Friday, September 30, 2011

To Jesus Crucified

     Lovely tears of lovely eyes--
Why dost thou me so woe?
Sorrowful tears of sorrowful eyes--
Thou breakest my heart in two.

Thou sighest sore;
Thy sorrow is more
Than man's tongue can tell;
Thou singest of sorrow,
Mankind to borrow
Out of the pit of hell.

I proud and keen,
Thou meek and clean
Without woe or wile;
Tho art dear for me,
And I live for thee,
So blessed be thy will.

Thou mother seeth
How thou woe beest,
Therefore she yearns apart;
To her thou speakest,
Her sorrow thou slakest--
Sweet prayer won they heart.

Thy heart is rent,
Thy body is bent
Upon the rood tree;
The tempest is spent,
The devil is schent,
Christ, by the might of thee.

     Lovely tears of lovely eyes--
Why dost thou me so woe?
Sorrowful tears of sorrowful eyes--
Thou breakest my heart in two.

- Anonymous, 14th century; found in Bishop (Anglican) George Appleton's collection of prayers

I used to have a laminated copy of this prayer in my photo album. There was an illustration of a boy with a teddy bear kneeling by his bedside, while an angel looks invisibly to the side. I wonder what became of it.

Monday, September 19, 2011

Europe According to the Vatican



Just a bit of fun-- I haven't turned into a vile, hedonistic, anticlerical , vegan, bohemian atheist, I assure you, dear readers. Still, I believe a little anticlerical (can it even be called that? perhaps more satirical than anything) humor every now and then can be quite good for Catholics. I must say, I found the description for Spain quite amusing; Germany, too :D .

Thursday, September 08, 2011

Benedicta tu in mulieribus



In honor of the birthday of the Mother of God, here is a video of one of my favorite pieces of music, Franz Biebl's Ave Maria, as sung by Chanticleer.


Tota pulchra es, Maria,
et macula originalis non est in te.
Vestimentum tuum candidum quasi nix, et facies tua sicut sol.
Tota pulchra es, Maria,
et macula originalis non est in te.
Tu gloria Jerusalem, tu laetitia Israel, tu honorificentia populi nostri.
Tota pulchra es, Maria.

Wednesday, August 31, 2011

An Epiphany on Christmas, in August

Last night, whilst bored out of my wits and my head ringing with an infernal headache, I took to perusing the television, as usual, to catch something--anything-- that would help relieve my boredom. It was ten in the evening, and the storm that lashed over Manila had almost gone, a perfect foil to an otherwise very welcome four day weekend. Spongebob Squarepants was not due for another hour, the History Channel was airing some loony program about ancient aliens, and I had missed the replay of one of my guilty pleasures (don't ask; it's a show on E!).

Perhaps it's simply the monotony of modern life, but I have been feeling very anxious as of late, all the more irritating because I could not exactly pinpoint its root cause-- if there is even one at all. I have not been feeling very religious lately; going to church seems to have taken a rather unpleasant affect for me, and even my prayers seem to have lost their meaning. To top it all off, the last ten days have been excruciatingly bad-- emotionally, spiritually, mentally. It was in such a mood-- festering, as it were, in an unbearable restlessness-- that I plopped myself in front of the TV.  And as I've already mentioned, channel after channel was airing the same old tripe, and not exactly the tripe I wanted to see.

I switched to the local channels, mindlessly flipping through them. I was about to switch the television off, when suddenly my ears were pricked by the sounds and words of a familiar song. Familiar, and still so very much out of season. "We Three Kings of Orient are/Bearing gifts we traverse afar/Field and fountain, moor and mountain/Following yonder Star!" Christmas songs in August! What an absurdity. The song was even accompanied by a montage of images whose very purpose were to recall a very White (as in WASP) Christmas: people in sweaters, burning logs, snow glimpsed through windows. I would have laughed if it weren't so strange.

But was it? In my toddler years, the run-up to December was always the most exciting part of the year for me. I was always fanatical about Christmas; I would slash away the dates on my calendar with a red marker and giggle excitedly and proclaim, with a voice sonorous as it was joyful, "Only 77 days to go till Christmas!" In my mind, the roughly one hundred and twenty days from the beginning of September to the end of December were golden, untouchable, and magical, and will always be: they represented the best of what humanity could offer, and hope in its pristine joyfulness. I sat for what seemed like half an hour just listening to the song, so familiar and yet thoroughly new as well, as if I were hearing it for the first time. And suddenly, I felt as if all will be all right. This darkness, too, shall pass-- as it always does, washed away by the warmth and joy of Christmas; by the hope that comes with the newborn babe, lying in the manger; by the cool December air, the taste of oatmeal raisin cookies, and yes, pretending to be WASPs for a day (or two) and dressing up in Ralph Lauren sweaters and putting red dots on our noses. The song finally ended, and all I could think of was how beautiful it was-- and how the days were going to be a little more exciting, now that September has come knocking on threshold.

It is the 31st of August, and yes, Christmas is coming. I feel it in the air, smell it in the kitchen, hear it in the malls, and taste it in my bones. The golden days are coming, and the muck of the past and all its mistakes and sins and secret lusts would be swept away. Tomorrow is the 1st of September; just one more sleep, and it will be Christmas again.

Thursday, August 25, 2011

Cirio de Nazare


Here's a video (in Portuguese) on one of Brazil's most popular religious festivals, the Cirio de Nazare. It is held annually on the second Sunday of October in the city of Belem, in the state of Para; it is a procession in honor of Our Lady, with close to two million participants. The story goes that, some three hundred years ago, a woodsman named Placido Jose de Souza found a small image of the Blessed Virgin floating in the Murucutu creek. Being a good Catholic, he fishes it out of the water and makes an altar for it in his humble home. But every night, as he went to sleep, the statue would disappear from his home and mysteriously reappear on the site where it was found. He interpreted this as a sign that the Virgin wanted a church built in her honor, and thus de Souza began construction on a small chapel.

Over the years, countless miracles have been attributed to the Virgin of Nazareth. In gratitude to her intercession, the people of Belem honor her with a great feast and procession, lasting several hours usually. The image of the Virgin is housed in a gilded carriage, attached to which are two immense lengths of rope (the cirio), which men compete to have the honor of pulling. They go barefoot as a sign of humility. Wikipedia has a full description of the ceremonies attached to the feast.

Wednesday, August 17, 2011

Ars Gratia Artis(ts)-- Brief Thoughts on the CCP Scandal

Yes, I know the title is a really bad pun.

The talk of the town in Manila is, without doubt, the controversial 'Poleteismo' exhibit at the Cultural Center of the Philippines-- an exhibit that has gained particular notoriety, for its sacrilegious depictions of Our Lord. The artist responsible for the exhibit, one Mideo Cruz, has received no small amount of death threats and even a summons to a Senate inquiry; and just two weeks ago, some Catholics marched to the CCP and pulled down some of the more offensive pieces of 'art' and set them on fire. As I've said, the exhibit was considered extremely blasphemous: among some of the pieces are a crucifix with a giant, erect, wooden penis; an image of Our Lord with another wooden penis glued to its forehead; a statue of Christ the King with Mickey Mouse ears and cherry red lips; a crucifix draped with a used condom; and others too numerous to mention. The exhibit was closed on August 9th, but not without controversy, as many in the art community of Manila would like it restored, for the sake of "freedom of expression."

