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Hosanna (/hoʊˈzænə/) is an Aramaic liturgical word in Judaism and Christianity. In Judaism it is a cry expressing an appeal for God’s help.[1] In Christianity it is a cry of praise.

Etymology

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The word hosanna (Latin osanna, Greek ὡσαννά, hōsanná) is from Hebrew הוֹשִׁיעָה־נָּא, הוֹשִׁיעָה נָּא hôšîʿâ-nā, and especially the short form הוֹשַׁע נָּא hôšâ-nā, and related to Aramaic ܐܘܿܫܲܥܢܵܐ (ʾōshaʿnā) meaning 'save, rescue, savior'.[2]

Greek ὡσαννά (hōsanná) transliterates Hebrew הוֹשִׁיעָה־נָּא (hôšîʿā-nnāʾ) “save, we pray” (Psalm 118:25); originally a plea for help that later became a liturgical acclamation."Hosanna". Encyclopaedia Britannica.

In the Hebrew Bible it is used only in verses such as "help" or "save, I pray" (Psalms 118:25). However, in the Gospels it is used as a shout of jubilation,[3] and this has given rise to complex discussions.[4] In that context, the word Hosanna seems to be a "special kind of respect" given to the one who saves, saved, will save, or is saving now. If so Hosanna means "a special honor to the one who saves". The literal interpretation "Save, now!",[5] based on Psalm 118:25, does not fully explain the occurrence of the word.[3]

Liturgical use in different traditions

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Judaism

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In Jewish liturgy, the word is applied specifically to the Hoshana Service, a cycle of prayers from which a selection is sung each morning during Sukkot, the Feast of Booths or Tabernacles. The complete cycle is sung on the seventh day of the festival, which is called Hoshana Rabbah (הושענא רבה, "Great Hoshana").[5]: 726  In Judaism it is always used in its original Hebrew form, הושע נא Hosha na or הושענא Hoshana.

Christianity

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Crowds cry "Hosanna" during Jesus' entry into Jerusalem

Historical meaning

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Since Jesus and those welcoming him upon his entry into Jerusalem, some would interpret the cry of "Hosanna" in its proper meaning as a cry by the people for salvation and rescue.[citation needed]

Christian reinterpretation

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"Hosanna" many interpret as a shout of praise or adoration made in recognition of the messiahship of Jesus on his entry into Jerusalem.[3]

It is applied in numerous verses of the New Testament, including "Hosanna! blessed is the one who comes in the name of the Lᴏʀᴅ!" (Matthew 21:9,15; Mark 11:9–10; John 12:13), which forms part of the Sanctus prayer; "hosanna in the highest" (Mark 11.10); and "hosanna to the Son of David" (Matt 21:9). These quotations, however, are of words in the Jewish Psalm 118. Although not used in the book of Luke, the testimony of Jesus's entry into Jerusalem is recorded in Luke 19.

In church music

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The "Hosanna Anthem",[6] based on the phrase Hosanna, is a traditional Moravian Church anthem written by Bishop Christian Gregor of Herrnhut sung on Palm Sunday and the first Sunday of Advent. It is antiphonal, i.e. a call-and-response song; traditionally, it is sung between the children and adult congregation, though it is not unheard of for it to be done in other ways, such as between choir and congregation, or played between trombone choirs.

Many songs for church use bear the title "Hosanna", including songs written by New Zealand singer Brooke Fraser Ligertwood (released on the 2007 Hillsong United albums All of the Above and live on Saviour King and covered by the Canadian group Starfield on their album I Will Go); another song by Paul Baloche on his 2006 album A Greater Song; another by gospel artist Kirk Franklin, and another by Andrew Peterson on his 2008 album Resurrection Letters II. Sidney Mohede's "Hosanna (Be Lifted High)" was included on Israel Houghton's 2011 Grammy Award-winning album Love God, Love People. "Hosanna! Loud Hosanna" is a well-known hymn by Jeanette Threlfall.

