “Pussywillow Sunday (‘Easter in Russia’).”  Russia does not have many palm trees, so traditionally pussywillows, which begin to bloom right around Easter, symbolize triumph and victory, just like palm trees did in ancient Palestine (‘Easter in Russia’). Pussywillow Sunday marks the strictest week in Lent known as Passion Week (‘Christ is Risen’).  During this week the necessary preparations are made for Easter Sunday. Eggs are painted, and cakes are baked before being blessed by priests (‘Christ is Risen’).

In Russia, Easter is called “Pashka,” which means “great night (‘Easter in Russia’).” This is because the Orthodox Easter liturgy begins on Saturday night and continues through Sunday morning. Worshipers congregate in a darkened church, symbolizing the despair of a world without faith (‘Easter in Russia’). Outside the church, Holy Saturday is considered to be haunted by satanic creatures (‘Easter in Russia’). As midnight approaches, the holy fire lights candles held by worshipers as a symbol of the “divine presence of the invincible faith,” as Patriarch Kirill puts it (‘Christ is Risen’). Then, at midnight, a joyous chorus of church bells announces the resurrection of Christ (‘Easter in Russia’). With the conclusion of the liturgical service, worshippers return to their homes for an indulgent family feast. Popular dishes include Kulich, a nut and fruit-filled cake, accompanied by Pashka bread, topped with a sweet cheese spread (‘Easter in Russian’). Russians also feast on the various foods prohibited during Lent such as sausage, bacon, cheese, and milk. For the 40 days following Easter Sunday, Orthodox Christians greet each other with the phrase “Christ is Risen!” welcomed with the response, “He is Risen Indeed (‘Christ is Risen’)!”

Easter in Russia remains one of the country’s longest and most distinguished traditions. It is a spectacle that draws large crowds of Russians, Christians, and tourists alike. While Easter has a resounding sentiment of resurrection throughout Christianity, it also harbors a less distinguished theme within the Russian Orthodox observance. The theme is not of re-birth, but rather perseverance. On Easter, Russians rejoice in the persistence of their culture through over a millennium afflicted with war and communism along the way. Serendipitous to how Christ saved humanity from sin, the Russian Orthodox Church saved Russian culture from test of time.

 

Works Cited

 

Bodin, Per-Arne. “2: The Influence of the Russian Orthodox Tradition.” Language, Canonization and Holy Foolishness: Studies in Postsoviet Russian Culture and the Orthodox Tradition. Stockholm: Stockholm U, 2009.

 

Brunner, Borgna. “A Tale of Two Easters.” Fact Monster. Web. 27 Apr. 2014.

 

“‘Christ Is Risen’: Christians Celebrate Easter Worldwide.” RT News, 20 Apr. 2014. Web. 27 Apr. 2014.

 

“Easter in Russia.” The Mendeleyev Journal. Web. 27 Apr. 2014.

 

Fairchild, Mary. “Orthodox Easter: Customs, Traditions and Foods of Orthodox Easter.” About.com Christianity. Web. 27 Apr. 2014.

 

Gallagher, Jim. “Orthodox Russians Hang on to Traditions of Easter: Eastern Church Celebrates Easter.” Chicago Tribune 26 Apr. 1981.

 

We the Phans: Philly Sports Fan Manifesto

On October 29, 2008 the velvet voice of Harry Kalas echoed throughout the city of Philadelphia. “Brad Lidge stretches. The 0-2 pitch —swing and a miss, struck him out! The Philadelphia Phillies are 2008 World Champions of baseball!”  The red-hot Tampa Bay Rays and a 48 hour rain delay could not stop the Phils this year. Not even the curse of William Penn, which plagued Philadelphia for two decades, was enough to impede the Phillies from fulfilling their destiny. But, the celestial forces are not always on our side. As die-hard Philly fans we are forced to suffer through heartbreaking defeat time and time again. Despite this inevitable truth, our allegiance will never waver. There is always an everlasting sliver of hope in our hearts, a hope that one day our beloved teams will bestow another championship upon the city of Philadelphia.

Philly fans have a reputation of being passionate. We never hesitate to heckle the opposing team and even call out our own players and organization. The majority of our principles where passed down from America’s founding fathers. George Washington and company were not afraid to stand up to the authority of the British. They vowed to win independence at any cost, even if that meant implementing guerilla warfare. Philadelphia’s pride and joy, The Liberty Bell, represents America’s triumph over tyranny, while its crack reveals the sacrifices made in the process. While Dallas fans claim the Cowboys are “America’s team,” it is the Philly fan that embodies the values by which our nation was founded. We the fans of Philadelphia sports teams, in order to form a more perfect franchise, love the hard-nosed players and immortalize the unsung hero, we respect the game and other fans, and we always remain faithful no matter how pitiful a season.