As much as I'd like to be fair and gave Mideo Cruz even a semblance of a benefit of the doubt, I really cannot. For what it's worth, the exhibit is profoundly mediocre (Mideo[cre], as his critics would say)-- Cruz says he wants to dissect religion and its gradual degradation in the context of a neoliberal economy, but fails considerably. What he gives the viewer, on the other hand, is nothing more than another tired attempt at being "shocking" and "edgy"; there is no substance in his art, in short, save for a poor attempt at finding an excuse for pissing off the Church. I have long concluded that much of modern art has really nothing to do with making something beautiful, but is really more concerned with creating a potential market for buyers. Art is now done for the sake of the artists-- the establishment of a cult personality, the perpetuation of his name, etc. These artists see themselves as twenty first century jesters-- fools who speak the truth-- but have neither the wit nor subtlety needed to do the job. If I am sounding a bit reactionary at this point, it is because this incident demonstrates the deep-rooted elitism inherent in the Philippine art scene. Cruz is not just poking mischief at the symbols of the Catholic religion, he is also ridiculing the many thousands of tortured souls who find strength, hope, and salvation in these symbols. The image of the Crucified is also the image, the archetype even, of the ordinary Filipino, languishing as he is in the muck of inexorable poverty. It is not just a matter of sacrilege, but can also be read as an attack on the very humanity of these people, who have entrusted everything to God.

At present it seems that Cruz and his followers are at the receiving end of a very strong backlash by militarized Catholics. But why should anyone be surprised? Too many artists today think that art consists in being crudely provocative, but run for cover at the first signs of criticism--or worse, public outrage. But hey, you reap what you sow. Perhaps it's a telling sign that they should focus more on creating art rather than persist in the delusion that they are modern day messiahs.

Monday, August 15, 2011

Still Busy


Black Light Dinner Party "Older Together" from dreambear on Vimeo.


... Well, probably more uninspired, down in the dumps, and pessimistic than "busy". I also have a lot of books to read/finish reading, which are more immensely stirring than the internet, or so I'd like to believe. I am just so confused about a lot of things. Here is a nice little song to start the week with, though.

Sunday, July 31, 2011

Apotheosis of Saint Ignatius

We owe a lot of the movements of the Catholic Counter Reformation to the Jesuits, who seized the challenge of winning back Protestant heretics to God with much fervor and unmatched zeal. They harnessed the power of the emotions, playing up Baroque theatricality to overwhelm the senses, in an effort to convey, if only an impression, of the stupefying grandeur of God and of His Church. In a sense, the Jesuits, it seems, were the first modern order in the Catholic Church, in that it was they who almost single-handedly changed the way religion was done (a matter which, I think, rightfully deserves a post of its own-- but sometime in the future).

Today being the Feast of Saint Ignatius of Loyola, I thought I would feature Andrea Pozzo's magnificent Apotheosis of Saint Ignatius, a fresco of gigantic proportions which dominates the nave ceiling of the Chiesa San Ignazio in Roma. Pozzo, an Italian Jesuit brother, had a prodigious talent for harnessing the sheer, unmatched power of emotion, which he employs to a tremendous decree in this fresco. Throughout his life, Pozzo would decorate many churches built by the Jesuits, including Il Gesu, the 'Mother Church' of the Society, in addition to others in Austria, as well as painting the portrait of Cosimo de Medici.

Pozzo's Apotheosis draws much of its splendor in creating the illusion of the church's ceiling 'receding' into infinity, at the center of which is Christ Himself, shown greeting Saint Ignatius.

Busy

My apologies to those who still follow this blog for the paucity of updates these past few days; I have been quite occupied with a lot of things, some more so than others. Chief amongst these concerns is my ongoing job hunt, which has taken on a snail's pace lately. I assure you that this is not chiefly my fault, as, for some unfortunate circumstance, the HR departments of the various firms to which I've applied have also exacerbated the process. Second, I am dealing with some personal issues-- nothing too serious, to be sure, mostly dealing with (it seems to me) a long delayed burnout with religious matters. Perhaps I've rebelled too late, as I've always done in the past; but I just can't focus on these things as much as before. Oh, and I am just really, really pissed off at too many things for my own good. The weather has been pretty drab in these parts ever since June came in, which might have something to do with it; but mostly, I find that I am angry at the overbearing monotony of this long wait, and the restlessness it has caused me. But as I've said-- these are not really matters to whine about.

On a totally unrelated note, here is a photo of the Holy Trinity as Three Persons depicted side by side; of obviously Latin American provenance, although this form of depicting the Godhead is not, was not, limited to that continent. It is the work of the Peruvian painter Gaspar Miguel de Berrio.

Thursday, July 21, 2011

No me mueve, O Dios . . .


Soneto a Cristo Crucificado (Sonnet to Christ Crucified)


No me mueve, mi Dios, para quererte
el cielo que me tienes prometido,
ni me mueve el infierno tan temido
para dejar por eso de ofenderte.


Tú me mueves, Señor, muéveme el verte
clavado en una cruz y escarnecido,
muéveme ver tu cuerpo tan herido,
muévenme tus afrentas y tu muerte.


Muéveme, en fin, tu amor, y en tal manera,
que aunque no hubiera cielo, yo te amara,
y aunque no hubiera infierno, te temiera.


No me tienes que dar porque te quiera,
pues aunque lo que espero no esperara,
lo mismo que te quiero te quisiera.

An English translation of this anonymous Spanish poem, by Jose Leo OS

I am not moved, my God, to love You
by the heaven that You have promised me
and I am not moved either by hell so feared
as the reason to stop offending You.

You move me, my Lord, it moves me to see You
nailed to a cross and your flesh destroyed,
what moves me is to see your body so injured,
what moves me is your suffering and your death.

What moves me, finally, is your love, and in such way,
that even if there was no heaven, I would love You,
and even if there was no hell, I would fear You.

You don't have to give me for me to love You,
so even if what I hope for I did not hope,
the same that I love You, I would love You.

Friday, July 15, 2011

The Thunder, Perfect Mind

Found this on Tumblr earlier today. From the Nag Hammadi Library, and translated by George W. McRae. A buit long, but beautiful. It goes without saying that I don't view this as canon, nor do I hold to Gnostic beliefs; but in case such is needed, there you have it!

