Did you know that the Hajj is not the only annual religious event to draw pilgrims in the millions?
I hadn't thought about this much, until December. The Hajj was much on my mind then, when I opened up the Washington Post and read this article about 5 million Catholics converging on the Basilica of Our Lady of Guadalupe in Mexico City to pay their respects to the Virgin.
I had no idea. I had been thinking of the Hajj as a singular event, unique to Islam in its power to draw literally millions of people into one particular space to pay respects. The Virgin pilgrimage in Mexcio proves the Hajj is not alone -- and when I gave it some thought, I could come up with two more pilgrimages drawing such great numbers of believers: millions of Hindus flocking to bathe in the Ganges on Mauni Amavasya (it'll be next Monday this year), and millions of Shiites making the pilgrimage to Karbala, in Iraq, on Ashura.
Despite the trend of American evangelical mega-churches servicing tens of thousands at a time on Sunday mornings, I could come up with no religious holidays here in the United States with the power to draw a crowd of millions ...
... which brings me to today.
I got up early this morning to join a couple million of my fellow American citizens in marking the ascendancy of Barack Obama to the presidency of the United States -- an event not without its insistent religious overtones, whether it counts as a true pilgrimage or not.
The Obamas, of course, began their day with prayer, as is customary, at St. John's Episcopal Church across the street from the White House. (They worshiped at the 19th Street Baptist Church two days ago, on Sunday.)
I started my day with neither prayer nor church attendance (and I was busy on Sunday with other pursuits besides church).
As it happened, I started my day with a very quick shower, before cooking a breakfast of eggs and tomatoes with a side of veggie sausage for my houseguests. We were 15-strong in my three-bedroom apartment, with my housemates and I providing temporary lodging for pilgrims from Chicago, Brooklyn, and Raleigh-Durham.
At 8:15, I left the house with two of my guests to meet three other friends and move as a unit of six down to take our place on the National Mall. We had aimed for a medium-close vantage point, but after finding checkpoints blocked twice, we eventually settled for a very-far-away vantage point and took up a nice spot near the World War II Memorial, about a mile away from the actual event, but close to a large Jumbotron and loudspeaker.
Nearby stood four religious protestors holding signs.
"The Wages of Sin is Death," read one sign. "Trust Jesus," read another. A third sign quoted a very lengthy passage from 2 Chronicles about nations turning to God to receive blessing, and fourth man held no sign but wore an electric-blue T-shirt stretched tightly over his enormous belly, with a printed message inviting the reader to "Ask me why you're going to Hell."
The fat man and the sign-bearers took turns with a megaphone informing one and all why we are going to Hell -- whether we had asked them about it or not. When the megaphone wasn't being directed toward the crowd to inform us of our sins (focusing on the usual suspects, of course: gays, feminists, abortionists, atheists), it was directed toward the heavens to invoke the wrath of god.
Moments after the blue-shirt man had called on God via megaphone, the second invocation of the day began to be pronounced -- this time from the dais of the inauguration.
As is well-known, Obama chose to invite Pastor Rick Warren, the evangelical preacher famous for his solid support of California's Prop 8 (as well as his self-help book and his mission creep toward more traditionally liberal issues like poverty and AIDS), to offer a prayer to God before his swearing-in.
When Pastor Warren's face appeared on on the Jumbotron, I discovered with surprise that I had to turn my back. I had not planned ahead to do this, but to face the screen, and give him the same attentiveness I had given to Dianne Feinstein or Aretha Franklin or Joe Biden or John Paul Stevens would have felt like an untruth to me.
So, I wheeled silently around and turned my face upwards and saw bare brown branches criss-crossing a perfect blue sky. Nobody else within my view chose to do this, and I avoided looking into their faces, preferring to trace the branches and mull over the content of Warren's prayer. I noticed that others nearby chose also to react to Pastor Warren in various ways, such as cheering when he announced that Jesus had changed his life, or chanting along with the Bible verses.
One of my friends later remarked that she found the invocation to be "ecumenical." (I disagree.) Another stated that Warren had offered up a number of "surprisingly good lines." Fair enough: Warren did offer that his god is "loving to everyone," allowed that the country is not united by "religion" but by "freedom," and called for "civility in our attitudes even when we disagree." Fine. All very nice sentiments.
For what it's worth, I think a simple back-turn does represent "civility of attitude even in disagreement," and also I do deeply disagree with Warren's presence as part of the program.
I disagree with Warren's anti-gay attitudes -- no doubt about it -- and found it quite disappointing that after the Election Day combination of the Prop 8 catastrophe with the Obama win, that Obama chose to repeat that unhappy combo on his Inauguration Day.
Yet even more than I disagree with Warren's views on gay relationships, I deeply disagree with such an invocation of god at all at a governmental function.
Warren opened his prayer by calling out to "Almighty God," whom he addressed as "our Father." He suggested that "all nations, all people" will "stand accountable" before his god on a day of judgment. And he closed his prayer by making sure that it was signed, sealed, and delivered in the name of Jesus -- in not one, but four languages -- before quoting the words of Jesus as recorded in the book of Matthew, in the form of the Lord's Prayer.
That's not very ecumenical to me (not all Christians believe in Judgment Day, or stick to the old-school "Father" formulation), and beyond ecumenism it certainly does not take into account the interfaith pluralism that comprises America -- much less acknowledge those of us who follow no religion at all.
Obama, it must be noted, did indeed acknowledge this pluralism in his own speech, when he declared that "We are a nation of Muslims and Christians, Jews and Hindus -- and non-believers." And yet even that, to me, did not go far enough. We are a nation of Buddhists and Taoists and Wiccans and Zoroastrians and practitioners of the spiritual traditions of America's indigenous people -- as well as many variations and combinations of these, and more.
Furthermore, I would remind our wonderful new president that "atheist" is not a bad word. Atheists and agnostics and humanists and secularists and ethical rationalists need not be defined in relative opposition to what he thinks we are not ("believers"), not least because most of us, most likely, believe in quite a lot. (The word "atheist" is helpfully very precise about what it is we do not believe.)
I do happen to believe, like Rick Warren, in civility even in disagreement. I also believe, like Rick Warren, that commitment to freedom is more essential to the preservation of the American union than commitment to religion. And though I do not believe in heaven, I do not begrudge the poetic sentiments behind Warren's suggestion that Dr. King (who did believe in heaven, probably) is looking down with approval from above on today's inauguration; I'd simply express such respect for an ancestor with different language.
