Taize: A Brand?

The issue of Liturgy entitled “Branded Worship” was guest-edited by Nelson Cowan. Here is an excerpt from Judith Kubicki's essay offering a history of Taizé and asking whether the ritual form and especially the music is or is not a "brand." –– Melinda Quivik

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For many Christians, the mention of Taizé prayer or Taizé music may recall a favorite Taizé song or an experience of participating in a Taizé service. For others, the actual experience of having made a pilgrimage to Taizé, France may conjure up vivid memories of moving prayer events that included Taizé music as an integral element of the worship service. At the same time, others may be completely unaware that some of the music sung by their local assemblies is part of a distinct collection known as Taizé music. Since several hymnals and worship resources include Taizé music as part of a collection of hymn offerings, congregations may simply identify the music as part of their local repertoire.

This essay addresses the question of whether Taizé is a brand. To answer that question, we have to look at the history and intention of the founders and compare Taizé with earlier understandings of a brand as a mark, stamp, label, or trademark.

The story of Taizé begins with Roger Louis Schutz-Marsauche. Brother Roger was born in Provence, fifteen miles from Neuchâtel, Switzerland in 1915. He first came to Taizé during the Second World War. He was searching for a place where he could live the Gospel with others. His desire to follow such a lifestyle was inspired by his research on early Christian monasticism at the University of Lausanne. Roger hoped to retrieve some form of traditional monasticism for Protestantism. He was drawn to France because its defeat during World War II awakened in him both sympathy and a desire to assist those ravaged by the war. These impulses eventually led him to purchase a house in Taizé in 1940. There he originally housed Jews and other war refugees.

Eventually, other men, attracted to leading a life of prayer, joined Roger. In 1949 seven of them committed themselves to living a community life together. The first brothers came from various Protestant denominations. Roger’s original inspiration to embrace a monastic life of prayer developed over time and eventually became the community known as the Brothers of Taizé. A dominant feature of the spirituality of the brothers was their zeal for reconciliation. Promoting Christian unity grew out of this more general focus. In fact, their own ecumenical makeup embodied that intention and was also evident in their active engagement in ecumenical efforts, not only at Taizé but also with leaders of the various Christian churches throughout the world. From the beginning, the brothers of Taizé have embraced their vocation to be witnesses to a mutual Christian and human unity that overcomes all barriers. . .

While we do well to respect the brothers’ wishes that Christian churches do not mimic or attempt to replicate slavishly the prayer at Taizé, there is much to learn from their example. Those who wish to use Taizé music and/or observe elements of their ritual prayer do well to keep the importance of active participation and the experience of unity as the primary foci. In addition, they need to observe silence and repetition in a way that will enable the prayer of their own local congregations. . .

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The full essay including references is available now in the digital and print editions of Liturgy. All of the essays in Liturgy 38, nos. 2–3 are available by personal subscription and through many libraries.

Judith M. Kubicki is an associate professor emerita at Fordham University. Currently, she is serving as provincial minister of the Felician Sisters of North America, Our Lady of Hope Province.

Judith M. Kubicki, “Taizé: Brand or Anti-Brand?” Liturgy 38, nos. 2–3 (2023): 31–38.