#The candle and the crossroads pdf pdf#

How might you show your love, through service, to one or more of these people? Reflection Who would you want to be at the table with you at your last supper? Take a moment to thank God for those people. All glory be to him who lives and reigns with you and the Holy Spirit, one God, now and forever. Keep before our eyes the image of your Son, who, being God, became a servant for our sake. Strengthen our hands and our wills for love and for service. The world will know we are his disciples if we love one another. Lord God, help us learn from his example Help us to do as he has done for us. He was their teacher and their Lord, Yet he washed their feet. You sent your Son into the world, and before his hour had come, He knelt down on the floor, and He washed his disciplesвЂ™ feet. We suggest that you light a candle for this time of reading and prayer as an aide to focus and to set this time as an intentional time with God.

#The candle and the crossroads pdf pdf#

Here you belonged, all.CLICK HERE to download and/or print the PDF version Prayers from Holy Thursday to Resurrection SundayДЄs we journey from the вЂњLast SupperвЂќ, to the Cross, and finally to the empty tomb of Resurrection Sunday, we want to align our hearts with God and remember the importance of this weekend.

It was as if there was not a people but people, not like when one arrives in a village. There were no strangers, that was an incredible feeling, to walk down the street, everything was possible. That's what I loved before September 11, that's what I loved about New York. But what is very hard is to remain inbetween, as we say 'the ass between two chairs.' But the in-between, obviously, if one has the means can also be very beneficial in one's life. But in time, I began to discover how beneficial it was for me. In the beginning it was painful because we were always strangers. We remained immigrants even when we returned home to Morocco, and in France we were still immigrants, so we were inbetween. But what was striking and sad in France is that we had immigrated to a different country, a different culture, a different language where we didn't have the possibility of emigrating. It happened with a departure point in Morocco and continued on in France. Were you already living in Paris or was this still in Morocco? TE: Here again, you touch on an intimate question and I don't really want to say. OE: Could you place for me precisely during which period this interaction between you and your mother took place and where. And later, years later, in my way, technically in my way of developing photographs, of putting black around the image, putting light just where it is needed and not somewhere else, all this I owe to my mother. And I remember when I was a child and I was looking at the black sky at night where there were only stars, which at the time I mistook for human beings, I was scared, I was really scared that something would happen to us. I had a project, an aesthetic that I didn't even know but that I would discover in time through my work with my mother. And I found that aesthetically the illumination that came from the candle has taught me a lot.

At night, when she was weaving, I held a candle for her while she worked. There was no electricity and no roof in the open-air studio where she worked. My mother made tapestries so I grew up with color, in her studio. I'm sorry, it's very difficult to speak so quickly of my intimate life. So your mother was instrumental in turning you to photography ? But did that have to do with the fact that your mother was interested in photography as such and saw photography as a medium through which you can make your living and create a new identity that will then lead you outside of the milieu, the context, of the ghetto? TE: No, my mother's sole obsession was for me not to become a criminal. OE: This sounds rather dramatic and I suppose not necessarily unusual for many young Arab immigrants in France who find themselves at the crossroads of their destiny in a tough, hostile environment. If you will, my mother put a camera in my hands not long before her death because she was afraid I would become a drug user or a thief, or something along that line. OE: How is your personal life connected to your photography ? TE: You see, I grew up in Courneuve, outside of Paris, which you know of, and we did not have many choices there: either you were a criminal or an athlete. And that is what brought me to photography. It's difficult, because they are both connected. What led you to become a photographer or, if you will, what made you start working in photography? Touhami Ennadre: I cannot speak about photography without speaking about my personal life. Okwui Enwezor: I thought we should start our conversation by going back to your early beginning, to your starting point in photography. In lieu of an abstract, here is a brief excerpt of the content: