an Iloilo Visita Iglesia

a Lenten Special

Lent calls for atonement and spiritual reparation. It is an occasion for one’s inspection of life and its vagaries. During this forty day period called cuaresma vast numbers of Catholic Filipinos practice numerous traditions that are considered acts of penance. One such popular custom is the Visita Iglesia.

Visita Iglesia, or literally church pilgrimage, is the practice of going to seven different churches. Often but not exclusively performed during Maundy Thursday, the faithful follow penitential rites and recite the Stations of the Cross in each church.

Last year, in a trip to Iloilo, I went around the heritage churches of the province and I was able to finish an entire loop of seven churches outside the big city. In time for the season of introspection, let me embark on a photographic journey of these magnificent monuments of faith. This is my Iloilo Visita Iglesia

the Church of Sta Monica, municipality of Pavia

Romaneque in its solidity and Byzantine in ornamentation, this church is the only church in Iloilo made of redstone as opposed to furnace-fired bricks. The façade is dominated by three archway portals, simple vertically slit windows at the side and by the pediment and rose windows.


Canon EOS 350D, 1/1250s, f/5.0, 21mm, ISO 100, +1/3EV


the Church of San Nicolas de Tolentino, municipality of Cabatuan

Constructed in the mid-1800s, the church is the largest red brick structure in the Visayas. The central façade is plastered in white and is contrasted by the bare red bricks at each side. Influences of Tuscanic, Baroque and Neoclassic design pervade throughout the architecture.


Canon EOS 350D, 1/400s, f/3.5, 18mm, ISO 200


the Church of Sta Barbara, municipality of Santa Barbara

This stone church made its mark as the headquarters of revolutionaries during the Filipino-Spanish war in the Visayas in the late 1900s. The Baroque Renaissance gem has a convent which is striking for its use of pierced-and-cut hardwood ornamentation and geometric Moorish patterns.


Canon EOS 350D, 1/200s, f/3.5, 24mm, ISO 200, +1/3EV




Canon EOS 350D, 1/125s, f/3.5, 21mm, ISO 200, +1/3EV


the Church of San Juan Sahagun, municipality of Tigbauan

Outside the church retains its Old World exterior- cut coral stones, a giant triangular pediment, a three-story campanario, arched windows and doors, a pyramidal roof, and intricate carved lace-reliefs around the central door. Inside though, modernity pervades- steel trusses, Byzantine-like folk mosaic and marbled floors. The late renovation has its share of critics and followers, with little in between.


Canon EOS 350D, 1/250s, f/5.6, 22mm, ISO 200, +1/3EV




Canon EOS 350D, 2.50s, f/8.0, 18mm, ISO 100, +1/3EV


the Church of San Nicholas of Tolentino, municipality of Guimbal

Its yellow igang stone makes this late 18th century church a standout. Elegant, delicate and uncharacteristically light looking, this showcases elements of Greek, Oriental and Moorish design.

Canon EOS 350D, 1/200s, f/6.3, 18mm, ISO 100, +2.0EV



Canon EOS 350D, 1/100s, f/5.6, 55mm, ISO 100, +1/3EV


the Church of San Joaquin, municipality of San Joaquin

The gigantic pediment is its crowning glory- deeply carved, animatedly ornate, with an expressively militaristic storyline to boot (the triumph of the Spanish army against the Moroccan in Tetuan). Made of limestone and white coral stone, it is one of the select 26 churches declared by the National Commission for Culture and the Arts as a national treasure.


Canon EOS 350D, 1/1600s, f/5.6, 18mm, ISO 100, +1/3EV



Canon EOS 350D, 1/200s, f/5.6, 27mm, ISO 100


the Church of Santo Tomas de Villanueva, municipality of Miag-ao

The best for last. There is only one UNESCO World Heritage Site in the Visayas and it is in Miag-ao. As one of four Spanish-era churches officially inscribed the international honor, the church is a masterpiece of Earthquake Baroque, with solid buttresses, 3-feet walls and massive belltowers. Its most famous features is the high relief carving on the pediment. With motifs like the coconuts, guava, papaya, vines and tendrils, it is a dramatic articulation of tropical art.


Canon EOS 350D, 1/100s, f/5.6, 18mm, ISO 400, +2/3EV

the Way of the Cross: remnants of the burnt Oslob Church

a Lenten Special

Exactly a year ago, on March 26, 2008, tragedy struck. The beautiful 19th century stone Church of the Immaculate Conception of Oslob in South Cebu caught fire and burnt to the ground.


