Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Cutud's Ritual of Nailing on the Cross: Performance of Pain and Suffering

Cutud's Ritual of Nailing on the Cross: Performance of Pain and Suffering This research investigates the ritual nailing on the cross every Good Friday in Cutud, Pampanga, in the Philippines as a local religiocultural performance. It highlights the ritual&apos;s evolution and historicity of suffering in the context of <i>panata</i> (religious pledge/ vow), as a characteristic central to the Filipino people since precolonial times. The roots of the ritual can be traced from <i>pamagdarame</i> (flagellation) and the <i>sinakulo</i> (passion play) written by Ricardo Navarro in 1955. Devotees (participants) of <i>pamagdarame</i> and the <i>sinakulo</i> are participating with intentions of <i>panata</i>. The ritual, manifested through a performance of pain and suffering, allows the devotee&apos;s inner core (<i>kalooban</i>) via his sacrifice to be one with the Supreme Being. The ritual, which has developed into a multifaceted tradition, is not only a religious occasion (an experience of a personal sacrifice or <i>panata</i> for the individual) but also a social drama (an expression of pain and suffering through the performance of <i>Via Crucis o Pasion Y Muerte</i> [Way of the Cross or Passion and Death] and the nailing on the cross performed for the good of others). http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Cutud&apos;s Ritual of Nailing on the Cross: Performance of Pain and Suffering

Download PDF
19 pages

Loading next page...
 
/lp/university-of-hawai-i-press/cutud-apos-s-ritual-of-nailing-on-the-cross-performance-of-pain-and-i2pMuiGBb2
Publisher
University of Hawai'I Press
Copyright
Copyright © 2007 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

This research investigates the ritual nailing on the cross every Good Friday in Cutud, Pampanga, in the Philippines as a local religiocultural performance. It highlights the ritual&apos;s evolution and historicity of suffering in the context of <i>panata</i> (religious pledge/ vow), as a characteristic central to the Filipino people since precolonial times. The roots of the ritual can be traced from <i>pamagdarame</i> (flagellation) and the <i>sinakulo</i> (passion play) written by Ricardo Navarro in 1955. Devotees (participants) of <i>pamagdarame</i> and the <i>sinakulo</i> are participating with intentions of <i>panata</i>. The ritual, manifested through a performance of pain and suffering, allows the devotee&apos;s inner core (<i>kalooban</i>) via his sacrifice to be one with the Supreme Being. The ritual, which has developed into a multifaceted tradition, is not only a religious occasion (an experience of a personal sacrifice or <i>panata</i> for the individual) but also a social drama (an expression of pain and suffering through the performance of <i>Via Crucis o Pasion Y Muerte</i> [Way of the Cross or Passion and Death] and the nailing on the cross performed for the good of others).

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Mar 4, 2008

There are no references for this article.