In 2013, when Obama is elected to his second term, I would challenge him to remember that he chose three Christians to pray over his first inauguration (Revs. Gene Robinson and Joseph Lowry, in addition to Warren), to the exclusion of literally all other faiths. And I would suggest that if he is comfortable with the invocation of "Y'Shua" at his inauguration, then he should be comfortable with the invocation of Allah, or the Four Corners, or any one in the pantheon of Hindu gods and goddesses: Lakshmi, Saraswati, Brahma, Hanuman, or any of the others.
And if he's not comfortable with those other invocations, then I've no doubt that an upstanding atheist -- perhaps a member of a local Ethical Society -- would be more than happy to oblige him by writing some appropriate remarks that invoke no deity at all, before respectfully making the pilgrimage.
Showing posts with label Lakshmi. Show all posts
Showing posts with label Lakshmi. Show all posts
Tuesday, January 20, 2009
Friday, October 31, 2008
Diwali: Atman (The Light Within)
My friend and I separated on a drizzly, windy corner of Howard St. in Baltimore. She boarded a bus back toward her house in Hampden, and I considered running back to Mariner Arena to find out what the printed program had meant by substituting the traditional Diwali fireworks with what the program called "virtual fireworks." They were scheduled to start at 9PM, but I was a long way from DC and dependent upon public transportation, so I bought my light-rail ticket and waited in the light rain.
The headlights of three different light-rail trains illuminated the mist and passed me by before the train I was waiting for squeaked to a halt and opened its doors for me.
Inside, I pulled the printed program out of my backpack and leafed through its pages, sounding out the names of the Indian oncologists, dentists, and real estate agents, whose business-card-sized ads sat stacked inside text reminding celebrants of the meaning of Diwali.
The days leading up to Diwali all have a special meaning. Five days before Diwali, it is a good day to go shopping. Four days before marks Krishna's slaying of Narakasura. Three days before is the day of Lakshmi Puja, and two days before is Govardhan Puja. Puja simply means "worship," roughly, and Govardhan is not a god or goddess, but a holy mountain. The day before Diwali is a holiday for celebrating the relationship between brothers and sisters.
Overall, the celebration of Diwali is meant as a celebration of good over evil, as symbolized by the lights.
Paging through the program, I lingered over a full-page ad for the temple I'd attended for Navaratri. Here I learned that all of the Deities in the temple are modeled after other existing Deities, so that, the temple claims, a walk through the worship space is "equivalent to visiting several temples in India."
Turning the page, I happened upon an essay about Vedanta written by Vijay Kumar, a self-described "disciple of Swami Chinmayananda," which was printed opposite an ad offering best wishes for the contestants of the 14th Annual Miss India-DC Pageant.
Swami Chinmayananda? That was the name printed on the banner at the Vedanta table. I skimmed the rest of Kumar's biography: organizer of Vedanta discussion groups, member of the Washington Interfaith Association, IT Engineer for the Pentagon.
Interesting. I began to read his essay.
Kumar: Vedanta affirms the oneness of existence, the divinity of the soul, and the harmony of religions.
The lights flickered inside the train car whenever the driver blew her horn for us to cross an intersection.
A few seats behind me, a group of young women gossiped loudly about another woman who was not present, mocking her weight and appearance. They used coarse language to speculate that the woman – who rarely dates men – is probably a lesbian, and a really slutty one too.
The noisy women carved up the missing woman's body and described each part to each other – her bad teeth, her damaged hair, her stretch marks, her skin.
Kumar: Vedanta asserts that you are essentially divine. God dwells within our own hearts as the Supreme Self.
In front of me, a man boasted on his cell phone about cheating on his girlfriend.
He laughed that the girlfriend has no idea what he's up to. He called her ugly names, pridefully describing how he fulfills her highest (and only) worth by using her body for sex.
He talked loudly about how much that sex might hurt, because of how aggressively he pursues what he wants. After he paused for a moment for other end of the line to speak, he said, "She better not cheat on me. I'd kill that fucking bitch."
Kumar: The Atman is never born, nor will it ever die. Pure, perfect, free from limitations, the Atman is the Brahman.
And what is the Brahman? Kumar describes it this way: "According to Vedanta, God is infinite existence, infinite consciousness, and infinite bliss. The term for this impersonal, transcendent reality is Brahman. … Who is God? Consciousness. What is Consciousness? You can go on and on."
The conductor blew the horn and the lights dimmed. We had arrived at the end of the line, and I boarded my bus for the next leg of my journey. I had thought I would pass the time by reading an article on "untouchables" in the 21st century that was featured in a copy of the Indian American that I had picked up, but my bus had no overhead lighting. It also had no cruel and noisy passengers, so I sank into my seat in the silence, as if at a Quaker meeting, and reflected on the day.
Diwali celebrates the Atman as the inner light. The victory of good over evil is the victory of Krishna over Narakasura, is the victory of light over darkness, is the victory of the Atman over… what? I do not know a Hindu term for inner darkness.
I do know this: I know that while English-speakers may tend to translate Atman as Self or Soul or Inner Light, the root meaning of Atman in Sanskrit is actually "breath."
And I know that in Sanskrit, Atman is not the only kind of breath. There is also prana, as every student of yoga learns. ("Breathe in, breathe out.") Atman is spiritual, prana is physical.
I thought about how the word for "breath" in Koheleth (“hebel”) has come to mean something hopeless, while the breath of the Atman is deeply hopeful.
I thought about the difference between "breath" and "a breath." I wondered how true scholars of Sanskrit and Hebrew might negotiate the difference between hebel and Atman.
A breath...
a gasp...
a moment…
an eyeblink...
a flash before darkness.
Breath...
inspiration...
animation...
illumination…
light.
Add a character to the short play: The guru says that life is Atman. Now add a character locked in struggle with the new addition. The guru says that life is prana.
Now ask each of the characters: What happens to us when we die?
In my reading, Koheleth says we are finished. My sense is that the teacher, the philosopher, the quester, and especially the preacher would hedge about this, though. They would insist that by viewing the text of Ecclesiastes through the lens of the other 65 books of the Bible, we can find hope for eternal life. The preacher (and others?) would insist that we can only find this hope if we allow ourselves to be born again through Jesus Christ.
The gurus, of course, would say we are born again and again and again.
The Atman never dies. We struggle to break the cycle.
And Jesus has nothing to do with it.