I was sent forth from the power,
and I have come to those who reflect upon me,
and I have been found among those who seek after me.
Look upon me, you who reflect upon me,
and you hearers, hear me.
You who are waiting for me, take me to yourselves.
And do not banish me from your sight.
And do not make your voice hate me, nor your hearing.
Do not be ignorant of me anywhere or any time. Be on your guard!
Do not be ignorant of me.
For I am the first and the last.
I am the honored one and the scorned one.
I am the whore and the holy one.
I am the wife and the virgin.
I am and the daughter.
I am the members of my mother.
I am the barren one
and many are her sons.
I am she whose wedding is great,
and I have not taken a husband.
I am the midwife and she who does not bear.
I am the solace of my labor pains.
I am the bride and the bridegroom,
and it is my husband who begot me.
I am the mother of my father
and the sister of my husband
and he is my offspring.
I am the slave of him who prepared me.
I am the ruler of my offspring.
But he is the one who begot me before the time on a birthday.
And he is my offspring in (due) time,
and my power is from him.
I am the staff of his power in his youth,
and he is the rod of my old age.
And whatever he wills happens to me.
I am the silence that is incomprehensible
and the idea whose remembrance is frequent.
I am the voice whose sound is manifold
and the word whose appearance is multiple.
I am the utterance of my name.
Why, you who hate me, do you love me,
and hate those who love me?
You who deny me, confess me,
and you who confess me, deny me.
You who tell the truth about me, lie about me,
and you who have lied about me, tell the truth about me.
You who know me, be ignorant of me,
and those who have not known me, let them know me.
For I am knowledge and ignorance.
I am shame and boldness.
I am shameless; I am ashamed.
I am strength and I am fear.
I am war and peace.
Give heed to me.
I am the one who is disgraced and the great one.
Give heed to my poverty and my wealth.
Do not be arrogant to me when I am cast out upon the earth,
and you will find me in those that are to come.
And do not look upon me on the dung-heap
nor go and leave me cast out,
and you will find me in the kingdoms.
And do not look upon me when I am cast out among those who
are disgraced and in the least places,
nor laugh at me.
And do not cast me out among those who are slain in violence.
But I, I am compassionate and I am cruel.
Be on your guard!
Do not hate my obedience
and do not love my self-control.
In my weakness, do not forsake me,
and do not be afraid of my power.
For why do you despise my fear
and curse my pride?
But I am she who exists in all fears
and strength in trembling.
I am she who is weak,
and I am well in a pleasant place.
I am senseless and I am wise.
Why have you hated me in your counsels?
For I shall be silent among those who are silent,
and I shall appear and speak,
Why then have you hated me, you Greeks?
Because I am a barbarian among the barbarians?
For I am the wisdom of the Greeks
and the knowledge of the barbarians.
I am the judgement of the Greeks and of the barbarians.
I am the one whose image is great in Egypt
and the one who has no image among the barbarians.
I am the one who has been hated everywhere
and who has been loved everywhere.
I am the one whom they call Life,
and you have called Death.
I am the one whom they call Law,
and you have called Lawlessness.
I am the one whom you have pursued,
and I am the one whom you have seized.
I am the one whom you have scattered,
and you have gathered me together.
I am the one before whom you have been ashamed,
and you have been shameless to me.
I am she who does not keep festival,
and I am she whose festivals are many.
I, I am godless,
and I am the one whose God is great.
I am the one whom you have reflected upon,
and you have scorned me.
I am unlearned,
and they learn from me.
I am the one that you have despised,
and you reflect upon me.
I am the one whom you have hidden from,
and you appear to me.
But whenever you hide yourselves,
I myself will appear.
For whenever you appear,
I myself will hide from you.
Those who have [...] to it [...] senselessly [...].
Take me [... understanding] from grief.
and take me to yourselves from understanding and grief.
And take me to yourselves from places that are ugly and in ruin,
and rob from those which are good even though in ugliness.
Out of shame, take me to yourselves shamelessly;
and out of shamelessness and shame,
upbraid my members in yourselves.
And come forward to me, you who know me
and you who know my members,
and establish the great ones among the small first creatures.
Come forward to childhood,
and do not despise it because it is small and it is little.
And do not turn away greatnesses in some parts from the smallnesses,
for the smallnesses are known from the greatnesses.
Why do you curse me and honor me?
You have wounded and you have had mercy.
Do not separate me from the first ones whom you have known.
And do not cast anyone out nor turn anyone away
[...] turn you away and [... know] him not.
[...].
What is mine [...].
I know the first ones and those after them know me.
But I am the mind of [...] and the rest of [...].
I am the knowledge of my inquiry,
and the finding of those who seek after me,
and the command of those who ask of me,
and the power of the powers in my knowledge
of the angels, who have been sent at my word,
and of gods in their seasons by my counsel,
and of spirits of every man who exists with me,
and of women who dwell within me.
I am the one who is honored, and who is praised,
and who is despised scornfully.
I am peace,
and war has come because of me.
And I am an alien and a citizen.
I am the substance and the one who has no substance.
Those who are without association with me are ignorant of me,
and those who are in my substance are the ones who know me.
Those who are close to me have been ignorant of me,
and those who are far away from me are the ones who have known me.
On the day when I am close to you, you are far away from me,
and on the day when I am far away from you, I am close to you.
[I am ...] within.
[I am ...] of the natures.
I am [...] of the creation of the spirits.
[...] request of the souls.
I am control and the uncontrollable.
I am the union and the dissolution.
I am the abiding and I am the dissolution.
I am the one below,
and they come up to me.
I am the judgment and the acquittal.
I, I am sinless,
and the root of sin derives from me.
I am lust in (outward) appearance,
and interior self-control exists within me.
I am the hearing which is attainable to everyone
and the speech which cannot be grasped.
I am a mute who does not speak,
and great is my multitude of words.
Hear me in gentleness, and learn of me in roughness.
I am she who cries out,
and I am cast forth upon the face of the earth.
I prepare the bread and my mind within.
I am the knowledge of my name.
I am the one who cries out,
and I listen.
I appear and [...] walk in [...] seal of my [...].
I am [...] the defense [...].
I am the one who is called Truth
and iniquity [...].
You honor me [...] and you whisper against me.
You who are vanquished, judge them (who vanquish you)
before they give judgment against you,
because the judge and partiality exist in you.
If you are condemned by this one, who will acquit you?
Or, if you are acquitted by him, who will be able to detain you?
For what is inside of you is what is outside of you,
and the one who fashions you on the outside
is the one who shaped the inside of you.
And what you see outside of you, you see inside of you;
it is visible and it is your garment.
Hear me, you hearers
and learn of my words, you who know me.
I am the hearing that is attainable to everything;
I am the speech that cannot be grasped.
I am the name of the sound
and the sound of the name.
I am the sign of the letter
and the designation of the division.
And I [...].
(3 lines missing)
[...] light [...].
[...] hearers [...] to you
[...] the great power.
And [...] will not move the name.
[...] to the one who created me.
And I will speak his name.
Look then at his words
and all the writings which have been completed.
Give heed then, you hearers
and you also, the angels and those who have been sent,
and you spirits who have arisen from the dead.
For I am the one who alone exists,
and I have no one who will judge me.
For many are the pleasant forms which exist in numerous sins,
and incontinencies,
and disgraceful passions,
and fleeting pleasures,
which (men) embrace until they become sober
and go up to their resting place.
And they will find me there,
and they will live,
and they will not die again.