Osanahan ritual

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In predominantly Catholic Philippines, particularly in Tagalog-speaking provinces, the term Osanahan refers to a procession of the faithful with the priest from a prayer station (sometimes termed kuból or Galilea) after the blessing of the palms to the local church for the remainder of the Palm Sunday liturgy. At each stop, children dressed as angels greet the priest or image of the Humenta (Christ mounted on a donkey), then sing the antiphon Hosanna filio David in Filipino or Latin, accompanied by traditional music from a rondalla or brass band.[7]

Other examples of modern usage

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The Latin phrase

Gloria, Hosanna in excelsis!
[Glory! Hosanna in the highest!]

features in the refrain of the 1924 Christmas carol "Ding Dong Merrily on High".

Architect Frank Lloyd Wright famously used the word in his exclamation "Hosanna! A client!" after securing a commission, breaking a long, dry spell.[8]

In the 1969 Broadway musical 1776 the word is used repeatedly as part of the chorus of the song "Cool, Cool, Considerate Men".

"Hosanna" is the name of one of the songs in the 1971 rock opera Jesus Christ Superstar. The song covers the entry of Jesus into Jerusalem on Palm Sunday. The message that Jesus conveys in this sequence is "There is not one of you that cannot win the kingdom, / The slow, the suffering, the quick, the dead."[9] The crowd's Hosannas become progressively tinged with foreboding ("Hey JC, JC, won't you smile for me/fight for me/die for me").[9] Their adoration is seen as a dangerous civil disturbance by the high priest Caiaphas, witnessing the event with members of the Sanhedrin and the Pharisees. ("Tell the rabble to be quiet/We anticipate a riot/This common crowd is much too loud.").[9] There is also a reprise of the chorus when Jesus is sent to King Herod.

A. R. Rahman composed the song "Hosanna" for the 2010 Tamil movie Vinnaithaandi Varuvaayaa. Here the word is used as an exclamation of joy when a man sees his beloved. The Catholic Secular Forum (CSF) objected to this song and asked film-makers Fox Star Studios to remove it from the final cut of the Hindi remake of the film, Ekk Deewana Tha.[10]

Paul McCartney's album New, released in 2013, features a song titled "Hosanna". Contextually, he uses the phrase as a cry for help in light of the world's current state of affairs.

American comedians Tim & Eric use the phrase "blessed Hosanna" freely in their piece "Morning Prayer with Skott and Behr".[11]

The Swedish Black Metal band Funeral Mist song "Hosanna" uses the cry with the opposite intent of its Christian origins, as the band typically does with biblical references.

David Gilmour references Hosanna in the song "A Single Spark" in his album, Luck and Strange, singing "Who will keep things rolling, who to sing Hosannas to".[12]

See also

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References

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Sources

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  • Yohannan Aharoni & Michael Avi-Yonah, The MacMillan Bible Atlas, Revised Edition, pp. 157–165 (1968 & 1977 by Carta Ltd).
  •  This article incorporates text from a publication now in the public domain: Aherne, Cornelius (1910). "Hosanna". In Herbermann, Charles (ed.). Catholic Encyclopedia. Vol. 7. New York: Robert Appleton Company.
[edit]
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Hosanna

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Hosanna is a transliterated Hebrew and exclamatory phrase, originally meaning "save us, we beseech thee" or "save, ," serving as a desperate for divine rather than mere . Rooted in the verb yasha ("to save" or "deliver") combined with the particle na ("please" or "beseech"), it first appears in the as hôšîʿâ-nāʾ in :25, part of the psalms recited during Jewish festivals like and . In this context, the phrase invokes God's intervention for salvation, reflecting themes of national and personal redemption central to ancient Israelite . In the , hosanna gains prominence during ' triumphal entry into Jerusalem, where crowds shout it alongside messianic titles like "Son of " and quotations from :26, as recorded in Matthew 21:9 ("Hosanna to the Son of David! Blessed is he who comes in the name of the Lord! Hosanna in the highest!"), Mark 11:9–10, and John 12:13. This usage, occurring on what Christians observe as , marks the crowd's acclamation of as the anticipated who would bring , though it underscores the irony of their expectations being fulfilled through his shortly thereafter. The term's repetition by children in the temple (Matthew 21:15) further highlights its role in affirming ' divine authority amid opposition from religious leaders. Over time, hosanna evolved in from a cry for into an expression of joyful and , integral to liturgies, hymns, and worship services worldwide. In Jewish practice, related forms like "Hoshanah Rabbah" persist during the festival, maintaining its original supplicatory sense as a and for the Messiah's arrival and . This dual heritage underscores hosanna's enduring significance as a bridge between plea and celebration in both and .

