Bach’s Original: Why It Still Slaps

Backstory of the St. John Passion

Let’s rewind. Bach wrote this for Good Friday in Leipzig, and—no joke—it was borderline scandalous. Churches back then expected polite hymns, but Bach gave them drama: soaring choirs, gut-punch emotions, the whole crucifixion story raw and unfiltered. The man didn’t just compose music; he weaponized it.

How People Usually Perform It (Spoiler: It’s Stiff)

For centuries? Same old recipe: somber choirs, fancy concert halls, everyone acting like they’re in a museum. Which, fine—but c’mon, Bach wasn’t writing for museum curators. He wrote for people who knew what real pain tasted like.

The Queer Version: Turning Pain Into Power

Why Queer Folks Are Claiming This Story

Look, with Uganda criminalizing just *being* gay and hate crimes spiking globally, this adaptation makes too much sense. Director Elias Garcia puts it bluntly: “Bach’s Passion is about persecution. Who understands that better than us?” And he’s right. The thing is, queer pain isn’t new—it’s just been erased.

What’s Actually Different?

Oh, just everything. Jesus is non-binary now (cue conservative pearl-clutching). The chorus? A mix of queer voices belting protest chants between Bach’s lines. And that “Crucify Him!” part? Rewritten as a slur-screaming mob. It’s uncomfortable. It’s supposed to be.

How People Are Reacting

Traditionalists? Big mad. But LGBTQ+ audiences? They’re weeping in the aisles. One reviewer nailed it: “This isn’t disrespect—it’s giving Bach back his teeth.” And honestly? That’s the point. Art shouldn’t just sit there looking pretty.

The Arabian Take: When Bach Meets Gaza’s Heartbreak

Why a Palestinian Composer Reimagined Bach

Enter Karim Aboud, who mashed Bach’s score with maqam scales and the raw ache of an oud. His reason? “Listen to the St. John Passion,” he says. “Now listen to Gaza’s streets. Same cries, same prayer for mercy.” Chills.

How the Music Changes Everything

Arabic lyrics shift the focus to exile—choirs wail like refugees, and this haunting ney flute replaces Bach’s oboe. The sound? Like wind through bombed-out buildings. Beautiful and brutal.

The Backlash (And Why It’s Missing the Point)

Some call it appropriation. Aboud fires back: “Bach’s music is human. So is our grief.” And after performances in Amman, Palestinians in the crowd said it felt like being seen. That’s the power move here—art refusing to let pain be invisible.

Why Both Adaptations Matter Right Now

Art as a Middle Finger to Oppression

Different styles, same fire. The queer version screams, “We exist!” The Arabian one whispers, “We remember.” Both ask: Who gets to decide what sacred stories sound like?

The Shared DNA

One smashes tradition open for outsiders. The other stitches traditions together like a wound. But here’s the kicker—they both prove Bach’s music isn’t some dusty relic. It’s alive. And it’s pissed.

Final Thought

Great art doesn’t just sit there—it grabs you by the collar. These adaptations? They’re Bach remixed for a world that’s still bleeding. Or as Garcia says: “Bach wrote for the voiceless. We’re just updating the guest list.” Mic drop.

Want More?

• Video: Queer choir flipping Bach’s script (trust me, watch it)
• Karim Aboud’s interview: “Music as survival”
• Latest LGBTQ+ rights report (grim but necessary)
• How to help artists in Gaza (because they’re not stopping)

Source: DW News