I already know Hakunathe ecclesiastical reality and the musical group, with its canonical nature of a private association of the faithful, for the moment, and of a civil foundation, make many people nervous, inside and outside the Church, and arouse much suspicion and jealousy. … Its importance in the lives of adolescents and young people, the strength of its expansion beyond national borders, its classical spirituality, clearly Eucharistic, expressed with postmodern languageamong other factors, have made this initiative a phenomenon worthy of study and not only by religious sociology.
It presents the face of a new generation Catholicism, without complexes, enthusiastic, alternative, not at all moralistic, which has its natural temple in the street, in plural public spaces. The images of Eucharistic adoration in the middle of youth parties or evenings on the busiest beaches are very eloquent. We will also have to give Hakuna time.
The success of Isabel Diaz Ayuso inviting Hakuna to sing, on Christmas Eve, from the balcony of the Casa de Correos was seen in the hysterical reaction of some actors in the media and social networks.
The Puerta del Sol, kilometer zero of plural Spain, seat of the indignation which translated into a movement, the 15-M, now expired, has become the space of an explicit proposal of faith, of announcement of the meaning of the holidays that we all celebrate without some knowing why. A massive event even in the surrounding streets, foreign to the classic and unimportant sacramentals of the local hierarchy.
Perhaps this is one more manifestation of the notable change in social trend with Catholicism, particularly among young people, or a way of contradicting Nietzsche who wrote that “better songs should be sung to me (to Christians) so that I learn to believe in their redeemer: the disciples of this redeemer should appear more redeemed to me! It is obvious that Frederick Nietzsche He was not with Ayuso last day, nor with Feijóo, listening, at Puerta del Sol, to Hakuna.
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