Etymology and Origins

Linguistic Roots

The term "Hosanna" derives from the Hebrew phrase hôšîʿâ-nā (הוֹשִׁיעָה־נָּא), which translates to "save now" or "please save," formed by combining the Hiphil imperative of the verb yāšaʿ (יָשַׁע), meaning "to deliver" or "to save," with the particle nā (נָא), an enclitic of entreaty emphasizing urgency or supplication. A shorter variant, hôšâ-nā (הוֹשַׁע־נָּא), appears in ancient texts and conveys a similar plea for immediate salvation. This construction reflects the imperative mood typical of liturgical exclamations in ancient Hebrew, underscoring a direct appeal to divine intervention. In ancient Hebrew usage, hôšîʿâ-nā first appears in Psalm 118:25 as a liturgical cry, chanted during the festival of Sukkot (Feast of Tabernacles), where participants would circle the altar while invoking salvation and prosperity. This ritualistic employment highlights its role as a communal entreaty in temple worship, evolving from a simple prayer into a recurring formula in Jewish liturgical traditions. The word's transmission beyond Hebrew involved Aramaic and Greek influences, with the Aramaic form ʾōšʿanā (אושענא) serving as an intermediary, meaning "save us" and reflecting phonetic adaptations in everyday spoken dialects of the ancient Near East. In the , the Greek translation of the , Psalm 118:25 is rendered as σῶσον δή (sōson dē), meaning "save now." The employs the transliterated form ὡσαννά (hōsanná), preserving the Hebrew pronunciation while adapting to Greek phonology to evoke the original cry in a Hellenistic context. Phonetic variations of "Hosanna" across ancient Near Eastern languages primarily stem from Semitic roots, with Hebrew hôšîʿâ-nā featuring aspirated 'h' and long vowels, Aramaic ʾōšʿanā softening the initial consonant and emphasizing the 'sh' sound, and Greek hōsanná introducing a smoother 'ō' diphthong and final 'a' for euphony. These shifts illustrate how the term adapted to linguistic environments while retaining its core exclamatory function, without significant alterations in non-Semitic tongues of the region.

Biblical References

The term "Hosanna" originates from the Hebrew phrase hôšîʿâ nāʾ (הוֹשִׁיעָה נָּא), meaning "save, please" or "save now," and appears explicitly in the only in :25–26, which states: "Save us, we pray, O LORD! O LORD, we pray, give us success! Blessed is he who comes in the name of the LORD!" This passage forms part of the psalms (Psalms 113–118), a collection traditionally recited during Jewish festivals such as and , where it served as a liturgical plea for divine deliverance and blessing. Beyond this singular occurrence in the Psalms, "Hosanna" does not appear as a direct quote elsewhere in the , though its themes of salvation and acclamation are implied in broader festival rituals invoking God's protection. In the , "Hosanna" is prominently featured in the accounts of ' triumphal entry into Jerusalem, an event commemorated as , where crowds acclaimed him as the using language drawn from Psalm 118. According to Matthew 21:9, the multitudes cried out, "Hosanna to the Son of ! Blessed is he who comes in the name of the ! Hosanna in the highest!" :9–10 similarly records: "Hosanna! Blessed is he who comes in the name of the ! Blessed is the coming kingdom of our father ! Hosanna in the highest!" John 12:13 describes the scene with palm branches in hand, as the people shouted, "Hosanna! Blessed is he who comes in the name of the , even the King of !" These usages transform the original plea for into a messianic , directly echoing the psalm's wording to signify as the anticipated deliverer. Luke's parallel account in 19:38 omits the exact term "Hosanna" but conveys a similar acclamation of messianic kingship: "Blessed is the King who comes in the name of the Lord! Peace in heaven and glory in the highest!" This variation highlights the shared emphasis on divine blessing and heavenly praise across the Gospel narratives, underscoring the event's role in fulfilling prophetic expectations from the Hebrew Scriptures.

Religious Meanings and Interpretations

In Judaism

In Judaism, "Hosanna" (Hebrew: hoshia na, meaning "save now" or "please save") appears as part of the Hallel psalms (Psalms 113–118), which are recited during the Passover Seder and on Sukkot to express gratitude for divine redemption. Specifically, in Psalm 118:25, the phrase "Ana Adonai hoshia na" serves as a communal plea for salvation, evoking the themes of deliverance from Egyptian bondage in the Exodus narrative. During the Passover Seder, Hallel is divided into two portions: the first recited during the Maggid section to recount the Exodus story, and the second after the Grace After Meals, reinforcing the festival's focus on liberation and praise. On Sukkot, the full Hallel is chanted daily in synagogue services, culminating in the Hoshanot prayers that incorporate this verse as a supplication for rain and prosperity, linking back to ancient water-drawing ceremonies. The term is prominently featured in synagogue liturgy during Sukkot processions known as Hoshanot, where congregants circle the Torah ark while holding the lulav (palm branch) and etrog (citron), along with myrtle and willow branches—the Four Species commanded in Leviticus 23:40. Each of the first seven days of Sukkot includes a unique Hoshanot liturgy, with the phrase repeated rhythmically as a call for divine intervention, and on Hoshana Rabbah (the seventh day), the procession circles seven times while beating willow branches against the ground to symbolize atonement and renewal. These rituals, performed after the morning Hallel, emphasize physical and spiritual encircling of sacred space, adapting Temple-era practices to post-destruction synagogue settings. Theologically, "Hosanna" underscores a of communal for God's deliverance from peril, rooted in as a of redemption rather than any messianic expectation. It represents dependence on for physical and spiritual , such as from or sustenance through the harvest cycle, without attributing the plea to a specific human figure. This emphasis fosters a sense of unity and in Jewish , portraying as an ongoing divine gift tied to covenantal faithfulness. The use of "Hosanna" maintains historical continuity from the Second Temple period, where it was shouted during festive processions around the altar with branches during ( 3:9, 4:5), through rabbinic adaptations after 70 CE to modern observances in both Orthodox and communities. In Orthodox synagogues, full ritual processions with the persist, while services often retain the recitation and Hoshanot themes in abbreviated forms, preserving the plea for across diverse Jewish expressions.

In Christianity

In , "Hosanna" undergoes a significant reinterpretation from its original Hebrew as a general plea for to a specific acclamation hailing as the during his , as recorded in the Gospels of Matthew, Mark, and John. In these accounts, the crowds shout "Hosanna to the Son of David" while waving palm branches, fulfilling Zechariah 9:9 and :25-26, and proclaiming ' royal and salvific identity amid expectations of deliverance. This shift transforms the term from a communal in Jewish to a christological declaration, emphasizing ' role as the promised king who brings ultimate redemption through his passion, death, and resurrection. The term is deeply integrated into liturgies across Christian traditions, symbolizing the faithful's recognition of Christ as king and their plea for his saving grace. In the Roman Catholic rite, "Hosanna in the highest" forms part of the during and is proclaimed in processions with blessed palms, evoking the scene of ' entry. Protestant denominations, such as Lutheran and Anglican, incorporate it similarly in services to highlight Christ's kingship, while Eastern Orthodox liturgies feature it in the Feast of Palms, underscoring communal adoration and the triumph over sin. This liturgical use reinforces the theological theme of achieved through Christ's obedience, uniting believers in annual reenactment of the event. Early Church Fathers provided patristic interpretations that linked "Hosanna" to Christ's redemptive mission. , in his commentary on Matthew, associated the cry with the dispensation of Christ's humanity, viewing it as an acknowledgment of his incarnate in salvation during the entry. Augustine, in his homilies on of John, described "Hosanna" as a voice of expressing deep emotion rather than a literal phrase, tying it to the crowd's instinctive recognition of ' divine authority and the joy of impending redemption. further interpreted it as signifying "light, glory, and ," elevating it to a doxological expression of Christ's illuminating grace. These views underscore the term's evolution into a multifaceted of , , and fulfillment in Christ. Doctrinally, the interpretation of "Hosanna" evolved in response to historical contexts, reflecting caution in the imperial Roman era to emphasize its spiritual rather than political dimensions and avoid implications of sedition against earthly powers. The acclamation's messianic title "Son of David" carried risks of being misconstrued as a call for political revolt, prompting early theologians to stress Christ's non-temporal kingship focused on eternal salvation. By the Reformation, figures like Martin Luther reinforced this spiritual emphasis, portraying the Palm Sunday cry as an invitation to faith in Christ's atoning work over worldly dominion, aligning with sola fide and the priesthood of all believers in Protestant theology. This progression highlights "Hosanna" as a enduring testament to Christ's transcendent reign.