The headlights of three different light-rail trains illuminated the mist and passed me by before the train I was waiting for squeaked to a halt and opened its doors for me.
Inside, I pulled the printed program out of my backpack and leafed through its pages, sounding out the names of the Indian oncologists, dentists, and real estate agents, whose business-card-sized ads sat stacked inside text reminding celebrants of the meaning of Diwali.
The days leading up to Diwali all have a special meaning. Five days before Diwali, it is a good day to go shopping. Four days before marks Krishna's slaying of Narakasura. Three days before is the day of Lakshmi Puja, and two days before is Govardhan Puja. Puja simply means "worship," roughly, and Govardhan is not a god or goddess, but a holy mountain. The day before Diwali is a holiday for celebrating the relationship between brothers and sisters.
Overall, the celebration of Diwali is meant as a celebration of good over evil, as symbolized by the lights.
Paging through the program, I lingered over a full-page ad for the temple I'd attended for Navaratri. Here I learned that all of the Deities in the temple are modeled after other existing Deities, so that, the temple claims, a walk through the worship space is "equivalent to visiting several temples in India."
Turning the page, I happened upon an essay about Vedanta written by Vijay Kumar, a self-described "disciple of Swami Chinmayananda," which was printed opposite an ad offering best wishes for the contestants of the 14th Annual Miss India-DC Pageant.
Swami Chinmayananda? That was the name printed on the banner at the Vedanta table. I skimmed the rest of Kumar's biography: organizer of Vedanta discussion groups, member of the Washington Interfaith Association, IT Engineer for the Pentagon.
Interesting. I began to read his essay.
Kumar: Vedanta affirms the oneness of existence, the divinity of the soul, and the harmony of religions.
The lights flickered inside the train car whenever the driver blew her horn for us to cross an intersection.
A few seats behind me, a group of young women gossiped loudly about another woman who was not present, mocking her weight and appearance. They used coarse language to speculate that the woman – who rarely dates men – is probably a lesbian, and a really slutty one too.
The noisy women carved up the missing woman's body and described each part to each other – her bad teeth, her damaged hair, her stretch marks, her skin.
Kumar: Vedanta asserts that you are essentially divine. God dwells within our own hearts as the Supreme Self.
In front of me, a man boasted on his cell phone about cheating on his girlfriend.
He laughed that the girlfriend has no idea what he's up to. He called her ugly names, pridefully describing how he fulfills her highest (and only) worth by using her body for sex.
He talked loudly about how much that sex might hurt, because of how aggressively he pursues what he wants. After he paused for a moment for other end of the line to speak, he said, "She better not cheat on me. I'd kill that fucking bitch."
Kumar: The Atman is never born, nor will it ever die. Pure, perfect, free from limitations, the Atman is the Brahman.
And what is the Brahman? Kumar describes it this way: "According to Vedanta, God is infinite existence, infinite consciousness, and infinite bliss. The term for this impersonal, transcendent reality is Brahman. … Who is God? Consciousness. What is Consciousness? You can go on and on."
The conductor blew the horn and the lights dimmed. We had arrived at the end of the line, and I boarded my bus for the next leg of my journey. I had thought I would pass the time by reading an article on "untouchables" in the 21st century that was featured in a copy of the Indian American that I had picked up, but my bus had no overhead lighting. It also had no cruel and noisy passengers, so I sank into my seat in the silence, as if at a Quaker meeting, and reflected on the day.
Diwali celebrates the Atman as the inner light. The victory of good over evil is the victory of Krishna over Narakasura, is the victory of light over darkness, is the victory of the Atman over… what? I do not know a Hindu term for inner darkness.
I do know this: I know that while English-speakers may tend to translate Atman as Self or Soul or Inner Light, the root meaning of Atman in Sanskrit is actually "breath."
And I know that in Sanskrit, Atman is not the only kind of breath. There is also prana, as every student of yoga learns. ("Breathe in, breathe out.") Atman is spiritual, prana is physical.
I thought about how the word for "breath" in Koheleth (“hebel”) has come to mean something hopeless, while the breath of the Atman is deeply hopeful.
I thought about the difference between "breath" and "a breath." I wondered how true scholars of Sanskrit and Hebrew might negotiate the difference between hebel and Atman.
A breath...
a gasp...
a moment…
an eyeblink...
a flash before darkness.
Breath...
inspiration...
animation...
illumination…
light.
Add a character to the short play: The guru says that life is Atman. Now add a character locked in struggle with the new addition. The guru says that life is prana.
Now ask each of the characters: What happens to us when we die?
In my reading, Koheleth says we are finished. My sense is that the teacher, the philosopher, the quester, and especially the preacher would hedge about this, though. They would insist that by viewing the text of Ecclesiastes through the lens of the other 65 books of the Bible, we can find hope for eternal life. The preacher (and others?) would insist that we can only find this hope if we allow ourselves to be born again through Jesus Christ.
The gurus, of course, would say we are born again and again and again.
The Atman never dies. We struggle to break the cycle.
And Jesus has nothing to do with it.
Sunday, October 26, 2008
Diwali: Festival of Lights (Lakshmi Puja)
I had celebrated Diwali one time before this year.
Four years ago, a deaf friend of mine who is married to a deaf Indian man (neither of them identifies as Hindu) invited me to a combination Diwali/Ramadan celebration hosted by the Greater Washington Asian Deaf Association.
This was before I was truly competent in ASL (I had a hard time following the details of the skit depicting Krishna's slaying of Narakasura), and also before I understood how the Muslim calendar works. I didn’t get up to speed on the Muslim calendar until last year. I had failed to attend a combination Yom Kippur/Ramadan break-the-fast to which I had been invited, and I thought to myself, "I should have gone, but hopefully I will find a combination celebration next year."
Nope.
While both the Muslim and Jewish calendars follow a lunar cycle, the Jewish calendar adds a leap month every four years or so, to keep roughly aligned with the Gregorian calendar. The Muslim calendar does not do this, and loses therefore about 11 days per year, sliding backward along the Gregorian calendar, spiraling its holidays throughout all of the seasons. Though Yom Kippur and Ramadan overlapped last year, this year is a Jewish leap year, so the holidays separated. They will not again overlap until 2038, when I will be 64 years old.