III. Jesus falls for the first time




VI. Veronica wipes the face of Jesus


The story reads like any fire disaster in a developing country like the Philippines- short circuit due to poor maintenance, highly flammable materials and non-working firetrucks just across the church. Needless to say, a heritage fortress church, once the pride of the south, went down in flames. Basically left standing were the columns and walls of rugged coral stone and cracked plaster. Thankfully – and most say miraculously – the 150+ year old relief carving of the Inmaculada Concepcion survived the fire.


VIII. Jesus meets the women of Jerusalem


In our visit to Oslob last month, it is clear that despite exhortations to rebuild the church within a year, the structure remains a hollow and unfinished version of its old self. Work is in progress but it obviously is still too slow.


X. Jesus is stripped of His garments


It is the season Lent, a time for prayer, penitence, abstinence, fasting and sacrifice. In commiseration of the Passion of Christ, here is a photographic remembrance of the past glory of the church: the only six remaining extant carved reliefs of the Way of the Cross.


XII. Jesus dies on the cross


Someday, in the near future, belief is strong that like the crucified Christ, the church shall rise up. From death comes resurrection.

Sinulog Saturday 2009 is family time

If Sinulog Sunday were meant for the biggest streetdancing of Cebu (and arguably in the Philippines as well), Sinulog Saturday is for family. It is the day devoted for the solemn procession, set apart from the commercialization and revelry of the Sinulog fiesta. Traditions tend to ground us in a world of changes and our family keeps religious observances close to heart.

We skipped the daybreak fluvial parade this year as the early morning schedule was too disruptive for our daughter Cacing. Instead, we headed to the city only during lunch for a mini-reunion with relatives on my mom’s side.


the 2-way MJ Cuenco St was filled with procession-goers along the 5 km circular route
Canon EOS 5D, 1/200s, f/1.8, 50mm, ISO 50


The route this year was quite long. At about 5 kilometers, this was more than double last year’s. Instead of our usual camp-out at the Metropolitan Cebu Cathedral parking area, my aunts found an old house of a relative at the juncture of T. Padilla St and MJ Cuenco. We considered ourselves lucky to have a convenient place to stay as we opted out of the procession this year. Cacing doesn’t really enjoy the stroller and we could not carry her all throughout the procession. Indeed, while the procession started at around 1 PM, it took about 2 hours for the head of procession to pass by us. Some 30 minutes later, at past 3:30, the Sto Niño carroza arrived. The church obviously made it a mission to usher the Sto Niño back to the Basilica early. About a million people was estimated to have joined the procession and it wasn’t until about 5PM when we saw the tailend of the procession.


people waving to the Sto Niño
Canon EOS 5D, 1/200s, f/1.8, 50mm, ISO 50


As reunions go, ties were renewed and tales were swapped. I had idle time with my camera. My nieces and nephews became willing models and I enjoyed photographing them. I am sharing here few of the shots.


Jasmine
Canon EOS 5D, 1/200s, f/2.8, 100mm, ISO 100




IK
Canon EOS 5D, 1/1250s, f/2.8, 100 mm, ISO 1600




IC
Canon EOS 5D, 1/50s, f/2.8, 100mm, ISO 640


To cap the day, we proceeded to the SM Mall and had dinner with old flickr friends Maning and Tet. At 8PM, we went up to the SM roof deck to watch the 1st Sinulog Pyrotechnics Competition.


my aunt’s Sto Niño which she brought for the procession
Canon EOS 5D, 1/400s, f/2.8, 100mm, ISO 3200

As pyrotechnics go, I’ve seen more impressive fireworks but then, I really wasn’t expecting anything grand, what with the current economic crunch. Too bad, I was ready with my tripod as I’ve never photographed fireworks before.


a captive audience before a fireworks-lit night sky
Canon EOS 350D Digital, 2.0s, f/3.5, 18mm, ISO 800


After the presentation of the third contestant, I decided to go home. It was getting late and Cacing already was asleep. We left SM just before traffic turned horrendous and made it home at 9:30 PM.


part of the pyrotechnic display at SM
Canon EOS 350D Digital, 3.2s, f/4, 18mm, ISO 800

My colds were also getting terrible so sleep was much welcomed. The street parade the next day would be big and I wasn’t about to miss that.

