Take and eat

 Mat 26:26  While they were eating, Jesus took bread, and when he had given thanks, he broke it and gave it to his disciples, saying, "Take and eat; this is my body." 

Mat 26:27  Then he took a cup, and when he had given thanks, he gave it to them, saying, "Drink from it, all of you. 

Mat 26:28  This is my blood of the covenant, which is poured out for many for the forgiveness of sins. 

Mat 26:29  I tell you, I will not drink from this fruit of the vine from now on until that day when I drink it new with you in my Father's kingdom." 

Yesterday I spent a good amount of time reading the Westminster Confession of Faith, and then the Solid Declaration of the Formula of Concord, Article 7 on the Holy Supper, and then several commentaries on Matthew 26:26-29, trying to figure out what is being offered to us in the Lord's Supper.

What does Jesus mean when he says "this is my body"?

A significant clue is in a footnote by RT France: "Since Jesus' Aramaic words would probably have had no expressed verb, any theological deductions drawn from the Greek wording must, in any case, be treated with care." (The Gospel of Matthew (NICNT), p.992, n.24)

Other languages also have verbless copula clauses -- my Russian-speaking students often say, "My name, Tetiana", and I have to keep correcting them and telling them to use "is". 

This also reminds me of the Rvwang word ná, which is what you say when you are giving food to a kid: "Ná!" -- here, this is yours; here, this is for you; here, take it!

Maybe what he was saying in Aramaic was, "Take and eat, this [breaks it and gives it to each person], my body". Note that "my body" also means "myself" in Aramaic.

Also, Ulrich Luz comments that the word for "this" in Greek that Matthew used is neuter gender, so it does not agree with the masculine word for bread. Thus, the "this" refers "not to the bread but to the entire process of breaking the bread, taking, and eating." (Matthew 21-28 (Hermeneia), p.378) Luz calls it more than a parable, but rather a "symbolic prophetic action", repeated by the church, in which the members themselves participate by eating and drinking.

Luz argues that it is likely that when Jesus distributed the bread and the cup, he also ate and drank with them. He offered them to drink from his own cup, one cup for many. "And just this points to the reality that Jesus' sacrificial death, his violent death for many, benefits the entire fellowship that participates in this symbolic action."

It's not so important to focus on the bread in the hand and the wine in the cup as it is to focus on the action of breaking and giving and taking and eating, pouring and giving and taking and drinking, from the oneness of the loaf and cup.

One more image: Craig Keener, in The IVP Bible Background Commentary, mentions that the standard Jewish interpretation spoken over the Passover bread was "This is the bread of affliction our ancestors ate when they came from Egypt." And since that literal bread that their ancestors ate was long gone, hundreds of years ago, this was an annual reenactment, placing themselves into the story. Jesus added the fulfillment to the story, by saying "Take and eat, this [breaks, gives], my body."

Ná!

Aspects of audience engagement at a Rawang music performance

I wanted to share a video clip from the Rawang USA conference I attended in Ft. Worth, Texas in July 2026, recorded by a friend who happened to also be attending. The conference was composed of people from the Rawang ethnic group in Burma who have resettled in the US, many of them after years of living in Malaysia as refugees. 

This was toward the end of the last day of the conference, and a prominent Rawang pastor named Nvnghø Rvmseng sang a song about leaving home in the mountains of Burma long ago, describes how he cries alone here in a foreign country, and how one day soon he will return to his mountain homeland. It was just him singing live, backed by recorded instrumentation, karaoke style. 

There were no lyrics on the screen, but the screen showed first a panning of the crowd, and then scenes of the Rawang homeland viewed from the air, and later the conference title (Rora Himal, lit. together footprints). 

He uses a few techniques and situational cues to get the audience involved: 

1. The song evoked a situation (being an immigrant and missing home) that all the adults in the room had personally experienced. And since this group had also been interacting at the conference for an evening and two days, they shared an emotional solidarity.

2. The song had been launched on YouTube two years previous, in 2024, with a different singer, and with Burmese subtitles for accessibility for those who didn't understand Rawang well. NH Sønrvm was one of the actors in the music video, as was Saray Mary, who can be seen in the audience at the conference. This must have primed the audience, at least for those who had seen the music video before.