When I attended the Diwali/Ramadan four years ago, the new moon that meant Diwali had arrived was the same new moon that signaled the end of Ramadan, but since the Hindu calendar also follows a leap-month strategy, the two holidays won't be linked again for another 27 years. In 2035, Diwali’s new moon will fall on Halloween, and will trigger the beginning of Ramadan the next day, on Samhain/All Saint's Day.
This year, Diwali’s new moon happens this coming Tuesday, October 28. We'll be entering into the Hindu month of Karttika, the Muslim month of Dhu al-Q'idah, and the Jewish month of Chechvan. Also, Diwali and the new moon mark the Hindu new year, so... Happy New Year... again.
When I started looking for a Diwali celebration this year, I discovered that the Hindu (and some Jain) temples in my area were all cooperating together on a collective Diwali Mela, to be held on the Saturday before Diwali (yesterday) at Mariner Arena in Baltimore. The event was scheduled from noon to 10PM, so I decided to attend in the afternoon, and then use my Diwali trip as an excuse to visit a Baltimore friend in the evening.
I caught a combination of Metro, bus, and light-rail to Baltimore on a very windy and slightly drizzly late Saturday morning and arrived at Mariner Arena around 1:30.
I paid my $5 for a ticket at the downstairs box office and followed my nose upstairs to where I could tell lunch awaited. Lining the corridors where vendors normally sell nachos and hot dogs and beer sat tables overflowing with vats of biryani and chana masala and dal. Platters mounded high with pakoras and samosas sat next to giant bowls of mint chutney and tamarind. The food was selling for a flat fee of $5 for any two menu items on a plate. Starving, I bought a double for $10 and took a seat in the arena to chow down while listening to the musicians playing bhajans on the stage.
Mariner Arena can hold 11,000 people. It is home to Baltimore's soccer team, but more often it hosts shows like Disney on Ice, Motocross, or Ringling Brothers' Circus. Inside, three levels of stadium-style seating, in a U shape, look down on the large, sporting-event-sized floor, with a wide stage at the flat end of the U.
On the floor, about thirty or forty rows of chairs provided prime additional seating for watching the stage, and behind those rows were assembled fifty to sixty booths made of blue curtains and metal piping for vendors to sell their wares. Several hundred people filled the arena, some sitting in the stadium seats like me, plates of food balanced on their laps, while others milled about the booths or lined the seats on the floor.
I wore a dark flannel shirt and jeans and felt that I did not look terribly out of place among the men, who ranged from low-end casual to business suits, with only the very occasional kurta. The women, on the other hand, skewed toward maybe 75-percent traditional dress, which, seen from the height of the stadium seats, presented a delightfully classy and colorful sea of humanity.
After bolting my food and pitching my plate, I made my way down to the floor to see what I might see. In addition to the predictable booths for saris and jewelry and Hindu art, I saw booths for life insurance, blood pressure testing, and services for wiring money to India. Booths for kids offered the chance to fill in black-and-white lotus drawings with glue and colorful powders, as well as children's picture books about the gods and goddesses, and dolls manufactured by Mattel labeled "Barbie Goes to India."
Other booths offered vast arrays of Bollywood films and music, cosmetics, oil lamps, the services of traditional wedding decorators, and back issues of a magazine called The Indian American that has placed Barack Obama on the cover of its current issue. I thumbed the literature on the table of the Vedanta booth, reading short sections of text about how to interpret the Upanishads to reach self-realization and cosmic consciousness. The man staffing this booth never stopped talking on his cell phone while I stood there, but I took note of a banner overhead that linked the booth with someone called Swami Chinmayananda, so I made a note to follow up.
Elsewhere on the exhibition floor, I looked amongst the assorted god and goddess figures for a Lakshmi.
I have a small silver Ganesha statue that a friend gave me for Holi in the spring, and I thought I might like to place a matching goddess of wealth next to him, as America gnaws its collective nails over the economy. Alas, all of the Lakshmis were painted in garish colors that I didn't like, though I did see some attractive Buddhas fashioned in silver (which was a surprise to me).
The cultural program began around 2:30, with each of the temples allowed about fifteen minutes of stage time for a performance. Each temple took its turn presenting choreographed dances, often dedicated to a god or goddess (Ganesha, Shiva, Lord Nataraja the God of Dance), with some described without a god-reference ("a Gujarati folk dance," "beats from the State of Punjab"), and one described as "a hymn to God, the Divine Life that is our best friend in every way."
After about three temples' presentations, I noticed that either by design or by happenstance, the performances did not seem to involve men, boys, or older women. Only girls and young women were taking the stage to sing and dance, and I reflected that if I were a young Hindu boy I might likely feel jealous. The highly stylized choreography looked fun to perform, and the fanciful costumes looked fun to wear. Most of the pre-recorded music was loud, fast, inspiring, and exhilarating -- with a heavy beat that wouldn't have been out of place in a nightclub.
Later, during the time I slipped out to purchase a dish of masala chai ice cream, a boy-performer did take the stage. He was the drummer for a female dance troupe, and when I returned with my sweet treat, he stood at the microphone praying. The boy called God our creator and our sustainer, but did not mention any names like Brahma or Vishnu. And when he called on God to give us prosperity in the new year, he did not mention either Lakshmi or Ganesha, with his connection to auspicious beginnings. He asked God to guide us all down the noble path.
After a few more dances, a man in a suit took to the stage to announce the start of Lakshmi Puja.
While he spoke, several others -- men in suits, one man in a saffron-colored kurta, a woman in a rose-and-white sari -- began to transform the stage. They brought out two large images, about the size of college dorm-room posters, framed in gold, and leaned them against a long table covered in a gold cloth that was already sitting to the rear of the stage. The image on the left showed Lakshmi, two arms raised, two arms outstretched, standing on a lotus flower with a white elephant emerging from a river behind her. The image on the right showed a pink and white Ganesha.
Between these images, the men and woman placed a huge pile of bananas, and then they rolled out a red cloth on the floor before the images. At the corners of the red cloth, they rolled out two more red cloths, forming an inward-slanting rectangle with its arms open toward the audience.
The man at the microphone asked for all of the board members of the Association of Hindu and Jain Temples to come to the stage, along with two children from each temple. The adults who came forward knelt on the first red cloth, facing the images. The children knelt on the two other cloths, facing the audience. While the man at the microphone spoke about Lakshmi and Diwali and the New Year and thanked various people, the other men and the woman provided the kneeling worshipers with various objects -- cups of water, and red plates covered with I knew not what.