Liturgical and Ceremonial Uses

Historical Practices

In , the term "Hosanna" (from the Hebrew hoshia na, meaning "save now") was chanted during festive processions around the Temple altar as part of the celebrations, particularly on the intermediate days known as Chol HaMoed and culminating on Hoshanah Rabbah, the seventh day. Worshippers, including priests carrying lulavim (palm, myrtle, and branches) and etrogs, circled the altar seven times while reciting 118:25–26 and other supplicatory verses, symbolizing pleas for divine and ; the branches were then beaten against to release their leaves. Early Christians adapted these Jewish processional elements into their observances by the fourth century, reenacting Jesus' entry into with palm frond processions starting from the and proceeding to the Anastasis (). The pilgrim Egeria documented these rituals around 381–384 CE, describing how participants, led by the bishop, carried olive and palm branches while singing antiphons from , including "Blessed is he who comes in the name of the ," alongside the full Hosanna from the Gospels, blending biblical foundations with communal . During the medieval period, "Hosanna" became integral to Holy Week liturgies across both Byzantine and Western rites, evolving into structured antiphons and hymns sung during Palm Sunday processions to evoke Christ's triumphal arrival. In the Western tradition, Gregorian chant featured the antiphon Hosanna filio David—drawn from Matthew 21:9 and 15—as a key element of the blessing of palms and the procession into the church, often accompanied by the subdeacon waving a thurible and clergy bearing crosses and banners; this practice was standardized in ordinals like the 11th-century Ordo Romanus and spread through monastic reforms. In the Byzantine rite, similar chants occurred during the Divine Liturgy and the vaiophoria (palm-bearing) procession, where "Hosanna" interlaced with troparia honoring the "King of Israel," as preserved in typika from Constantinople post-iconoclasm.

In Church Music and Hymns

The word "Hosanna" has been a central element in traditions, particularly during liturgies in the Roman Catholic rite. One prominent example is the "Pueri Hebraeorum," which describes the Hebrew children carrying branches and crying out to the , culminating in the refrain "Hosanna in excelsis." This chant is performed at the distribution of palms, emphasizing the acclamatory praise derived from biblical accounts of ' entry into . In the Baroque era, composers integrated "Hosanna" into elaborate choral settings that heightened its exclamatory character within liturgical music. Johann Sebastian Bach's Mass in B minor (BWV 232) features a double chorus "Osanna in excelsis," a majestic fugal movement repeated after the Benedictus, drawing on the text's plea for salvation to evoke triumphant adoration. This setting, composed in the 1740s, exemplifies Bach's fusion of polyphony and textual devotion, often performed in Passiontide services across Protestant and Catholic traditions. Similarly, George Frideric Handel's oratorio Messiah (1741), while not directly setting "Hosanna," exerted influence through its Part 2 "Hallelujah" chorus, whose exuberant, crowd-acclaiming style inspired later Hosanna choruses in church music by paralleling the biblical shouts of praise. Bach's cantatas, such as BWV 182 (Himmelskönig, sei willkommen) for Palm Sunday, incorporate "Hosanna" motifs in chorales that reflect the Gospel narrative of the triumphal entry, reinforcing the term's role in Lutheran worship. Hymnody in the , particularly among Protestant denominations, frequently employed "Hosanna" as a repeated to capture the immediacy of communal praise. Theodulf of Orléans's 9th-century Latin "Gloria, laus et honor," translated into English as "All Glory, Laud, and Honor" in the , opens with children offering "sweet hosannas" to the Redeemer King and concludes each stanza with "Hosanna in the highest," making it a staple for processions and services. This 's structure, with its processional rhythm and refrains, underscores "Hosanna" as an enduring cry of salvation, adapted widely in Anglican and Methodist hymnals. The 20th century saw "Hosanna" evolve in ecumenical and contemporary , blending simplicity with repetition for meditative worship. The in developed short, canon-based chants such as "Hosanna, hosanna, hosanna in excelsis," composed by Jacques Berthier in the 1970s, which encourage participatory singing in multilingual gatherings and emphasize the word's universal appeal as a for deliverance. In evangelical circles, Paul Baloche's 2006 song "Hosanna (Praise Is Rising)," co-written with Brenton Brown, incorporates the term in a modern worship ballad that builds from quiet anticipation to corporate exclamation, reflecting its integration into services worldwide. These developments maintain "Hosanna"'s liturgical roots while adapting it for broader congregational engagement.