Thursday, June 30, 2011

Detail: The Deposition by Rogier van der Weyden

God bless Google Earth and the staff of Madrid's Museo del Prado, for the tremendous undertaking of photographing some of that museum's most iconic art pieces in ultra high resolution. Rogier van der Weyden's Deposition has always fascinated me, and seeing it at such a close angle really impresses upon the viewer a sense of the master's superb artistry. Wikipedia Commons has made these photos available for public consumption; but be warned, some of them are nearly 100 MB in size.

Monday, June 27, 2011

Nostalgia, or something like it...



(...but with emphasis on the "something like it" part)


A few weeks ago I found myself at Mass in a church I'd never been to. Well, not exactly--more like a church I had not been to in years, more than a decade in fact. Before the Mass started I noticed the choir was practicing some songs, mostly schmaltzy, poppish, sentimental tunes all too common in Catholic liturgies today. And lo, what should I hear, but that perennial favorite in Manila churches during the 1990s-- Don Moen's Give Thanks! I have to confess, most of the churches I attended in my childhood had (to be blunt) crappy liturgies-- girls dressed in green sacks with yellow tambourines dancing in the altar, homilies about "the bad old days", basically the works. But the Don Moen song was almost always sung in all of the churches we attended. So it was with a mixture of nostalgia, and a little indigestion, that I listened to it being sung in a Catholic church once more.

Off hand, though, I must say: doesn't it sound suspiciously like this song from the Pet Shop Boys?

Thursday, June 23, 2011

Lost in Brussels

Brussels, I was told, was a city one either loved or hated; the room for compromise was small, if not non-existent, and since there was nothing to see in there anyway (unlike Liege, Louvain, or Brugge), it was not really worth seeing. Still, I found the place charming, mixing the most splendid urban decrepitude with some of the most gorgeous architecture I've seen yet (I am quite partial to the Brabantine Gothic). When, on the second day of our brief stay in Brussels, it was clear that the rest of the family were more keen on sleeping and eating, I decided to tour the city-- or at least a section of it-- on foot. It should be easy; my hotel was right across the Bruxelles-Midi station anyway, but I didn't want to waste my money, so I took the more romantic option.

It was an aimless forty five minutes of walking that followed next; I passed through some predominantly Turkish neighborhoods, where hundreds of Muslim men congregated outside sidewalk cafes. There were very little women, I noticed, and they were all staring at me-- I was the only non-Turk walking the streets then, which must have struck them as odd. It wasn't long before the towering, magnificent spire of the Brussels Town Hall reared itself to my right-- a glimmering spike of pearl and silver it looked to me, crowned by a golden statue of St. Michael trampling the Devil underneath. Finally, I found myself in the middle of Brussels' spectacular Grand Place. When I got there, a function was about to begin at the Town Hall, evidenced by a large number of men and women dressed to the nines waiting outside the premises. The cops were also there to secure the place, as were the last wave of tourists for the day, taking photo after photo of every architectural detail imaginable.

Soon I found myself on the main road again. This time, a different landmark caught my eye-- it was the Rainbow Flag that now asserted itself, and I realized that I was in the middle (or perhaps the threshold?) of Brussels' gay district. Curiously, I spied a Catholic Church just ahead of me; and more curious, it stood within walking distance of a gay bar. I tried to enter the church, but it was almost half past nine by the time I got there, so it was already locked. Ah well, I thought. Then a priest of the Armenian Church passed by, accompanied by a family of four; or rather, he accompanied the family of four on the way to their nameless destination. They noticed me holding my camera, and the priest smiled at me-- which I naturally intuited as him saying "Yes, young man, I do not mind having my picture taken by a curious tourist such as yourself."

I felt a tap on my shoulder, and when I looked around, I saw a huge man, probably 6'2 or 6'3 and 250lbs, shod in the tightest of shirts I'd ever seen. Are you a photographer? he said. His voice was deep and gravelly and had a musical quality to it; like a pirate's, who sang opera in the shower. Yes, well not really, I like to take pictures, but I'm not a photographer. Oh? he said. Do you not have a license? I don't, I said, it's more of a hobby than anything. He gave me a grin, as if to say that he understood what I meant. But you are a Catholic? I mean, why are you taking photos of the church? Yes, I answered, I'm a Catholic, and I was just at the Cathedral earlier, I loved it, it was gorgeous, I took so many photos. Then the man's face twisted into an inscrutable smile. I'm a Catholic too he said. Well, I was, but I gave up that shit a long time ago. He stressed the word shit as if it were the key to understanding the universe, as if in it were sublimized all the wisdom, folly, and cosmic mystery of all the ages that have been and were yet to be. Come with me, you look tired! he said. Being the adventurous sort, and being in an especially adventurous mood that night, I acquiesced, and followed the rotund gentleman.

It didn't take long, since as I soon found out, he was seated at the gay bar near the church. Sensing my apprehension, he said, Don't worry, I'm not going to do anything. It's just food. We got to his table, where a bottle of red wine was waiting, a glass for himself, and some napkins neatly piled to one side. So, he said. Then a pause. Yes? So I'm trying to understand, what is a young man like you doing with the Church? I smiled sheepishly and fumbled for a semblance of an answer. Well you see... It's like this... And then... The overarching theme of my rambling answer was that: a) I am a product of history, and that history, as it stands, was largely shaped by the Church; b) I owe a lot of my education to the Church; c) the Church has always made sense to me (a crappy answer); and d) that, no matter how I tried, I can't escape the Church. The man licked his lips for a moment, trying to find an answer. Finally, he spoke: I was born in the southern Netherlands, he said, and in university I was part of the Student Catholic Action. I discerned a vocation to the priesthood and lasted two years in the seminary. Then, as if he realized it wasn't in chronological order, he added: When I was younger, my family would always visit the Black Christ of Maastricht in the summer. We also prayed the rosary every night as a family. My uncle was a priest, he said. You are a Pee-noy, right?

I replied: in our family, there are only a handful of priests, and they're all second or more distant cousins of our branch of the family. Yes, I am from the Philippines. From the glorious and dirty city of Manila. There is a Black Christ in the Netherlands too? In Manila, we have an image of Christ called the Black Nazarene. Every year, the procession attracts millions of the damned and the desperate. A nanosecond of a lull followed; then I asked him, what made you leave the Church? He heaved a huge sigh, and said, Why, the fact that I'm gay of course! He said it matter-of-factly and followed it with a huge, booming laugh. A pirate's laugh, who probably had a taste for Jacques Brel. I'm waiting for my boyfriend, he said. How old are you? I'm twenty two, I answered. You are? But my dear boy, you look like you just crawled out (he emphasized this) of your nineteenth year! Well thanks, I said. My boyfriend is nineteen! But he's taller than you! Then as if the cosmos conspired to prove to me that this gentleman did indeed have a boyfriend, his phone rang as he was saying all this. His ringtone was a Kylie Minogue song.