In Game 4 of the 2008 NLCS, the Phillies and Dodgers were at a 5-5 deadlock. This was until Matt Stairs stepped up to the plate in a pinch-hit appearance with one thing on his mind: the long-ball. The rugged veteran took one swing and launched a two run homerun into the crisp Los Angeles night that completely changed the complexion of the championship series.  The Philadelphia sports hero does not look like the herculean figures depicted in comic books and fairy tales. They look like Matt Stairs, a bench-player with a fat chunk of chew in his mouth and a few extra pounds in his gut. Or Ian Laperriere, whose nose is completely diverted to the left, accompanied by scars from blocking shots and taking punches to the face. Philadelphia loves the underdogs, the grinders, and the clutch performers. A Philly sports fan pays reverence to Rocky by running up the Art Museum steps. Balboa is the epitome of Philly culture; he hardened his fists by beating on frozen meat and chased chickens to improve his footwork. Hollywood’s humble hometown hero was able to go the distance against the heavyweight champ and capture the hearts of an entire city.

Despite all our negative press, a true Philly fan has an ultimate respect for the sport and rival fans alike. Unfortunately, there are hooligans among us that do not know how to act in public. This throws a monkey wrench in the true Philly fan’s attempt to cultivate a pure-hearted reputation. Because of this misconception it is necessary to separate the ethics of the true fan from the goon. The following principles govern the expectations of this critical issue.

Article 1: Public displays of antagonism

Sure we get frustrated at times and hurl snowballs at Santa Clause, but all we get in our stockings come December are crushed expectations. We can all agree snowballs and Santa are fair game. Batteries, however, is where we draw the line. Never again will we throw D-cell batteries at players. Please dispose of your batteries properly.

Article 2: Injury

It is never acceptable, under any circumstances, to cheer injury.

Article 3: Interactions with opposing fans

When in public, respect an opposing fan’s unalienable right to enjoy the game. On the other hand, if that fan chooses to talk trash, this right is immediately forfeited and the fan is subject to verbal assault and humiliation. Wes Mantooth best emulates this mutual respect between advisories when he tells rival anchor, Ron Burgundy “I pure, straight, hate you. But god damn it do I respect you.”

Finally, a true Philly fan lives and dies with the success of the team. We do not cast our lot with fair-weather fans that hop on the bandwagon. The founding fathers did not condone Benedict Arnold’s betrayal when he averted to the aid of the British. Such treasonous acts will not be tolerated by us Philly fans. We share elation in victory, and suffer through the sorrows of defeat. It is not easy watching star players like Charles Barkely and Curt Schilling traded for virtually nothing. It breaks our hearts having to cope with missing the playoffs and breathing life into cliques like “there’s always next year.” During times like these, we openly display our disgust in the futility of our team. We may even ironically start an Eagles chant in the middle of a Phillies game. However, this absolute distain marks the sign of a true fan. It exhibits the fact that we care, and do not take failure lightly. Nothing will satisfy us except winning a championship.

We ordain and establish this constitution for the united fans of Philadelphia. As one, we can secure the blessings of a positive reputation along with enhancing the experience of ourselves and our posterity. In recent years we have benefited from our compassionate nature. Our intense atmosphere brings talented players and coaches to the city. They savor the opportunity to play in front of us knowing that we are forever behind them. Day in and day out, our players are willing to sacrifice their bodies for their fellow teammates, beloved family, and loyal fans. It is only right that we give players devoted admiration and support in return. This is what makes Philadelphia the city of brotherly love.

An Anchor for the Soul

In the summer of 1778, Captain James Cook and his crew of the Resolution and Discovery sailed through Alaska in search of the Northwest Passage. According to a legend past down for generations, Captain Cook lost one of his anchors to the relentless currents of the Being Sea. This storied site consequentially adopted the name Cook Inlet, whose waves crash into the beaches of a town called Anchor Point, both in honor of the great Captain Cook and the anchor he unwillingly left behind.

About $50, a shake of hands, and a U-haul van dropped a big, old, anchor onto my front yard, where it resided for as long as I can remember. The anchor has a very distinguished look; it wears a red suit of rust with white bird poop pinstripes. “Some scrapper was trying to get rid of it” my dad says. “He found it near Anchor Point.”