When the man at the microphone was finished, a different unseen man began reciting prayers in Hindi. His words triggered actions among the worshipers on the stage. They touched or moved things on their plates, or raised their hands above their heads.
Occasionally, the praying man would give a partial instruction in English ("now the rice and flowers," "now the mango leaves," “run the rice through your fingers"). He paused to give voice to drawn-out ohms occasionally, and every now and then, from somewhere, a bell would ring. This went on for nearly forty minutes.
Whether Hebrew or Arabic or Hindi, Latin or Greek or German, there is possibly no other boredom in this world like the boredom of listening to never-ending prayers in a language you don't understand.
I know this is my fault for not knowing another spoken language, and I know I'm totally in the wrong for thinking this, but as much as I wanted to enjoy and learn from the worship of Lakshmi, I found it irritating. “Enough, already,” I thought, as the prayers grew repetitive and monotonous, “I'm sure Lakshmi gets it.”
I selfishly wanted the program to return to the dances ("Entertain me!"), and to top it off, my phone kept vibrating with my Baltimore friend apparently trying to contact me about our evening plans. I felt like a jerk for not answering my friend's call as I outwardly respected the ceremony taking place on the stage, and like a bigger jerk for inwardly barely respecting the ceremony at all.
When a bell started ringing non-stop, I hoped fervently that it might signal the end of the ceremony.
It did. The adults rose and warmed their hands over oil lamps situated on the table behind the two images. The man in the saffron kurta began tossing flower petals over everyone, and then the children rose to warm their hands as well. The stage began to clear, as the man in saffron moved the oil lamps to the edge of the stage. Men and women from the audience drew near to the lamps, placing their hands above the flames, then touching their faces, running their fingers through their hair, and bowing with a namaste.
I should have at least offered Mariner Arena my own namaste before rushing outside to call my friend back, but I did not.
Four years ago, a deaf friend of mine who is married to a deaf Indian man (neither of them identifies as Hindu) invited me to a combination Diwali/Ramadan celebration hosted by the Greater Washington Asian Deaf Association.
This was before I was truly competent in ASL (I had a hard time following the details of the skit depicting Krishna's slaying of Narakasura), and also before I understood how the Muslim calendar works. I didn’t get up to speed on the Muslim calendar until last year. I had failed to attend a combination Yom Kippur/Ramadan break-the-fast to which I had been invited, and I thought to myself, "I should have gone, but hopefully I will find a combination celebration next year."
Nope.
While both the Muslim and Jewish calendars follow a lunar cycle, the Jewish calendar adds a leap month every four years or so, to keep roughly aligned with the Gregorian calendar. The Muslim calendar does not do this, and loses therefore about 11 days per year, sliding backward along the Gregorian calendar, spiraling its holidays throughout all of the seasons. Though Yom Kippur and Ramadan overlapped last year, this year is a Jewish leap year, so the holidays separated. They will not again overlap until 2038, when I will be 64 years old.
When I attended the Diwali/Ramadan four years ago, the new moon that meant Diwali had arrived was the same new moon that signaled the end of Ramadan, but since the Hindu calendar also follows a leap-month strategy, the two holidays won't be linked again for another 27 years. In 2035, Diwali’s new moon will fall on Halloween, and will trigger the beginning of Ramadan the next day, on Samhain/All Saint's Day.
This year, Diwali’s new moon happens this coming Tuesday, October 28. We'll be entering into the Hindu month of Karttika, the Muslim month of Dhu al-Q'idah, and the Jewish month of Chechvan. Also, Diwali and the new moon mark the Hindu new year, so... Happy New Year... again.
When I started looking for a Diwali celebration this year, I discovered that the Hindu (and some Jain) temples in my area were all cooperating together on a collective Diwali Mela, to be held on the Saturday before Diwali (yesterday) at Mariner Arena in Baltimore. The event was scheduled from noon to 10PM, so I decided to attend in the afternoon, and then use my Diwali trip as an excuse to visit a Baltimore friend in the evening.
I caught a combination of Metro, bus, and light-rail to Baltimore on a very windy and slightly drizzly late Saturday morning and arrived at Mariner Arena around 1:30.
I paid my $5 for a ticket at the downstairs box office and followed my nose upstairs to where I could tell lunch awaited. Lining the corridors where vendors normally sell nachos and hot dogs and beer sat tables overflowing with vats of biryani and chana masala and dal. Platters mounded high with pakoras and samosas sat next to giant bowls of mint chutney and tamarind. The food was selling for a flat fee of $5 for any two menu items on a plate. Starving, I bought a double for $10 and took a seat in the arena to chow down while listening to the musicians playing bhajans on the stage.
Mariner Arena can hold 11,000 people. It is home to Baltimore's soccer team, but more often it hosts shows like Disney on Ice, Motocross, or Ringling Brothers' Circus. Inside, three levels of stadium-style seating, in a U shape, look down on the large, sporting-event-sized floor, with a wide stage at the flat end of the U.
On the floor, about thirty or forty rows of chairs provided prime additional seating for watching the stage, and behind those rows were assembled fifty to sixty booths made of blue curtains and metal piping for vendors to sell their wares. Several hundred people filled the arena, some sitting in the stadium seats like me, plates of food balanced on their laps, while others milled about the booths or lined the seats on the floor.
I wore a dark flannel shirt and jeans and felt that I did not look terribly out of place among the men, who ranged from low-end casual to business suits, with only the very occasional kurta. The women, on the other hand, skewed toward maybe 75-percent traditional dress, which, seen from the height of the stadium seats, presented a delightfully classy and colorful sea of humanity.
After bolting my food and pitching my plate, I made my way down to the floor to see what I might see. In addition to the predictable booths for saris and jewelry and Hindu art, I saw booths for life insurance, blood pressure testing, and services for wiring money to India. Booths for kids offered the chance to fill in black-and-white lotus drawings with glue and colorful powders, as well as children's picture books about the gods and goddesses, and dolls manufactured by Mattel labeled "Barbie Goes to India."
Other booths offered vast arrays of Bollywood films and music, cosmetics, oil lamps, the services of traditional wedding decorators, and back issues of a magazine called The Indian American that has placed Barack Obama on the cover of its current issue. I thumbed the literature on the table of the Vedanta booth, reading short sections of text about how to interpret the Upanishads to reach self-realization and cosmic consciousness. The man staffing this booth never stopped talking on his cell phone while I stood there, but I took note of a banner overhead that linked the booth with someone called Swami Chinmayananda, so I made a note to follow up.
