Shlama !
So @Margert_Annregular did ask for me to share more info on my Mother Church, the Syro Malabar Church…So I decided to do an overview of the Syro Malabar Qurbana.
The Syro Malabar church belongs to the East Syriac Rite. Our Qurbana is the most similar to the Qurbana of the Assyrian Church of the East (although there are many notable differences and we have added a lot more prayers.)
So let’s start!
Puqdankon (As the Lord Commanded on the Feast of Passover)
Puqdankon is an introductory hymn the priest sings in the Bema (lower altar) facing the people and commemorates Passover. This hymn is only found in the Syro Malabar Church and is obsolete in the other East Syriac churches.
Thesbohtha Lalaaha (Glory to God)
The Priest than chants “Glory to God in the Highest” 3 times, in which the congregation responds by saying “Amen.” This Hymn represents the Nativity of Jesus.
Awun d’washmayya (Our Father who art in Heaven)
Then, Priest, along with the congregation, sing the “Our Father” hymn. This hymn is comprised of 3 variations of the Our Father, and then ends with the “Opening Prayer,” which changes per Season ( The other East Syriac Churches don’t always do this but in the Syro Malabar church, the Opening Prayer always changes per Liturgical Season.)
Kissing of the Sleeva
Then, the congregation kisses the Mar Thoma Sleeva (Mar Thoma Cross.) This practice is uniquely Indian and his only done in a Raza Qurbana (Most Solemn Qurbana. This Qurbana usually celebrated on special occasions.)
The Psalm
The priests and the Congregation then recite the Psalms, with the 2 alternating verses. In the Syro Malabar church, Psalm 144 is mostly used, although there are exceptions.
Laku Mara (Lord of All)
This hymn is one of the most important parts of the Qurbana. Before the hymn, the priest prays the "Preparation of The Hymn of Resurrection.) In the Syro Malabar church, the Madbha veil is opened now and the server/deacon incenses the altar. In the other East Syriac Churches, the Priest and altar servers approach the Madbha. In ACoE, the priest still faces the Madbha while in the Chaldean Catholic Church the priest faces the people. In the Syro Malabar, the priest remains in the Bema and faces the people (although many churches now celebrate the whole Qurbana facing the East.) The hymn is a representation of the time when Prophet Isiah had a vision of God in his Throne. As important as the hymn seems, this hymn, along with Psalms, was added much later by the Catholicoses of the East and were originally found in the Ramsha (Night) and Sapra (Morning) prayers.
(Qandisha Alaha) Trisagion
The Deacon first introduces the Trisagion by singing, “Brothers and Sisters, Lift your voices and glorify the Living God.” Then the Congregation, along with the priest, sing the Trisagion. The phrase “He who was crucified for us” is not added which is unlike the West Syriacs who do. The Trisagion (at least in America) is almost always sung in Syriac.
7.Old Testament (Law) Reading
Suraya (Hymn of Praise)
Sung in Solemn Qurbana’s (so basically in Sunday Qurbana’s.) The Suraya is a hymn of Praise commemorating the feast of the Saint on that day.
2nd Old Testament (Prophet) Reading
The 2nd Old Testament Reading is only done during Raza Qurbana’s.
O Desdamman (Turgamma for Epistle)
Another song that is only sung in Raza Qurbana’s and also is uniquely Indian, this Turgamma (song) interprets the Epistle.
Epistle Reading
Hallelujah and Procession to the Madbha
The Choir sings the Hallelujah (which contains Psalm 45:2) And the Celebrant walks up to the Madbha.
Oh damahaimaneen (Turgama for the Evangelion)
This song is also uniquely Indian and sung only during Raza Qurbana’s. This song interprets the Evangelion (Gospel) and is sung when the Celebrant reaches the Madbha.
Ksawa Ramba (The great Book)
This song is sung 3 times and is about the 4 evangelists and their mission. This song is also uniquely Indian and is only sung in Raza Qurbana’s.
Procession to the Bema and the Reading of the Evangelion.
The Priest takes the holy Evangelion and processes down to the Bema. He is representing Christ the teacher, preaching to God’s chosen people
Homily
(traditionally, the Homily took place before the communion as it is in the ACoE but due to Latinisation it occurs now)
Part 2 coming soon (and pardon my horrrrrible grammar)
Karozuza
The veil is now closed, and Servers/Deacons start a saying a series of intercessory prayers. The Karozuza changes per season. Then, the veil is opened.
Imposition of Hands
Ninnude Vadhikar
The Priests take the cloth that covers the Sacred Mysteries (Soseppa) and goes to the Middle of the Church and places it on the floor. The Priest then prostrates around the Soseppa and invokes the Holy Spirit. This only happens in Raza Qurbanas and is uniquely Indian.
Offertory
The priest takes the Sacred Mysteries (which are currently in the Beth Gaza, which is placed on the right and left side of the Madbha) and processes up to the Madbha. The procession represents Jesus’s way to the cross and when the Celebrant arrives at the Madbha, he crosses his hands and offers the Sacred Mysteries to God. This represents the Crucifixion. Then, the priest covers the Sacred Mysteries with the Soseppa. While this is happening, the Choir sings Pagre Damshiha (The anthem of the Mysteries.)
Shuwha lava (Hymn of Remembrance)
This hymn is “controversial” because while the hymn remembers St Thomas, The Virgin Mary, and those who have departed, the original hymn calls the Virgin Mary the mother of Christ. In the current text, it has been corrected to the Mother of God while the Syriac texts have not been corrected.
Nicene Creed
(The Filiqoue is not said, but it is in America because of Latin influence.)
Entrance into the Madbha
The Celebrant bows 3 times and enters the Madbha. From here on, the Celebrant celebrates the Qurbana facing the East.
Anaphora
The Syro Malabar church uses 3 anaphoras which are the Anaphora of Mar Addai and Mari, the Anaphora of Mar Nestorius, and the Anaphora of Mar Theodore. The Anaphora of Mar Addai and Mari is the one most commonly used. In the Syro Malabar church, the Anaphoras are said aloud. I’ll focus on the Anaphora of Mar Addai and Mari.
First G’hantha
This G’hantha reminds us that we are unworthy to receive the Sacred Mysteries.
Exchange of Peace
It starts with the Exchange of Peace and ends with the priest wrapping the Soseppa around the Sacred Mysteries, symbolizing the burial of Jesus.
Second G’hantha
In this G’hantha we thank God for creating the world and all the creatures dwelling in it.
2nd Karozuza
A short Karozuza only done in Raza Qurbana’s
Hymn of Greeting
A Hymn that reminds us that our minds should be up high. Before this, the priest incenses the Madbha.
Hosana
The Hosana was originally never part of the Anaphora of Mar Addai and Mari but added by the Patriarchs.
Third G’hantha
is about Christ’s Passion and Death.
Word’s of Institution
The Words of Institution were never present in the Anaphora of Mar Addai and Mari but were added later.
The rest of the Third G’hantha is treated as an Anamnesis.
Prayers of Intercession
The Priest extends his arms and prays for the Church.
Fourth G’hantha
This G’hantha is a remembrance of the Virgin Mary and the Saints.
Epiclesis
The Anaphora ends with the Epiclesis or invocation of the Holy Spirit. This was probably added later to ensure that the Anaphora does not become too “vague.”
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