Regional Traditions

In the , particularly in the province of , the Osanahan procession represents a syncretic Catholic rite during that merges Spanish colonial influences with indigenous folk elements. This tradition reenacts ' entry into , with participants—often children mounted on ponies or donkeys—leading processions while chanting "Hosanna sa Anak ni " (Hosanna to the Son of ), echoing the biblical acclaim. The rite extends into broader observances in , where by penitents during processions symbolizes personal and communal devotion, blending Catholic with pre-colonial expressions of and resilience. In , customs in and incorporate "Hosanna" songs within community parades, reflecting indigenous-Christian . In central , Domingo de Ramos features elaborate processions where palm fronds, woven into crosses and symbolic shapes, are carried while participants sing "Hosanna" hymns, fusing with pre-Hispanic reverence for nature and ; species like Brahea dulcis palms are selected for their spiritual significance in both traditions. Similarly, in , parades in regions like involve locals decorating palm crosses and chanting "Hosanna" during street processions, integrating African and indigenous rhythms into Catholic rituals to honor communal harmony and ancestral spirits. Eastern Orthodox traditions adapt "Hosanna" in liturgies during processions, particularly in Greek and Russian contexts. In Greek Orthodox services, the day preceding commemorates Lazarus' resurrection with processions where the faithful wave palm branches and sing "Hosanna in the highest! Blessed is He who comes in the name of the Lord," linking the miracle to Christ's triumphant entry. Russian Orthodox variations employ Slavic transliterations like "Osanna v vyshnikh" during similar rites, emphasizing themes of victory over death through choral responses and icon-bearing marches that prefigure . In , Nigerian Pentecostal services since the 1980s have incorporated rhythmic "Hosanna" calls, emblematic of the charismatic renewal movement's expressive worship. These calls-and-responses, often accompanied by drumming and dance in churches like the , transform the traditional acclamation into energetic praises that blend biblical exclamations with local oral traditions, fostering communal ecstasy and motifs.