He's coming in a bit. Am I keeping you? You should meet him, just shake his hand, he's a Catholic too, an altar boy. Intriguing, I said, and no, you're not keeping me. I'm just enjoying the city by myself. Then I asked him: an altar boy? Really? Deep down, though, I really wanted to ask what he was doing with a barely legal piece of jailbait. The gentleman answered: indeed he is. He's Italian you see, French Italian to be precise. And where is he coming from? From Benediction, at another church, with his grandmother. A lull, then he asked me: What are you doing in Brussels, anyway? I answered that I was on a family vacation, but that they decided to stay in the hotel because they were too tired. I rarely travel with family, he said, because they never want to go to the places I want. They can be quite burdensome! he said with a chuckle. Like the Church? I said. A deep laugh, a slap on the table; Exactly like the Church! I said: "In the past we had the Church, which meant, we had each other." Oh? And where is that from? Is that the new SCA slogan? I answered that it was from a Martin Scorcese movie, The Departed. Scorcese is that bastard who never won an Oscar, right? That's right, but he finally won for that movie. Ah, that's good. They keep screwing with that guy. He's a lapsed Catholic too, I said, but he followed by saying that he was not so much as lapsed as "willfully removed." Puzzled, I asked him if he was an excommunicate; he said, Relax, no queen in a fancy dress can make me leave the Church if he wanted. I left on my own accord.

He drank some of the wine, offered some more to me (to which I declined), and then proceeded with his story. The Black Christ of Maastricht, he said, was from Palestine; a nobleman who had fought in the Crusades, realizing he had not brought a gift for his youngest daughter, gave her a nut that had fallen among his belongings in the Holy Land. The grateful daughter planted it in the ground, and it eventually blossomed into a strong, sturdy tree. Then one night, a storm came; a bolt of lightning flashed down from Heaven and struck the tree, much to her sadness. But when the dust had settled, the daughter revealed that she had seen, in the middle of the tree, an image of the Crucified Lord. That was how the devotion started, he said; my family had been devotees for three generations before me, he said. For seven hundred years, that image of Christ has been revered, he said. I sat there listening to him recount, like a wide eyed child, this fascinating story. Then his eyes shifted, and he exclaimed aloud. The boyfriend had arrived.

What a vision, he whispered to me. The young eromenos was the type of boy every gay in my school went gaga over; tall (but not as tall as the Dutch man, who would be of average height in the Netherlands), sturdily built, but not overly muscular, lithe, nimble, with a square jaw, a dark tan, a swimmer's ass and legs. Notice the package? He said, with a wink. I tried not to get too embarrassed by his comments. He stood up and greeted the boy with a peck on the cheek, and introduced me to him. He's a fucking crazy Catholic too! he said, and the boy smiled at me, and asked if I had been to the Vatican. I answered that it was not in our itinerary this time, but maybe next year we might visit. I've been to Mass at St. Peter's countless times. The Holy Father is such an inspiring figure! His accent, I noticed, had a slight, almost imperceptible Midwest twang to it. We talked for one more hour, before I realized it was getting late, and that I had to go somewhere with the family in the morning. We said our goodbyes, and the boyfriend took a picture of us. Goodbye, they said, it was nice meeting you. I bade them goodbye and turned around, but not before seeing the older gentleman stroke the younger one's chin before biting it.

By the time I got back to Bruxelles Midi it was already dark. A Ukranian man offered to cross the street with me. We crossed the street together, and parted at the other end. I came back to Park Inn, exhausted, gratified, and a little puzzled; I drank a beer-- the only time I drank alcohol in my entire stay in Europe, believe it or not, and fell asleep.

Wednesday, June 22, 2011

Original Sin(s)

I was three years old in 1992, when my parents took me to the theme park for the first time. As a child, I remember being absolutely scared of loud noises and clowns and mascots, and so to assuage my fears, my mother would buy me either toys or candy. That night, I saw a Batman action figure being sold in one of the flea markets in the complex; it was one of those cheap, China-made knock offs, made of poorly cut PVC and with a bad paint job. It even came with a cape, albeit one that was poorly stitched. I looked longingly at the toy, but I realized I had no money; so I waited for the shopkeeper to turn around, before grabbing it and running towards my mom. "Mommy, Mommy, I want this!" I screamed loudly and ran as fast as I could; but when I reached her, she gave me such a slap on the cheeks. "Idiot! Do you want to be thought of as a thief? Go back there and return that thing now!" I did as I was told, but she still ended up buying it for me. Batman lasted a few nights before his legs snapped off and his neck bent permanently to one side, his cape torn off by too much play.

Around a year later, I was at the grocery with the family. Boy that I was, I was a natural nuisance to everyone, and as a result, received a rather severe scolding from my dad that day. No candies for you, he said, no trip to the toy store or visits to your cousin or bedtime stories with your aunt. You've been a bad boy and need to be punished. He said this just as I found a tube of Spearmint Mentos, and as I was about to put it in the shopping cart. In the early nineties, paying for one's groceries, especially in Manila, seemed to take forever; and for what seemed like an hour, we waited in line. And what should appear next to me but a whole shelf of Spearmint Mentos-- tubes and tubes of them? Again, I waited for their eyes to linger elsewhere; and at the age of four, I stole something for the first time. That was a Sunday night, and on Monday morning my parents would hie off to work, which meant I could eat my candies guilt, and punishment, free. Just after lunch, I asked our Yaya to fetch my jeans from yesterday; there was something I had to see, I said. When she returned, she was followed my by grandmother and at least two aunts. Why do you have candy in your pocket? I don't know! Maybe it fell? No one believed me, of course, thankfully. I was duly and dutifully hit with a wooden spatula.

It used to be the custom in our family for us children to take off our parents' shoes after returning home from work. My father had grown up with it, and being a stickler for tradition, decided to pass on the tradition to us. City life, however, had no room for such archaic manners. One time,  instead of doing as I was told, I instead shouted at my dad to take off his own shoes. He did, but for some reason, I had the sudden urge to piss, and I ended up pissing in his shoes. As if that weren't enough, though, I ended up... hitting the soup on the table. Because of that, I ended up spending the night locked outside the house. It still puzzles me why I did that. Thankfully a drunk uncle had come home in the nick of time (i.e., half past twelve; we were living in a family compound then) and allowed me to sleep in his room.

