Pasyon
 Cover of a typical edition of the Pasyóng Mahál, featuring a depiction of the Black Nazarene of Quiapo. | |
| Author | Gaspar Aquino de Belén |
|---|---|
| Original title | Pasióng Mahal |
| Country | Philippines |
| Language | Tagalog, other Philippine languages |
| Genre | epic poetry, narration, religious, prayer |
Publication date | 1704 |
| Media type | |
| Pages | ± 240 |
The Pasyón (Spanish: Pasión) is a Philippine epic narrative of the life of Jesus Christ, focused on his Passion, Death, and Resurrection. In stanzas of five lines of eight syllables each, the standard elements of epic poetry are interwoven with a colourful, dramatic theme.
The uninterrupted chanting or Pabasa (“reading”) of the entire book from start to end is a popular Filipino Catholic devotion during the Lenten season, particularly during Holy Week.
In 2011, the Pabasa was cited by the National Commission for Culture and the Arts as one of the Intangible Cultural Heritage of the Philippines under the performing arts category that the government may nominate for inclusion in the UNESCO Intangible Cultural Heritage Lists.[1]
History[]
The text is an adaptation of the pre-Hispanic Filipino art of chanting epic poems as a part of oral tradition. After Christianity was introduced by the Spaniards, the Passion cycle was adapted into this native narrative form.
The indigenous form of the Pasyón was first written down by Gaspar Aquino de Belén in "Ang Mahal na Pasión ni Jesu Christong Panginoon Natin na Tola" ("The Sacred Passion of Jesus Christ, Our Lord, Which is a Poem"), written in 1703 and approved in 1704.
An 1852 erudition by Aniceto de Merced, El libro de la vida ("The Book of the Life [of Jesus]") did not gain popularity with the masses.
Pasyóng Genesís[]
The most popular Tagalog version of the Pasyón today is the "Casaysayan nang Pasiong Mahal ni Hesucristong Panginoon Natin na Sucat Ipag-alab nang Puso nang Sinomang Babasa" ("The Story of the Passion of Jesus Christ, Our Lord, which Rightly Shall Ignite the Heart of Whosoever Readeth").
This version is also called the “Pasyóng Genesís” as the Genesis creation narrative precedes the sections concerning the Blessed Virgin Mary and the Life of Christ. Another name for the text is “Pasyóng Pilapil” after the foreword by a certain Dr Mariano Pilapil, found in the 1814 edition. The book's title page describes it as being commissioned by former Archbishop of Manila José Seguí, O.S.A., and former Augustinian provincial Manuel Grijalvo, O.S.A., with corrections to the Latin phrases done by a certain Fr Amador W. Cruz.
A widely-circulated reprint of the Pasyóng Genesís is the 1949 edition, whose title begins with “Awit at Salaysay...” ("Song and Narrative") instead of “Casaysayan”, and was published by Ignacio Luna and Sons, Co. in Manila.
Devotional use[]
The Pasyón is normally heard during Holy Week in the Philippines, where its recitation is known as the Pabása ("Reading"). The rite can span several days, extending no later than Black Saturday, but it is often ended on Good Friday at noon or before 15:00 PHT (GMT+8) – the “ninth hour” of Jesus' death on the Cross according to the Gospels.
Readers chant the Pasyón from beginning to end uninterrupted; this non-stop recitation is done by devotees chanting in shifts. The chanters usually perform the rite as a panatà ("vow"), or votive offering in request or as an ex voto in thanksgiving. Devotees are frequently older women and some men, but in recent years younger Filipinos have shown increased interest in the custom.
The Pasyón is almost always chanted while facing either a permanent or temporary altar with religious icons, particularly those related to the suffering and death of Christ. Temporary altars are often erected within the home or inside an outdoor booth decorated with palm leaves. The Pabasa may also be performed at a local visita/kapilya (chapel of ease) or some other community space.
As per Filipino etiquette, the host of the Pabasa (often the master or lady of the house) is responsible for feeding the shifts of chanters as well as other guests.
Musical setting[]
There are various traditional settings or tono for the Pasyón that have been passed down through the centuries. Recent innovations include setting the epic to modern ballads, pop music, and contemporary hymns; in some places a rap or hip hop variant is used.
Instrumental accompaniment to the Pabasa is not as popular nor uniform in practise as most chant a capella using tonos from memory. If there is accompaniment, the guitar and electronic keyboard are commonly used.
References[]
External links[]
- 1703 books
- 1852 books
- Christian devotional literature
- Christian literature
- Depictions of Jesus in literature
- Epic poems
- Philippine culture
- Philippine poetry
- Catholic Church in the Philippines