Elsewhere on the exhibition floor, I looked amongst the assorted god and goddess figures for a Lakshmi.
I have a small silver Ganesha statue that a friend gave me for Holi in the spring, and I thought I might like to place a matching goddess of wealth next to him, as America gnaws its collective nails over the economy. Alas, all of the Lakshmis were painted in garish colors that I didn't like, though I did see some attractive Buddhas fashioned in silver (which was a surprise to me).
The cultural program began around 2:30, with each of the temples allowed about fifteen minutes of stage time for a performance. Each temple took its turn presenting choreographed dances, often dedicated to a god or goddess (Ganesha, Shiva, Lord Nataraja the God of Dance), with some described without a god-reference ("a Gujarati folk dance," "beats from the State of Punjab"), and one described as "a hymn to God, the Divine Life that is our best friend in every way."
After about three temples' presentations, I noticed that either by design or by happenstance, the performances did not seem to involve men, boys, or older women. Only girls and young women were taking the stage to sing and dance, and I reflected that if I were a young Hindu boy I might likely feel jealous. The highly stylized choreography looked fun to perform, and the fanciful costumes looked fun to wear. Most of the pre-recorded music was loud, fast, inspiring, and exhilarating -- with a heavy beat that wouldn't have been out of place in a nightclub.
Later, during the time I slipped out to purchase a dish of masala chai ice cream, a boy-performer did take the stage. He was the drummer for a female dance troupe, and when I returned with my sweet treat, he stood at the microphone praying. The boy called God our creator and our sustainer, but did not mention any names like Brahma or Vishnu. And when he called on God to give us prosperity in the new year, he did not mention either Lakshmi or Ganesha, with his connection to auspicious beginnings. He asked God to guide us all down the noble path.
After a few more dances, a man in a suit took to the stage to announce the start of Lakshmi Puja.
While he spoke, several others -- men in suits, one man in a saffron-colored kurta, a woman in a rose-and-white sari -- began to transform the stage. They brought out two large images, about the size of college dorm-room posters, framed in gold, and leaned them against a long table covered in a gold cloth that was already sitting to the rear of the stage. The image on the left showed Lakshmi, two arms raised, two arms outstretched, standing on a lotus flower with a white elephant emerging from a river behind her. The image on the right showed a pink and white Ganesha.
Between these images, the men and woman placed a huge pile of bananas, and then they rolled out a red cloth on the floor before the images. At the corners of the red cloth, they rolled out two more red cloths, forming an inward-slanting rectangle with its arms open toward the audience.
The man at the microphone asked for all of the board members of the Association of Hindu and Jain Temples to come to the stage, along with two children from each temple. The adults who came forward knelt on the first red cloth, facing the images. The children knelt on the two other cloths, facing the audience. While the man at the microphone spoke about Lakshmi and Diwali and the New Year and thanked various people, the other men and the woman provided the kneeling worshipers with various objects -- cups of water, and red plates covered with I knew not what.
When the man at the microphone was finished, a different unseen man began reciting prayers in Hindi. His words triggered actions among the worshipers on the stage. They touched or moved things on their plates, or raised their hands above their heads.
Occasionally, the praying man would give a partial instruction in English ("now the rice and flowers," "now the mango leaves," “run the rice through your fingers"). He paused to give voice to drawn-out ohms occasionally, and every now and then, from somewhere, a bell would ring. This went on for nearly forty minutes.
Whether Hebrew or Arabic or Hindi, Latin or Greek or German, there is possibly no other boredom in this world like the boredom of listening to never-ending prayers in a language you don't understand.
I know this is my fault for not knowing another spoken language, and I know I'm totally in the wrong for thinking this, but as much as I wanted to enjoy and learn from the worship of Lakshmi, I found it irritating. “Enough, already,” I thought, as the prayers grew repetitive and monotonous, “I'm sure Lakshmi gets it.”
I selfishly wanted the program to return to the dances ("Entertain me!"), and to top it off, my phone kept vibrating with my Baltimore friend apparently trying to contact me about our evening plans. I felt like a jerk for not answering my friend's call as I outwardly respected the ceremony taking place on the stage, and like a bigger jerk for inwardly barely respecting the ceremony at all.
When a bell started ringing non-stop, I hoped fervently that it might signal the end of the ceremony.
It did. The adults rose and warmed their hands over oil lamps situated on the table behind the two images. The man in the saffron kurta began tossing flower petals over everyone, and then the children rose to warm their hands as well. The stage began to clear, as the man in saffron moved the oil lamps to the edge of the stage. Men and women from the audience drew near to the lamps, placing their hands above the flames, then touching their faces, running their fingers through their hair, and bowing with a namaste.
I should have at least offered Mariner Arena my own namaste before rushing outside to call my friend back, but I did not.
Monday, October 6, 2008
Navaratri (Thank you, India.)
Navaratri, a nine-day Hindu celebration of various manifestations of the Divine Mother, began last Tuesday, triggered by the same new moon that ended Ramadan and began the Jewish New Year. There's no way I can deny that I felt my heart leap when I first discovered that this holiday is meant to honor the goddesses.
I grew up with a Father God. This Father God has a Son, who lived and walked upon the Earth inside a male body. I have even met Christians who will insist that the Holy Ghost is male, meaning that the entire Trinity can be considered -- apparently -- as just a big all-male three-way, with the unmistakable understanding that THERE IS NOTHING FEMALE ABOUT THE CHRISTIAN GOD. Period.
So, after a month of focus on the Father God of Islam... and his male prophet... and the male-dominated worship spaces at the mosques, the sense of relief and balance that Navaratri might bring felt exciting to me.
Navaratri spends nine days and nights honoring the sacred embodiment of creative and feminine energy -- Shakti.
The holiday is divided into three parts, with three nights apiece devoted to a different goddess, each of whom represents a different facet of Shakti’s divine feminine power. The three first days and nights go to Durga, a fierce warrior goddess, consort of Shiva, and the mother of Ganesha. She rides a tiger and slays demons. The second three go to Lakshmi, consort of Vishnu, and giver of physical wealth. She is also closely associated with the upcoming holiday of Diwali. The final three nights belong to Saraswati, consort of Brahma, supreme goddess of wisdom and the arts. She is often depicted as a river, or as connected to rivers or water.