In 1996, I was the most popular boy in my school. I skipped classes and was always at the playground, but still ended up getting good grades, much to the consternation of my teachers. One day I was with Joseph, Jordan, and Joven in the playground, and we were throwing sticks at each other. I think we were trying to see which of us was the strongest, which of us could throw it farthest; and so, we made a bet, whoever can throw the most number of sticks over the wall would win a prize. We did just that; and when it was my turn, I summoned all the power in my biceps and threw the damn stick well across the wall; there was a splash, a noise like falling kitchenware, and a shout. I was doing my victory dance when all of a sudden, a booming voice thundered overhead, launching into a stream of curses and expletives far too complex for me feeble seven year old mind to comprehend. "P----- I-- mong h-------k kang bata ka! Tinamaan mo anak ko sa mata, p-----a!" (More or less: "You m----rf-----g s--t of a child! You hit my child in the eye, you j--k off!") I ran off to my teacher and cried for the rest of the day.

Sometimes I wonder why these are the sins I remember the most. I still don't know why, but they just won't let me go.

Tuesday, May 31, 2011

Adios, Reina del Cielo!



May is the month of Mary, and in the Philippines May is always a month of fervent activity and prayer. In Antipolo, pilgrims from all across the land make their way on foot, to venerate the image of Our Lady of Peace and Good Voyage. The pilgrimage is an ancient one, attended by both pleb and patrician; it was, and still is, customary to walk all the way to that hallowed shrine, and during Holy Week the number of pilgrims can swell up to nearly a million, with hundreds of thousands arriving on Good Friday alone. The Santacruzan is another popular tradition, which is a pageant commemorating the finding of the True Cross by St. Helena; she is often escorted by a young boy in a faux ermine cape and crown, Constantine. This is a tradition is still observed religiously in every part of the country, though variations in local practice do occur, some more... "Creative" than others (prompting the Archbishop of Manila, HE Cardinal Rosales, to state outright that transvestites were not to play the role of St. Helena under any condition).

That being said, I most associate May with a hymn, sung in farewell to the Blessed Virgin. Since the month has already come to a close, I thought I would post this video. The "despedida" is a hymn common to practically all of the former colonies of the Spanish Empire, which speaks volumes of the depths of Marian devotion extant therein. MY favorite despedida is the one in honor of Nuestra Senora de la Santissimo Rosario de la Naval, which is posted above-- once called the "gran senora" of the Philippines, no doubt for the extravagance of her jewels and the great role she is said to have played in securing the Philippines from the Dutch and the British-- and therefore, keeping her Catholic to this day. From the video:

The Despedida a la Virgen, said Nick Joaquin, was probably the greatest religious song of Old Manila, and was composed by a certain P. Hernandez centuries ago.

Recently arranged by the late Maestro Lucio D. San Pedro, it was sung in the old days by the Tiples de Santo Domingo in public only for 10 consecutive days in a year, that is during the Novenario and the Fiesta of La Naval de Manila in October. Their rendition of this haunting song is unmatched to this very day...

One unique feature when the Despedida is sung, when the tiples come to the part "dame tu bendición, Madre del Salvador!" the entire congregation kneels as the main celebrant incenses the Virgin.. It brings to mind the practice in the old days when the Santo Rosario is triumphantly brought out in procession on the streets of Intramuros, the people would kneel down in homage to La Gran Señora de Filipinas and stand up only until her cortege has passed by them.

In the old days too, when the coro de tiple reaches the last lines "madre amorosa prenda de amor..." the heavy curtains on the central niche of the main retablo in the old Santo Domingo would roll down to cover the Santo Rosario from view until the next day.. Until recently, this practice was continued in the new Santo Domingo..

For the Dominican missionaries however, it was more than just a religious song for the novena in October. It was the song of farewell that they sing to the Virgin before they leave for the missions, of which a number of them are never to return alive or would die as martyrs for the Faith.

"permiteme que vuelva tus plantas a besar.." - the Despedida was a prayer of entrusting, a prayer of hope, and a prayer of love, a fervent wish to be able to return again to her throne and to kiss her feet..

So guys, especially those devoted to the Santo Rosario, learn to this song by heart or at least try to understand its meaning. So that when we sing it to her this October, whether from memory or holding and reading our copies, we can sing it with our heart. The Despedida a la Virgen is the most meaningful and sweetest song of La Naval tradition..

We are indeed lucky that the move then to have it translated and sung in Tagalog did not pushed through lest we lose the poetry and the lyrical quality that goes with the song which is not achieve when a translation of a song is made.. You may get the tune right but the original thought suffers in the process..

As Providence would have it, we are still singing the same song to the Santo Rosario in the same way that San Francisco Fernández de Capillas and his companion martyrs, San Lorenzo Ruiz de Manila and his companion mayrtrs, San Vicente Liem de la Paz and his companion martyrs sang it in front of the very same image, yes, in front of the Santo Rosario, inside the Church of Santo Domingo, then in Intramuros!

Monday, May 30, 2011

Real Flesh Indeed


Recently I had the chance to visit the university town of Freiburg, in Badem-Wurrtemburg, Germany, where I visited its beautiful cathedral and walked for a bit in the same campus where Heidegger, Karl Rahner, and Husserl once brooded. It's a charming city, much nearer to Switzerland than I had anticipated (it's the next train stop after Basel), and the air was very fresh, and the weather, sunny. I was told beforehand that Freiburg was once-- and still is-- a bastion of Catholic conservatism. Indeed, at the Freiburg Hauptbanhof, what should I find, but a rather large poster promoting the devotion to the Divine Mercy? The cathedral portals were all also inscribed with the traditional Epiphany blessing (20+C+M+B+11), as were most of the shops in and around the main plaza.

A rather curious implement caught my eye whilst at the cathedral, pictured above. To the right of the sanctuary, in a little alcove near the northern portal, I saw an effigy of the Dead Christ, cast in stone, being mourned by His Mother and Saint John (or so I seem to remember-- I wasn't able to observe at length). Attached to the chest of the stone Christ was a latch, with a handle, which presumably opened up to a small hole. My step uncle Bernhard, who had been touring us that afternoon, and himself a lapsed Catholic, told us that, apparently, it was the practice long ago to repose the Blessed Sacrament inside the chest of the Dead Christ on Good Friday. However, before I continue, a disclaimer: I confess that my German is very poor and probably closer to non-existent, and Uncle Bernhard's English is also at the subsistence level. Be that as it may, I do remember him mentioning the word "sacrament" and gesturing, in pantomime, at the chest of the Dead Christ. This was for me, something totally new, and fascinating: for the symbolism of such an act seems to suggest, if very crudely, an identification of the Sacrament with the dead body of Christ.

As I have mentioned before in the past, I am no theologian, and I am content to leave all theological wrangling to theologians-- that is to say, the "real ones" who actually have a prayer life and are not just academic mercenaries. But permit me this small reflection, since it has been percolating in my head for quite some time now. In Catholic school I was always taught the basics about the Holy Eucharist-- that it is the Real Presence of Christ, that, in receiving Holy Communion, one received the Body, Blood, Soul and Divinity of Our Lord in their fullness, undiminished and unmitigated by the deficiencies of the sacramental matter (that is to say, God condescends to transform bread and wine into His presence, no matter how unworthy they may seem). The great miracle of transubstantiation is also its greatest puzzle: that God would debase Himself to come under the guise of such insignificant material objects; and therefore, the Holy Eucharist was to be worthy of the highest adoration from the People of God.

