The Gospel in Solentiname |
The book (at this stage) contains two modern receptions of the parables from Latin America. One reception is that of Elsa Tamez, Emeritus Professor of Biblical Studies at the
Latin American Biblical University in San Jose, Costa Rica. Her first book was Bible of the Oppressed
(1982).
The second reception, which I'll actually discuss first, comes in two forms from the "peasants of Solentiname": a written commentary (The Gospel in Solentiname) and works of art (The Gospel in Art by the Peasants of Solentiname).
First, a discussion of the commentary and the community that produced it:
In 1966, a Nicaraguan priest named Ernesto Cardenal
and a Colombian poet named William Agudelo founded a small contemplative
community on the largest island of Solentiname, an archipelago of thirty-eight
islands on Lake Nicaragua. As part of his mission, Cardenal decided that
instead of preaching on the Gospel readings during Sunday mass and other
services, he and his congregation would have conversations about those texts.
Cardenal later published a collection of these dialogues among those
non-specialist voices within “grassroots” Christianity. In fact, Cardenal declares:
“The commentaries of the campesinos [peasant farmers] are usually of
greater profundity than that of many theologians, but of a simplicity like that
of the Gospel itself. This is not surprising: The Gospel or ‘Good News’
(to the poor) was written for them, and by people like them” (Cardenal 1976:
1:vii).
The people of Solentiname formed a fishing and
farming cooperative, a clinic, a center for artists, a museum of pre-Colombian
art found in Solentiname, and a school of primitive painting that became
internationally famous. Approximately one thousand people lived in Solentiname
during this time (ca. 1970-1982). Cardenal lived in the lay monastery, Our Lady
of Solentiname, which was on the largest island, and those who participated in
the services mostly lived in thatched huts scattered on the shores of the
larger islands of the archipelago.
The process for these dialogues follows a similar
pattern. The Gospel reading is distributed to all in the congregation who could
read, and the passage is read aloud so all could participate. The campesinos
discuss the passage verse by verse, and Cardenal started using a tape recorder
during the discussions, so that he could preserve the insights of his
congregation in written commentaries (Cardenal 1976: 1:viii-x).
Although
these commentaries contain common themes about God’s love and liberation, the
people involved in these dialogues have distinctive and often different
reactions to the Gospel text they discuss. The peasants’ interpretations of the
parable of the Rich Man and Lazarus (Cardenal 1979: 3:251-256), for example,
quickly lead them into the topics of the rich and poor, salvation and
damnation.
That discussion is for the next post.
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