Modern and Cultural Applications

In Contemporary Worship

In evangelical and charismatic worship, "Hosanna" is frequently invoked through spontaneous shouts and songs during megachurch services, fostering an atmosphere of exuberant praise and communal expression. A prominent example is Hillsong United's "Hosanna," written by Brooke Ligertwood in 2006 and released on the album All of the Above in 2007, which draws on biblical imagery from the Gospels to depict Jesus' triumphal entry and has become a widely sung piece in contemporary settings, often accompanied by praise bands to encourage active congregational involvement. This usage aligns with charismatic traditions emphasizing emotional and participatory responses, as seen in live performances at large gatherings like those at Bethel Church, where spontaneous choruses of "Hosanna" extend the song's structure. The shared linguistic and ritual roots of "Hosanna" (from the Hebrew hoshia-na, meaning "save now") in Jewish processions and Christian celebrations have led to its occasional inclusion in interfaith dialogues and reconciliation events. Joint observances, such as international gatherings in , bring together Jewish participants and Christian pilgrims for music, prayers, and messages that highlight common heritage, linking Sukkot's themes of ingathering and salvation to Palm Sunday's triumphal entry narrative. These events, often organized by groups like the International Christian Embassy Jerusalem, promote mutual understanding. Digital adaptations of "Hosanna" proliferated during the from 2020 to 2022, with churches streaming prayers and songs online to maintain global participation amid restrictions on in-person gatherings. For instance, United Methodist congregations in the Dakotas region held virtual services featuring "Hosanna" through phone audio calls, drive-in parades with participants displaying signs and shouting the word from vehicles, and livestreamed hymns with video overlays of waving palms. These innovations, including themed online sessions like a Barbadian bishop's livestream centered on "Hosanna" as a for from the virus, extended accessibility and reinforced communal cries for across distances. In and , "Hosanna" has been employed as a evocative cry of spiritual longing and exaltation, transcending its biblical origins to symbolize intense emotional or transcendent experiences. For instance, in Stéphane Mallarmé's 19th-century poem "The Flowers" (translated as "Les Fleurs"), the word appears in the line "Hosanna on the and in the censers," evoking a ritualistic, almost purgatorial praise amid themes of absence and ideal beauty. In film and television, "Hosanna" features prominently in dramatic depictions of biblical narratives, heightening tension and crowd dynamics for artistic impact. The 1973 film adaptation of Andrew Lloyd Webber's Jesus Christ Superstar, directed by , includes the musical number "Hosanna," where a throng chants the word during Jesus's entry into , blending operatic spectacle with rock elements to convey adulation turning to unrest. Outside traditional church settings, "Hosanna" appears in various music genres, often repurposed metaphorically to express pleas for or triumph in non-liturgical contexts. In hip-hop, tracks like Vennisay and De La Cruz's "Hosanna" (2025) invoke the term as a protective against adversity, with lyrics framing it as divine safeguarding amid personal struggles, diverging from purely religious praise. Reggae adaptations, such as Christafari's "Hosanna" from their 2012 album Reggae Worship: A Roots Revival, reimagine it in rhythmic, upbeat styles that appeal to broader audiences, though retaining echoes of . As an idiomatic expression, "Hosanna" has entered modern in certain cultural contexts, functioning as an exclamation of , celebration, or desperate appeal rather than strict religious devotion. In , phrases like "shout hosanna" are used mundanely to mean "shout for " or "celebrate exuberantly," illustrating a shift toward everyday distinct from its scriptural roots.