I confess that, when I first heard of the word "transubstantiation", I was both utterly amazed, and a bit repulsed, by what it meant. In hindsight I realize now that this stemmed from an initial confoundment as to what the term "substance" really meant. My initial thought as a sixth grade student was that it pertained, first of all, to a stratum of chemical change: in the Mass, bread and wine become chemically composed of the divinity of Christ, and so sensate an understanding led me to think further of this chemical change as essentially a transmutation of the properties of the sacramental material into the very flesh of the God-Man. I reasoned that, since God was Almighty anyway, He had a way of "replenishing" His flesh whenever it was diminished in Holy Communion; and later, that no diminution can even take place, because God qua God simply cannot be diminished, on account of His being All-powerful. Any first year philosophy student can immediately tell you, though, that substance and flesh, or even the quality of "fleshliness", are not equivalent. But of course, in everyday parlance, the word substance loses a lot of its philosophical baggage; for substance is not so much a material, quantifiable (i.e., measurable, rationalizable) quality so much as a "definition" for lack of a better term. I always get a laugh when society papers in the Philippines uses the phrase woman or man "of substance" as a discreet euphemism for what is undoubtedly a portly society don or doyenne.

This, of course, seems to be lost on many Catholics: our popular pieties and theologies about the Holy Eucharist seem to be defined, primarily, by a very sensate understanding of it. The Miracle of Lanciano illustrates this perfectly: a priest whose faith in the Mystery of Faith is at an all-time low is flabbergasted, when, as he raises the Host after the Consecration, the bread he has previously held in his hands is suddenly changed into a bleeding piece of raw meat: Corpus et Sanguis Domini Nostri Jesu Christi, in the flesh. The flesh is myocardium, which is to say, of the heart, and the blood type AA-, which is to say, exceedingly rare, and kingly. For Protestants, this tradition of a very sensate, very tactile understanding of the Holy Eucharist seems to confirm their worst suspicions about Catholics, about how we are pagan God-eaters who would rather see their Savior stuck and bleeding on the Cross in every Mass.

The late scholar of comparative mythology, Joseph Campbell, once compared the occult to an underlying unity the persists, perdures, underneath the veil of time: that, beneath the seeming progression of history, there is an image of a sort of universal truth that exists in a mythological plane, wherein all the threads of time are seemingly held. Catholics, of course, traditionally believed that the Mass was not just a representation of Calvary: to be at Mass is literally to be at Calvary itself, at the foot of the Cross, weeping with the holy women of Jerusalem and all the angels in the celestial choirs. Thus, it would seem as if the logical conclusion of such an understanding of the Mass would naturally result in a conception of the Holy Eucharist as the very meat of the God-Man's flesh, and reception of it as the consumption of real meat indeed. Like an ancient Chieftain being readied for the ritual consumption of his tribe, I would venture to say that there might have been an understanding of the Crucifixion as some sort of elaborate "cooking ritual"-- to tenderize, as it were, the holy flesh.

I daresay that I am already venturing into unfamiliar territory here, but at this point I would also like to add that Ourd Lord's language in the Gospel of John doesn't help in the debate, either. Not for naught did He scandalize His Jewish audience when He said: "My flesh is meat indeed, My blood is drink indeed"-- for certainly the Jews would have immediately hearkened back to their strict dietary laws, and where I could only imagine that such a notion would have been so taboo and too insalubrious to contemplate, that even a mention of it warranted no attention. Again, I am no expert on the subject, but I do remember one priest saying at Mass once, that the Greek verb used for that section of the Johannine Gospel ("Unless you eat my flesh...") implied a blunt, chewing action-- not a merely spiritual consumption of the Word of God, but an actual rending and tearing of something physical-- something substantial, in other words.

While theophagia has been a feature of numberless mythologies in history, I am almost certain that Christianity was the first to have devoted so much time and energy in clarifying its teaching(s) on the Eucharist. We receive the fullness of God-- corpus, sanguis, animus, et divinitas-- under the appearance of bread and wine, and yet we also do not receive the infinity of His fullness (and therefore, not God per se, for God, being eternal and absolute, is simply inexhaustible)-- for God, after all, is eternal, all-powerful, and not diminishable: it is a corollary of His absolute simplicity that He is also irreducible. At the same time, we--our senses-- understand the bread and wine to be the symbol of His flesh, inasmuch as we recognize the presence of the divine under the purely sensate stratum. But to speak of the bread and wine post Consecration as still symbols would also be a mistake, as these are no longer bread and wine, despite what they taste, smell, or look like: the symbol has itself become its sense and reference. There is something almost asymptotic about the matter and form, wherein both tend towards the same point, but never really completely meet-- at least, in the infinite sense. The language of the Church, however, is adamant in equating what we receive in Holy Communion with Jesus Christ Himself, and it suffices for me to believe that; no point, after all, deciphering the mechanics of miracles.

I always like to thank that, as the priest raises the Host, and is it meets, eye to eye, as it were, with the image of the Crucified, a literal fusion of horizons occurs: the veil of time is rent, and the foundation of the world--its past, present, and future-- is revealed in the singular event of the killing of the God-Man by the hands of His own creation. Time is dissolved and subsumed in the age of mythology that Campbell describes. The bread becomes the image of the Crucified-- or rather, the fiction of bread and wine, as well as the walls and altars of the church-- are revealed to be "participants" in an age that has never ended-- but which, on the contrary, has always gone on, hidden, and untrammeled by profane reality. The bread has never been bread; and in the consecration, it is revealed to be what it has always been, what it is, and what it will always be: the Body of Christ, and the entirety of the Christ-event: from the Annunciation, to His Birth, right down to His Passion and Death-- and yes, the Resurrection, too. Mayhap one can even throw in the Ascension, for certainly, that event was a pledge of the glory that awaits man, and the Second Coming, where the triumph of goodness would reach its final, irrevocable completion-- and in our lives, this is understood as a total transformation into the image of Christ, Crucified and Risen-- and therefore Divine. If, perhaps, I am approaching ambiguity at this point, then I should smile, since, as everyone knows, confoundment is the beginning of wisdom (no doubt, one would be so confounded when faced with his Maker, or even the mysteries and wonders of his Maker).

As with any mystery pertaining to the holy, the Holy Eucharist is an especially perplexing one to ponder. But perhaps the proper attitude to the holy is not so much one of scrutiny, categorization, and codification. Rather, I am starting to believe that to "mingle" with the holy is to realize the utter falsehood of the sensate and the immediate: that the primary task of the servant of the gods is to sense what cannot be sensed, and to immerse themselves in it completely. It is to be subsumed in the world of gods and monsters, heroes and conquerors, where bread is bread, even though it has never really been bread, and there was never "bread" to begin with.

