Imagine, if you will, Glaucon . . .

March 29, 2010

Last night Lynn and I returned from visiting two of the Jesuit missions in the Chiquita region near Santa Cruz: San Javier and Concepcion.¹ They represent different stages of mission work by members of the Catholic Church and also the dedication of the Bolivian people in preserving them.  Popularized outside of South America by the 1986 film The Mission², the mission towns (called reductions, in that they gathered in people for protection) were organized by18th century Jesuits who tried to reestablish social stability for indigenous peoples living in the areas now known as Bolivia and Paraguay. Fragmentation of traditional tribal society for people in this region began with invading Spanish conquistadors and some accompanying clergy in the 16th century.  The reductions were a safe haven for indigenous people against the continual need for slaves to work in the growing farming and mining efforts to accumulate wealth through forced extraction. In the reductions they could produce wares for sale and practice their own way of life.  They were also exposed to Christianity and to the baroque tradition of music and art from Europe. The Jesuit missions represented a later effort to bring Christianity to the indigenous people but by blending Catholic ritual with the tribal traditions and beliefs of the peoples surrounding each mission site. Their success at this may be gauged by the growth of their own influence and by the animosity this generated among landowners in the region.  In 1767, nine years before the thirteen American colonies declared independence from Britain, the Jesuits were ejected from Bolivia, and the mission towns became the property of the remaining residents.

The mission churches in the Chiquita region survived.  They were cared for by the local inhabitants, and members of the Franciscan order became responsible for the services conducted there.  After almost two centuries, as paint faded and wood rotted, the mission churches that survived were in need of repair and renovation.  This came under the direction of Swiss architect and theologian Hans Roth who completed most of the major renovations before his death in 1999.

The churches themselves would be striking to anyone who loves color, contrast, detail and symbolism, but this was made all the more remarkable by their location--in a region filled with natural beauty but no great manmade structures other than hotels for travelers like us, or the dam at the lake by Concepcion.  The improbability of their location heightened their impact on our senses as we entered.  These are not museums but living churches, and our best experience of this, I think, was in Concepcion when we accompanied the townspeople on their Palm Sunday procession from the edge of the cemetery to the plaza and into the church.  It was a hot day in a hot, humid climate, and the procession was packed with people carrying garlands woven with palm fronds. I thought I must be offending some by walking along the edges of the column, stopping to take photos as I went--a gringo gawker--but I wanted to share pictures with everyone who couldn't be there with me.

By the time we reached the arch of palm fronds before the great doors of the church entrance, I was sweating. In an arc over the great doors were painted the Spanish words for "The house of God and gate of heaven" (Gen. 28:17). I felt like I was one of the congregation and that I too could take a seat in the packed sanctuary, if I could find an empty one. There were none, and so we stood by an open window in the back.  This proved lucky for us as the temperature rose and we had a breeze on our backs. Throughout the service we heard hymns sung by a youth chorus accompanied by violin and guitar. For the benediction I decided that I had to get a closer shot of the celebrant, Bishop Antonio Bonifacio.  Of course, I expected this to be one more offense as I seemed to flip-flop from worshipper to photographer. However, as I stood beside one of the massive columns, one hand resting in the deeply carved folds, and the other poking my camera lens through the fronds of a palm leaf, I felt a tap on my shoulder.  The woman standing beside me at the end of the pew smiled and stepped out, offering me her place so I could take the shot.

We were reminded again that Jesus was going to see it through to the end, inviting us to do the same. Following the recessional, we spilled out into the plaza and the thick red dust of the streets.  The sun was bright and hot. One child after another offered to sell me woven crafts. I didn't mind.  It felt good to be there, occasionally understanding a few remarks, sharing the joy of the people.

Cooled by the breeze passing over my own sweat, I remembered how I had felt a few years back when our family, Lynn, Emer, Norbert, and I, were at the ruins of Dryburgh Abbey in Scotland, a Norbertine monastery closed and confiscated by Henry VIII. It was beautiful and serene, but I was sad that the community had been destroyed. And now so far away in time and space I was seeing how a similar disenfranchisement had escaped destruction. I thought of Paul's remarks on faith in Hebrews 11-13.

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¹Our guide, Mercedes, explaned to us that chiquitano is one of those "lumping together"words that occurs when one group of people tags another group as all being a certain way, in this case as being shorter than the invading group, apparently based on the diminutive doorways they constructed in their traditional dwellings, and that feature in reality being more to protect themselves.
²Written by Thomas Bolt, this is a beautiful film for cinematography, acting, narrative, and considerations of moral dilemma. Bolt is also the author of the award-winnng play and 1966 film A Man for All Seasons, one that Lynn and I used to teach during discussions of film and writing. It felt good to draw physically closer to one of Bolt's subjects again (just as when we visited the grave of Saint Thomas More in Canterbury) if only for a day or so.
³Jeffrey Klaiber, S.J., identifies utopianism as a factor in the early drive toward mission in Latin America, and cites Vasco de Quiroga as having been directly influenced by Thomas More's fictional work Utopia, written in 1516, when he tried to organize two ideal communities in the area now known as Mexico. Fr. Klaiber is author of The Jesuits in Latin America and other works on the role of the Church in the economic and political history of the Latin America.