When I set about finding a Navaratri celebration in my area, I quickly learned that all of the Hindu temples are in the suburbs. I found two temples from which to choose, as well as one Hindu organization planning Navaratri celebrations for various school and university auditoriums in Maryland and Virginia. I was leaning toward a Saturday night celebration at a university, when I discovered an afternoon concert planned for 1PM at the Sri Siva Vishnu Temple in suburban Maryland.
The flyer I found announced that Vijayalakshmy Subramaniam would be providing vocals, with Avaneeswaram Vinu on violin and Shertalai Ananthakrishnanan on mridangam, a type of South Indian drum.
Perfect, I thought. If gay men know how to do anything worshipful, it's how to revere female vocalists as the incarnation of goddesses. So, I will go listen to Vijayalakshmy Subramaniam sing. It will be a good excuse for me to show up at the Hindu temple for the first time, and it will connect to the theme of the holiday. Perhaps I will consider attendance at the concert to be my worship of Saraswati, and her connection to music and the arts.
Instead of biking, I chose to rent a Zipcar for the 17-mile trip.
The Sri Siva Vishnu Temple is located on a winding two-lane road accessed from a much larger suburban artery lined with strip malls, fast food, and gas stations. It is tucked away on this largely residential street behind some trees, much less obvious from the road than the houses behind their flat lawns. A sign in the full parking lot directed overflow traffic to park at the nearby Greek Orthodox church.
I did this, and then walked back to the temple on the shoulder of the road.
The temple is all white, with red doors. The basement of the temple isn't visible at the first approach, but can be accessed via a descent to the parking lot behind the building. From the front, a pedestrian can walk directly on top of this basement, onto a wide walkway with stone railings that encircles the main floor. On top of this, five tall, white, tapered peaks, inlaid with figures and carvings, set the building apart as a special kind of gathering place.
As I walked up to the walkway by the temple, I saw a sign that stated: "NO smoking, NO alcohol, and NO non-veg on premises. This includes parking lot."
The main entrance to the temple was in the rear, up a set of tall stairs from the parking lot, with the already elevated walkway around the temple leading directly to the main door. Outdoor cubbies clearly meant for shoes lined the walkway, so I shed my shoes and socks before going inside, though I missed the foot-washing station just inside the door.
The lobby just inside the front vestibule spanned the width of the temple. To the right, the walls were lined with shrines. In front of me, archways opened into the primary worship space. To the left was a small store with books and DVDs and incense, and next to the racks of retail goods stood a man behind a counter with a money box. I asked if I should buy concert tickets through him, and he directed me down a staircase to the basement.
The smell of curry grew stronger as I descended, and downstairs I found a tableau not that different from the basement of the church I grew up in. A lower-level lobby sat beneath the upstairs lobby, with doors opening into classrooms, restrooms, and a fellowship area connected via a serving window to a kitchen. Here, families sat together eating lunch from styrofoam plates.
Next to the fellowship area, doors opened into an auditorium filled with plastic blue chairs facing a stage draped with rust- and saffron-colored cloths. A chest-high goddess statue with four arms and a raised leg stood to the side of the stage.
It was here that I paid my $15 for the concert and took a seat.
When the musicians entered, they took their places on a low platform at the center of the stage set with three microphones. Vijayalakshmy Subramaniam sat cross-legged at the central microphone and faced the audience. She wore an orange and green sari, a large, bright red bindi, and a gold necklace, with her hair pulled into a loose knot behind her neck. Her male accompanists, both in kurtas, one grey, and one rust-colored, sat on either side of her and faced each other.
Without comment to the audience, Vijayalakshmy Subramaniam then proceeded to sing ragas for three hours without a break. She acknowledged applause with a namaste, but otherwise did not appear to respond to the crowd. Often, I found myself with my eyes closed, transported by the music to a place where blanking out my mind was easy. Sometimes, the more upbeat songs made me want to dance, though I noticed the audience remained mostly motionless, and I noticed that Vijayalakshmy Subramaniam herself limited her movements to keeping the beat with one hand slapping against her thigh. Less often, but frequently enough to notice it, I grew bored, with the unfamiliar words to the songs blending together and starting to sound "all the same" to my ignorant ears. At the two-and-a-half hour mark, I had to step out to phone the car company to extend my reservation.
At 4PM, a barefoot, bald man in a blue shirt and grey slacks took to the stage to announce that the concert must end, because some women needed to prepare the basement auditorium for another use later in the evening.
The man heaped praise upon Vijayalakshmy Subramaniam, three times calling her voice "melifluous." He was right. She was beautiful and entrancing. (If we have art, why do we need religion?)
"I hope you noticed how our musician today chose her ragas based on our season of Navaratri," the man said, though his thick accent and frequent use of long proper names made his speech difficult for me to follow. "Especially, I noticed her focus on Lakshmi, since today is one of her days."
The man took a few moments to praise the three goddesses of Navaratri for their gifts, and reminded us all that the primary Trinity of Hinduism -- Brahma, Shiva, and Vishnu -- are nothing without their female consorts. He focused especially on the relationship between Vishnu and Lakshmi, since it was Lakshmi's day, and gave an example pulled from contemporary headlines.
"Just look at what's happening in our country now, with the economy melting down to nothing," the man said. "But what can the Protector do… what can Vishnu do to protect us without money? And where do we turn when the problem is with money? To Lakshmi."
Then a male priest in traditional dress with a grey topknot of hair and a red bindi entered the stage with a giant silver platter of fruits. The man in the blue shirt explained that the priest would now offer a traditional blessing to the musicians to thank them for their appearance today.
The priest offered his blessing, while each of the musicians touched a finger to a substance apparently pooled on the platter and rubbed the finger along their skin, around their necks and behind their ears. Then, each member of the musical Trinity selected a fruit, and took a bite.
The audience was leaving, so I went upstairs to check out the main worship space, before the reservation on my car ran out.
I grew up with a Father God. This Father God has a Son, who lived and walked upon the Earth inside a male body. I have even met Christians who will insist that the Holy Ghost is male, meaning that the entire Trinity can be considered -- apparently -- as just a big all-male three-way, with the unmistakable understanding that THERE IS NOTHING FEMALE ABOUT THE CHRISTIAN GOD. Period.
So, after a month of focus on the Father God of Islam... and his male prophet... and the male-dominated worship spaces at the mosques, the sense of relief and balance that Navaratri might bring felt exciting to me.
Navaratri spends nine days and nights honoring the sacred embodiment of creative and feminine energy -- Shakti.