3. Early in the song, he walked up and down the first row, and then came back up on stage.

4. He repeated the song a number of times, and he often called out the first phrase of the chorus as a telegraph signal to the audience to join in.

5. During a musical interlude, he invited them to wave their arms and phone lights to the rhythm.

6. At times, he let his voice fade out or backed away from the mic and let the audience carry the melody.

7. At the end, he said in Rawang, "No matter where we are, we are all Rawang people", and pronounced God's blessing over all of them.

The way he centered the audience as participants produced a powerful shared moment. 

I thought of writing up this experience, both because I was moved by the experience (as you can see from my arms cheerily windmilling in the back of the room at a couple places in the video), and because I want to encourage worship leaders to think more about how to involve the congregation more as co-participants in the singing, through explicit cues and instructions, rather than simply expecting the congregation to follow a music team performing at the front.

Here are the lyrics, with my attempted translation into English.

MVRØT SHØNGNI SHAQ

Longing melody/tune sound/voice

The sound of a song of longing

V:1 Mònggàng dvjà angpvnpvn rvt vdè chø̀m kèní búng vdu yàngì 

World situation various.kinds because one's.own house from leave should/happen -PAST.years-3intrans

Because of various kinds of world situations (problems), it was necessary to set out from (my) own home

vrúm màshá we wv́ngzà móng kaq sv̀ng  Chø̀mtaq làngrángà 

Far unknown NMLZ foreign country TO TO house-at/on leave(?)-1SG(?)-TOWARD-1SG-PAST(?)SG

I left home to come to this far unknown foreign country

vpè nvng vmè ngà vnvmrì gø pàmvràcè èvl nøng máé, nøntnie lé

my-father and my-mother my my-sibling-PL also well-DIM N1-exist -2PL Q-EXCL miss-1PL-NPAST EXCL

Father and Mother and my siblings also, are you guys OK? I/we miss you! 

V:2 Wv́ngzà móng kaq tukyv̀ngà gø tvraq wvt lwe ngà móng kaq svng tiqnicè gø vná malúnò 

Foreign country TO arrive.1SG-PAST.years-PAST.1SG also rhododendron flower be-NMLZ.but my country TO TO one-day-DIM also forget NEG-deagentivizer-be.able.to-3OBJ

I arrived in this foreign country years ago, but the rhododendron flower is (back at home), and not even one little day can I forget my country

wv́ngzà laqyarì dvhø̀ taq ngà v́l mvnàm 

foreign custom-PL among at I live be.comfortable

I'm not comfortable living among foreign ways

ngàò rvzì móngcè é nøntne lé

I-POSS mountain country-DIM EXCL miss-NPAST EXCL

My dear/little mountain country! I miss you! 

CHO: Wv́ngza móngtaq ngà wawa nèci vyǿngò angnirì mvme luq bǿi/yó rvzì móng sv̀ng tiqni taq nø màyàngó jø̀ngjǿng ngà ngamwa tukrang lé

CHORUS: foreign country-on I alone-alone eye-tear flow-1SG-NMLZ(?) 3POSS/the-day-PL many/very be.many-PFV EXCL.

Mountain country OBJ/TOWARD one-day LOC.ON TOPIC NEG-INDIR?-see-3OBJ really/truly 1SG suddenly arrive.1SG-DIR.toward.center-1SG EXCL

In the foreign country, there have been many days when I have cried alone! 

One day, suddenly, I will arrive back at the mountain country. 

Pre CHO: Wv́ngza rvgaq ngà vl vdòng we ígø ngà rvpcèrì shøtshúcè vl lúnshì 

ngàò mvsø̀n nvrø̀m vdongtaq vtvngshaq dvbònge....

foreign land 1SG live/exist inside NMLZ be-also 1SG.poss family-child-PL parent-DIM/child live get-R/M 1SG-POSS soul heart inside-LOC.on most be.happy-1SG-NPST

Even though it's a foreign land where I live, my family’s children and parents can be there, my soul and heart are exceedingly happy...