Blessed are they who believe but have not seen - John 20:29

Sunday, May 15, 2011

Quick Update

So I am in Luxembourg at the moment, on a totally unplanned leg of a long-delayed summer vacation. My aunt, who had been living in Germany for some years now, decided to surprise us with a trip here; and who were we to refuse? It is an enchanted place, mountainous, romantic, and yes, full of nuns who go out in public wearing veils. In many ways, I guess it represents the 'primordial' icon I've always had of Europe-- that of an almost rural tranquility colliding head on with the comforts of the modern world. As I type, I'm enjoying a pint of Ben & Jerry's Chocolate Fudge Brownie (price is the same as in Manila, unfortunately) and listening to some German grandmothers argue about their next trek. And since this is a Youth Hostel, one can never be rid of the presence of half-drunk backpackers, who number less than they did in Zurich, at least.

A very strange realization hit me on the way to Luxembourg from Germany. I don't know why or how, but during the almost six hour train ride from Stuttgart to Luxembourg (with a few added delays, including a missed train), I came to the conclusion that life had become... too convenient. Perhaps "convenience" isn't even the right word, so much as "too friendly" or "too accessible." This is not to say, of course, that I am one to decry the various developments, technological or otherwise (but with special regard to the former), that have sprung up in the last few decades. Certainly, no one wants to come back to a time when traveling was limited to the very rich, or when intercontinental transportation cost more than an arm and a leg and took forever to accomplish; only that there has come to be a very "Cartesian" mentality that we now apply to everything. For better or worse, the world has lost much of its menace; one no longer fears to travel at night, in fear of the elemental terrors that lurk behind every shadow; and we are no longer so obliged to honor the coming of the day by worshipping at the crack of dawn (an innovation for which I am at once annoyed, and also extremely grateful).

I am not saying this to sound like some overzealous travel "purist"; nor am I saying it to purposefully come off as a grouchy, unsatisfiable lout. I think, though, that I have come onto a crossroads of sorts, marked by that staggering moment of realization that the world-- my world-- has inevitably changed. Again, I am not sure how or even why, but all I know is that with it comes an admission of the finality of these changes. It is almost as if I am finding myself saying, "This is you; deal with it." If I am being ambiguous at this point, then perhaps I am moving closer to what I want to say, which, to be honest, still appears to my imagination in fragments, and not as an easily manipulable whole. I will admit, though, that in the last couple of weeks, perhaps stretching even back to March, I've been struggling a lot with a certain personal issue that could fundamentally alter many things I've always come to hold dear. But now isn't really the time (yet) to talk about that. Perhaps in the future.

Anyway, this post was not really meant to be of special importance. It is really beautiful outside, even at this time, (which is why it took me almost three hours to type this!), and the people are all tall, blond, and gorgeous (a fact which my mom keeps reminding my sister-- "When you get married, get married to a German, so you'll have tall and beautiful and possibly blond kids and improve our race"-- I dunno what to think anymore). So I shall sign off, and hie away to socialize and maybe even flirt a little.

Monday, May 02, 2011

La Muerte!



Don't worry, I haven't forgotten that it's already Easter. Rejoice! He is truly risen and has conquered death. But the following images were just too intriguing for me to let them pass unnoticed. Traditionally, the processions of Good Friday in the Philippines are heralded by a statue of Saint Peter. The reasoning for this is simple: since Saint Peter is the keeper of the Keys of Heaven, it follows that he, too, is in charge of unlocking the pearly gates in order for the celestial procession to "pass through" earth. With Saint Peter is his infamous cock, standing on a pillar, who heralds the ominous coming of the day when "God died." In some regions, though, it is Death that leads the procession. Nowhere does this practice seem to be more prevalent than in the Bicol region, one of the most Catholic provinces in the country.

Unlike Santa Muerte in Mexico, the image of Death isn't really known by any specific name. Some call him La Muerte, San La Muerte, or even simply as Kamatayan, the Filipino word for death. Kamatayan is male, unlike his female Mexican counterpart. He is dressed almost like a bishop, with a black mitre, a cope, and he even holds his scythe much like a bishop holds his crozier. Since Kamatayan is no saint, his carriage is very minimally decorated (at least ideally); in some cases, he is simply borne on the back of a flatbed truck or a similar vehicle. Kamatayan processes as part of the Good Friday rites to demonstrate the seeming invincibility of Christ's defeat, of the futility of His mission. Like a specter which haunts the damned and the guilty, he is a reminder of man's sinfulness and articulates, quite well, the terror of that day when Christ died. Most of the pictures I've selected are from the Bicol region, specifically from the province of Camarines Norte. By far the most spectacular one I've seen, though, is the one from Carcar in Cebu: its skill and hands and feet were all carved from ivory, and the statue is dressed much like a king, complete with a golden crown. You can read more about the Carcar Kamatayan here: Langyaw.com


Friday, April 29, 2011

Good Friday in Lucban, Quezon



One of the most unique Good Friday rituals in the Philippines that I've yet come across is the procession of the Santo Entierro of Lucban, Quezon. Since part of my family hails from Lucban, I thought it would be a great opportunity to further research some of the traditions still prevalent there. Like the Quiapo Nazarene of Manila, Lucbanins believe that the image of the Dead Christ holds miraculous powers; it is processed around the streets of Lucban and accompanied mostly by men, who vie against one another to be able to touch its bier. The procession usually begins after the Adoration of the Cross has concluded, and almost always finishes just before midnight. The video above is one of the best, if not the best, documentations of this ritual yet. It starts in the morning, when the priest gives his blessing to the maroon-clad escorts of the Dead Christ. On their shoulders they carry the ropes with which they will pull the bier around the city. Then follows a procession of men in white, a carryover from the folkloric past of Lucban. There is a term for them that I cannot recall at the moment; it is their task to remove the Crucified from His Cross and lay Him in state. The ritual of the pagtanggal sa Krus was just one of the many elaborate and often dizzying Holy Week practices of the Philippines that were either willfully forgotten or suppressed in the aftermath of the Second Vatican Council, casualties of "relevant" and "participatory" liturgy. While it has not disappeared completely, the number of parishes in which this ritual takes place has been vastly attenuated. Notable examples, aside from Lucban, are Pakil in Laguna, Baliuag in Bulacan, San Jose (home of the famous "bamboo organ") in Las Pinas, and some others which escape my memory. The procession of the bier is accompanied by the haunting sound of bamboo clappers, usually three feet long, and numbering in the dozens.

The devotion to the Senor del Santo Entierro is vastly more popular with men than it is with women; since women practically have the rest of the year to be pious and devoted, the men seize the disturbance of Good Friday as a sort of heightened opportunity to display their fortitude, strength, and determination. Men who rarely, if ever, go to church are most active on this day: whether they be out in the fields scarring and whipping their backs, or else risking the crush of tens of thousands of people in an effort to kiss or touch the image of dead God on His way to the grave.