Early Christians looked to the anchor as a sign of security and hope. In order to avoid persecution, Christians adopted the image of an anchor. This new symbol cleverly disguised the cross which is depicted in the stock of the anchor. Hebrews 6:19 reads: We have this hope as an anchor for the soul, firm and secure. Not only does the anchor literally protect Christians against persecution, but it encapsulates their faith that Jesus will come to save them.

This anchor looks old enough to crumble into dust and blow away with the wind, but it never does. A medley of stones surrounds it along with a rotting, wooden, docking post to give the appearance as though it washed ashore. How did it resurface on my yard of all places?  The firm clutch of the abyss failed to keep the iron cross submerged forever. Could this be the anchor that accompanied Captain Cook and the British Navy on voyages around the world? Or is it a quintessential example of my father’s questionable sense of exterior design?

On the eve of his death, Captain Cook and his crew reached the shores of the Hawaiian Islands. Upon their arrival, the awestruck eyes of the native people greeted the foreign vessels. Initially terrified, the Hawaiians concluded that the ships were temples with steps going up to an altar high above a forest of trees, and that Captain Cook was the god, Lono. Amid their amazement, the Hawaiians found particular intrigue in items such as the iron anchors on board. They called iron pahoa—a tool for cutting—and became somewhat familiar with the metal when debris washed up on the land. Iron became a catalyst for bartering and temporarily relieved tension between the British and Hawaiians. Captain Cook purchased pigs in exchange for a piece of iron or barrel hoop, thus allowing the Hawaiians to make axes, knives, or fish-hooks. However, greed transformed what started as friendly trade into a blood-thirsty battle, when the Hawaiians stared stealing iron from the British ships. Many people lost their lives in the fray including Captain James Cook himself.

Compared to the suburban landscape of my neighborhood, the anchor looks alien like a relic from ancient times. However, it belongs there just as much as any brick supporting my house. When people ask me, “which house on Carmelita is yours?” I reply without thinking “the one with the anchor in the front yard.” I always know it will be there. If I had a bad day at school, I could always count on it being stationed at its same location. When winter comes to bury it in snow, the anchor remains when as the ice melts away. The trying tides of life ceaselessly beat on us, leaving the anchor unmoved.

 

Captain Cook put faith in his anchor to weather every storm. He trusted that it would remain stationary and never waver. When he lost his anchor in Alaska, the Captain felt like a turtle without its shell. Eventually, his anchor secured the Captain a place in paradise amongst gods. His anchor was sacrificed to the sin of men, but the anchor is always there to save them.

Writing From Pajamas And Beyond

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On April 15, 2013 award-winning author, Sandra Cisneros, traveled to the State College Theater for a question and answer session M.C.-ed by Professor Tina Chen. The author of this year’s Penn State community read, Caramelo, was also welcomed by many aspiring writers, some recognized as winners of the Artifacts writing contest. For me, the magic of Ms. Cisneros became evident when she was given the chance to interact with the audience and answer lingering questions. While many people where curious as to where Ms. Cisneros receives inspiration for her books, the topic quickly shifted as students and aspiring writers seized the opportunity to pick the author’s brain for writing advice.

As an avid collector of textiles, Ms. Cisneros has a tendency to liken many aspects of writing to clothing. “Make buttons,” she said; little anecdotes that relate to whatever is on your mind at the time. If you’re lucky, one day you might find the story—or article of clothing—to adorn it. Similarly, Cisneros also says her stories are like rebozos. She collects strands of fabric from herself and other people in order to intertwine them into a story. For instance, one catalyst for writing Caramelo came from Cisneros’ interview with a daughter of a rebozo maker. The history she offered about the rebozo was helpful in understanding the overall theme of Caramelo. During the Spanish conquest of Mexico, it was actually illegal to wear any indigenous clothing. Furthermore, Spaniards insisted that Mexican women wear a head covering when entering the churches. Consequently, the name rebozo comes from the Spanish verb, robozar, meaning to cover up. The rebozo manifested out of necessity and offers a fusion of Mexican and Spanish culture. It has grown to represent heritage and a women’s identity, some of the themes in Caramelo. It was also interesting to learn the physical applications of the rebozo. Ms. Cisneros modeled several ways, out of hundreds, in which women choose to wear their rebozo. This idea symbolizes the numerous effects that writing has on us readers.