References

  1. https://www.gotquestions.org/hosanna.html
  2. https://learn.ligonier.org/articles/what-does-hosanna-mean-in-the-bible
  3. https://firmisrael.org/learn/hosanna-meaning-in-hebrew-what-does-this-word-mean/
  4. https://www.etymonline.com/word/hosanna
  5. https://www.abarim-publications.com/Meaning/Hosanna.html
  6. https://www.thetorah.com/article/sukkot-in-the-new-testament-from-lulav-and-hoshana-to-palm-sunday
  7. https://www.abrahamicstudyhall.org/2021/02/19/hosanna-meaning-and-origin-of-the-word/
  8. https://www.hebrew4christians.com/Holidays/Fall_Holidays/Hoshana_Rabbah/hoshana_rabbah.html
  9. https://hermeneutics.stackexchange.com/questions/293/translation-of-hosanna-%25E1%25BD%25A1%25CF%2583%25CE%25B1%25CE%25BD%25CE%25BD%25CE%25AC
  10. https://biblehub.com/sep/psalms/118.htm
  11. https://biblehub.com/greek/5614.htm
  12. https://www.preceptaustin.org/hosanna-save_now
  13. https://www.biblestudytools.com/bible-study/topical-studies/what-does-hosanna-in-the-highest-mean.html
  14. https://www.chabad.org/library/article_cdo/aid/4181720/jewish/What-Is-Hallel.htm
  15. https://www.myjewishlearning.com/article/hallel-at-the-seder/
  16. https://www.jewishencyclopedia.com/articles/7893-hosanna
  17. https://www.chabad.org/library/article_cdo/aid/2337565/jewish/All-About-Hoshanot.htm
  18. https://www.newadvent.org/cathen/07472b.htm
  19. https://www.ccel.org/ccel/schaff/npnf107.iii.lii.html
  20. https://sspx.org/en/news/hosanna-filio-david-symbolism-and-meaning-behind-palm-sundays-liturgy-5704
  21. https://www.goarch.org/palmsunday-learn
  22. https://anglicancompass.com/palm-sunday-a-rookie-anglican-guide/
  23. https://www.ccel.org/ccel/aquinas/catena1.ii.xxi.html
  24. https://www.crosswalk.com/special-coverage/easter/what-is-the-surprising-political-meaning-behind-hosanna.html
  25. https://isaacmorehouse.com/2009/08/10/palm-sunday-and-politics/
  26. https://godrules.net/library/luther/129luther_b16.htm
  27. https://www.rabbinicalassembly.org/sites/default/files/public/jewish-law/holidays/sukkot/or-hadash-hoshanot.pdf
  28. https://www.ccel.org/m/mcclure/etheria/etheria.htm
  29. https://stlukesportland.org/blog/egerias-travels-a-brief-history-and-overview-of-holy-week/
  30. https://www.catholicculture.org/culture/library/view.cfm?recnum=105
  31. https://www.newliturgicalmovement.org/2020/04/unity-and-disunity-in-rites-of-palm.html
  32. https://gregorian-chant-hymns.com/hymns-2/pueri-hebraeorum.html
  33. https://www.bachvereniging.nl/en/bwv/bwv-232
  34. https://www.nola.com/entertainment_life/music/lpo-gives-a-shout-to-bach-s-magnum-opus-hosanna/article_1fda77d3-b232-5b5e-84a9-56cc9a73a23d.html
  35. https://concordia-seminary.ca/2018/03/26/sermon-palm-sunday-the-annunciation-and-bach/
  36. https://hymnary.org/text/all_glory_laud_and_honor
  37. https://hymnary.org/tune/hosanna_hosanna_hosanna_in_berthier
  38. https://www.worshiptogether.com/songs/hosanna-praise-is-rising/
  39. https://www.yodisphere.com/2021/03/Pabasa-Pasyon-Mahal-Na-Araw.html
  40. https://www.catholicsandcultures.org/philippines-pampangas-good-friday-crucifixions-tourist-attraction
  41. https://pmc.ncbi.nlm.nih.gov/articles/PMC10239146/
  42. https://www.nextstopbrazil.com/post/what-is-semana-santa-holy-week-and-how-do-brazilians-celebrate-easter
  43. https://www.goarch.org/-/holy-week-in-the-eastern-orthodox-church
  44. https://www.oca.org/orthodoxy/the-orthodox-faith/worship/the-church-year/lazarus-saturday-and-palm-sunday
  45. https://research.gold.ac.uk/18750/1/CUL_thesis_ApataG_2016.pdf
  46. https://www.umcdiscipleship.org/resources/history-of-hymns-hosanna-ligertwood-1
  47. https://www.youtube.com/watch?v=VVPyPCAzjgE
  48. https://www.jns.org/celebrating-an-international-love-feast/
  49. https://www.dakotasumc.org/news/palm-sunday-hosannas-celebrated-in-new-ways-during-pandemic
  50. https://www.facebook.com/CBCNews.bb/videos/bishop-holds-online-palm-sunday-service/558168448411859/
  51. https://www.allmusicals.com/lyrics/jesuschristsuperstar/hosanna.htm
  52. https://genius.com/Vennisay-and-de-la-cruz-rap-hosanna-lyrics
  53. https://www.newreleasetoday.com/videodetail.php?video_id=5654
  54. https://www.cambridge.org/core/journals/english-today/article/structure-of-idioms-in-nigerian-english/DD7E44257D80CFE5D6CEEF3FDD9ADA71
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