The holiday is divided into three parts, with three nights apiece devoted to a different goddess, each of whom represents a different facet of Shakti’s divine feminine power. The three first days and nights go to Durga, a fierce warrior goddess, consort of Shiva, and the mother of Ganesha. She rides a tiger and slays demons. The second three go to Lakshmi, consort of Vishnu, and giver of physical wealth. She is also closely associated with the upcoming holiday of Diwali. The final three nights belong to Saraswati, consort of Brahma, supreme goddess of wisdom and the arts. She is often depicted as a river, or as connected to rivers or water.
When I set about finding a Navaratri celebration in my area, I quickly learned that all of the Hindu temples are in the suburbs. I found two temples from which to choose, as well as one Hindu organization planning Navaratri celebrations for various school and university auditoriums in Maryland and Virginia. I was leaning toward a Saturday night celebration at a university, when I discovered an afternoon concert planned for 1PM at the Sri Siva Vishnu Temple in suburban Maryland.
The flyer I found announced that Vijayalakshmy Subramaniam would be providing vocals, with Avaneeswaram Vinu on violin and Shertalai Ananthakrishnanan on mridangam, a type of South Indian drum.
Perfect, I thought. If gay men know how to do anything worshipful, it's how to revere female vocalists as the incarnation of goddesses. So, I will go listen to Vijayalakshmy Subramaniam sing. It will be a good excuse for me to show up at the Hindu temple for the first time, and it will connect to the theme of the holiday. Perhaps I will consider attendance at the concert to be my worship of Saraswati, and her connection to music and the arts.
Instead of biking, I chose to rent a Zipcar for the 17-mile trip.
The Sri Siva Vishnu Temple is located on a winding two-lane road accessed from a much larger suburban artery lined with strip malls, fast food, and gas stations. It is tucked away on this largely residential street behind some trees, much less obvious from the road than the houses behind their flat lawns. A sign in the full parking lot directed overflow traffic to park at the nearby Greek Orthodox church.
I did this, and then walked back to the temple on the shoulder of the road.
The temple is all white, with red doors. The basement of the temple isn't visible at the first approach, but can be accessed via a descent to the parking lot behind the building. From the front, a pedestrian can walk directly on top of this basement, onto a wide walkway with stone railings that encircles the main floor. On top of this, five tall, white, tapered peaks, inlaid with figures and carvings, set the building apart as a special kind of gathering place.
As I walked up to the walkway by the temple, I saw a sign that stated: "NO smoking, NO alcohol, and NO non-veg on premises. This includes parking lot."
The main entrance to the temple was in the rear, up a set of tall stairs from the parking lot, with the already elevated walkway around the temple leading directly to the main door. Outdoor cubbies clearly meant for shoes lined the walkway, so I shed my shoes and socks before going inside, though I missed the foot-washing station just inside the door.
The lobby just inside the front vestibule spanned the width of the temple. To the right, the walls were lined with shrines. In front of me, archways opened into the primary worship space. To the left was a small store with books and DVDs and incense, and next to the racks of retail goods stood a man behind a counter with a money box. I asked if I should buy concert tickets through him, and he directed me down a staircase to the basement.
The smell of curry grew stronger as I descended, and downstairs I found a tableau not that different from the basement of the church I grew up in. A lower-level lobby sat beneath the upstairs lobby, with doors opening into classrooms, restrooms, and a fellowship area connected via a serving window to a kitchen. Here, families sat together eating lunch from styrofoam plates.
Next to the fellowship area, doors opened into an auditorium filled with plastic blue chairs facing a stage draped with rust- and saffron-colored cloths. A chest-high goddess statue with four arms and a raised leg stood to the side of the stage.
It was here that I paid my $15 for the concert and took a seat.
When the musicians entered, they took their places on a low platform at the center of the stage set with three microphones. Vijayalakshmy Subramaniam sat cross-legged at the central microphone and faced the audience. She wore an orange and green sari, a large, bright red bindi, and a gold necklace, with her hair pulled into a loose knot behind her neck. Her male accompanists, both in kurtas, one grey, and one rust-colored, sat on either side of her and faced each other.
Without comment to the audience, Vijayalakshmy Subramaniam then proceeded to sing ragas for three hours without a break. She acknowledged applause with a namaste, but otherwise did not appear to respond to the crowd. Often, I found myself with my eyes closed, transported by the music to a place where blanking out my mind was easy. Sometimes, the more upbeat songs made me want to dance, though I noticed the audience remained mostly motionless, and I noticed that Vijayalakshmy Subramaniam herself limited her movements to keeping the beat with one hand slapping against her thigh. Less often, but frequently enough to notice it, I grew bored, with the unfamiliar words to the songs blending together and starting to sound "all the same" to my ignorant ears. At the two-and-a-half hour mark, I had to step out to phone the car company to extend my reservation.
At 4PM, a barefoot, bald man in a blue shirt and grey slacks took to the stage to announce that the concert must end, because some women needed to prepare the basement auditorium for another use later in the evening.
The man heaped praise upon Vijayalakshmy Subramaniam, three times calling her voice "melifluous." He was right. She was beautiful and entrancing. (If we have art, why do we need religion?)
"I hope you noticed how our musician today chose her ragas based on our season of Navaratri," the man said, though his thick accent and frequent use of long proper names made his speech difficult for me to follow. "Especially, I noticed her focus on Lakshmi, since today is one of her days."
The man took a few moments to praise the three goddesses of Navaratri for their gifts, and reminded us all that the primary Trinity of Hinduism -- Brahma, Shiva, and Vishnu -- are nothing without their female consorts. He focused especially on the relationship between Vishnu and Lakshmi, since it was Lakshmi's day, and gave an example pulled from contemporary headlines.
"Just look at what's happening in our country now, with the economy melting down to nothing," the man said. "But what can the Protector do… what can Vishnu do to protect us without money? And where do we turn when the problem is with money? To Lakshmi."
Then a male priest in traditional dress with a grey topknot of hair and a red bindi entered the stage with a giant silver platter of fruits. The man in the blue shirt explained that the priest would now offer a traditional blessing to the musicians to thank them for their appearance today.
The priest offered his blessing, while each of the musicians touched a finger to a substance apparently pooled on the platter and rubbed the finger along their skin, around their necks and behind their ears. Then, each member of the musical Trinity selected a fruit, and took a bite.
The audience was leaving, so I went upstairs to check out the main worship space, before the reservation on my car ran out.
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