But most importantly, Ms. Cisneros encouraged students to write from their pajamas. What she means from this metaphor is that writers should strip themselves of all insecurities or airs in order to find their true voice. However, writing from your pajamas does not imply that you should be comfortable. “Good writing must cost something,” Cisneros explains.  She alludes to the fact that while writing Caramelo, there were many things happening in her life that made writing harder. From breakups to the death of her father, Cisneros had to force herself to write a few pages each day. Furthermore, Cisneros refers to writing as medicine or therapy. She encourages students to writing for the sake of writing. “The process is more important than the product,” she says. It does not matter if you publish your work for thousands to read, or tear it into a thousand pieces.

I was surprised to hear a successful author express how she does not necessarily write with an audience in mind, but rather for herself above all else. Yet it is evident that her writing reaches out and touches a universal audience of many different heritages and backgrounds. “I created the dream, but I don’t know what the dream means,” Cisneros explains.

While I found her writing tips unique and insightful, my most prevailing feeling after Ms. Cisneros’ visit was that of inspiration. It is hard not to be enthralled by the passion that Ms. Cisneros conveys towards writing just by simply speaking about it. It is safe to say that she is the epitome of a true artist; someone who is capable of finding inspiration and beauty in everything.  Ms. Cisneros possesses the divine ability to listen to life and nature when it speaks. To Cisneros, writing is more than just a way to make a living; it is a way for her to cope with life and move on spiritually. Her overall message, whether you are a writer, musician or artist, is to find, deep down, what makes you special, and from that you can create something beautiful.

Comeback Machine?

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the strokes

 

 

 

 

 

 

By far the greatest attribute of The Strokes’ fifth studio album, Comedown Machine, is its lack of hype. Anyone who is eagerly anticipating a worthy follow-up to 2001’s Is This It? will once again lament in disappointment. Although I think it is unfair to judge an album based on previous works, the shadow of past success is an element that constantly plagues the New York garage rockers. Twelve years, four albums, and a brief hiatus later, here we are. While Comedown Machine might not restore your faith in the band, it offers a focused effort, leaving fans with something to look forward to.

One thing that is certain about this album is that it symbolizes an end.  Comedown Machine marks the end of The Strokes’ contract with RCA Records, but could it also be the end of the band altogether, thus allowing Julian Casablancas to fully pursue his solo career? Although his effort is half-hearted at times—commonly resorting to a whiney falsetto voice—Julian actually joined the band in the studio for the entirety of the albums’ recording, unlike in Angles. Instead, this album as a whole not only represents moving on from RCA, but also moving on from their hapless effort to rediscover the success of Is This It?.  The Strokes hint toward a new devotion to finding a different sound altogether.

The Strokes’ departure from RCA is definitely bitter sweet; it is almost like a weight being lifted off their shoulders. The Stokes present their most edgy and experimental album to date, building off of what was started on Angles. As the vintage RCA logo on the front of the album cover suggests, the majority of the sounds on this album come straight from the 80’s. Comedown Machine is essentially an ode to the new wave artists like The Cars and The Talking Heads who greatly influenced The Strokes. Many sounds from Michael Jackson are present along with homage to A-ha’s “Take On Me” with “One Way Trigger.” This 80’s medley is the bands way of putting their old sound and influences to rest in order to move forward conceptually. This may also explain why there has yet to be a promotional tour scheduled.

The Strokes waste no time addressing recent criticism and their need to move on. The first track, “Tap Out,” starts off by comparing their past material to the lost city of Atlantis. Over a droning synth Julian sings “They found our city under the water, gotta get my hands on something new. You don’t want to be without this, something isn’t adding up.” Aside from the synthy vibe throughout the album, the main ingredients of The Strokes’ original style are still evident, like the sharp, screeching guitar progressions and flowing bass. The Strokes are consistent and demonstrate a good range of emotions. The brooding, dreamlike, “80’s Comedown” and “Chances” capture the difficulty of moving on, while the energetically ballsy “50/50” and upbeat sing-along “Happy Ending” drive the album forward.  Some low points on the album include the mundane, crowd-pleaser “All the Time” and “Call It Fate, Call It Karma,” an awkward track that might sound fitting playing on a Victor phonograph.

In my book The Strokes are far from finished. “Tap Out” is not an exhausted submission and “Welcome to Japan” is not a last ditch effort to gain recognition overseas as parodied in This Is Spinal Tap. Conversely, Comedown Machine is The Stokes’ way of reconciling with the past and moving on. The uber-cool aura that The Strokes once reveled in has subsided, allowing them to refocus and reinvent themselves. While this album is certainly not their best, it won’t drive listeners away just yet. We will be suspended in anticipation, waiting, wondering what they will come up with next.