the Sinulog 2009 series includes
the Sinulog Saturday procession and fireworks
Sinulog 2009 grand street parade part 1 (winners),
part 2 (the Sinulog-based contingents)
part 3 (the Free Interpretation contingents), and
the Sinulog beauties

the sober grace of the Cathedral of Antananarivo

Madagascar is an island nation isolated from most of the world. Eastwards and northwards, it’s just the big empty Indian Ocean. To the west is its nearest continental neighbor, Mozambique, but there’s the treacherous channel that is three hundred miles. As if sheer distance is not enough, its capital, Antananarivo or Tana for short, is protected by a geographic elevation of some 1,300 kilometers above sea level.


the cathedral sits on a hill with an elegant wide driveway
Canon EOS 350D Digital, 1/200s, f/9.0, 24mm, ISO 100




what the Malagasy could not do in stone and tiles, they did in hardwood and decorative painted patterns
Canon EOS 350D Digital, 1/15s, f/5.6, 18mm, ISO 200


Imagine what traveling to the island some hundred years ago, before airplanes and sea freighters. The French certainly struggled in wrestling control of the island from the British in the notorious Scramble for Africa. It took brawn, might and cunning of imperial France to finally annex Madagascar in the late 1800s.


an ornate niche featuring the image of St. Joseph
Canon EOS 350D Digital, 1/2s, f/5.6, 18mm, ISO 200


Today, more than four decades after decolonization and full independence, Madagascar still exhibits a strong French feel. The country mostly understands and speaks French. The languid ambiance of tree-lined avenues and café-flanked boulevards persists. And there is religion. Almost half of the Malagasy are also Christians, about 50% of which are Roman Catholic.


the tracery window is simple and geometric and in various tones of blue
Canon EOS 350D Digital, 1/50s, f/5.6, 42mm, ISO 200


Of the numerous churches that were built during colonial rule, one which symbolizes the quiet elegance and regality of the French is the Cathedral of Ambodin Andaholo.


the massive wooden front door is made light and airy with the floral-motif wooden cutwork
Canon EOS 350D Digital, 1/200s, f/9.0, 22mm, ISO 100


Catholic missionaries first set foot on the island in the 1860s. As the royal Malagasy court did not allow proselytization, Jesuit priests came in disguise. Although Europeans were soon expelled from the country by the Queen Ranavalona I, the Jesuits befriended her son, Radama II. It was when he succeeded his mother that he eventually welcomed the missionaries back to the island. In 1873, the Catholic mission was given the land in Andohalo of what was then Tananarivo. Here, the cathedral was built, based on the design by Father Alphonse Taix, a Jesuit. It took 17 years to complete the cathedral and in 1890, it was consecrated as Cathédrale de l’Immaculée Conception d’Andohalo or the Cathedral of the Immaculate Conception.




outside is a grotto of the Lady of Lourdes
Canon EOS 350D Digital, 1/60s, f/5.6, 24mm, ISO 100


A testament of local ingenuity, the church features no frescoes, mosaics, cutout filigrees and rose windows often associated with French cathedrals. The door omits the carved reliefs although the lintel offers an almost naively simplified floral tracery that is repeated in several of the arch windows. In place of murals, the groin vault ceiling of hardwood was enamel-painted in the light shades of blue. Statuaries are sparse. Arches bear semblance to the Islamic ogee. Along the nave, the edges of the columnade were painted with dainty patterns in royal blue. The only obvious concessions to neo-Gothic complication were the the slit windows which show off imported stained glass panels of Catholic church figures and the tile trim around the recessed niches.


the narrow vertical windows at the sides boasts of imported French stained glass panels
Canon EOS 350D Digital, 1/30s, f/5.6, 27mm, ISO 200


For a church that was expected to be showcase of the grandiose and of ornamentation, the Cathedral of Tana, offers simplicity that eloquently communicates a sober spiritual grace.


the groin vault ceiling is covered with hardwood, painted in blue hues that evoke of the cerulean skies
Canon EOS 350D Digital, 1/8s, f/5.6, 22mm, ISO 200

Sinulug 2006- the fluvial and grand religious processions

For almost two decades now, my family and I have been attending the Sinulog grand religious procession held every third Saturday of January. It is only on this day that the entire city center of Cebu would be closed and for five hours no less. The procession is in honor of the Blessed Child Jesus or the Sto Niño and no one really complains, gridlock and business interruption notwithstanding.


the Mandaue procession at the Ouano wharf (photo by my wife)


In about two weeks from now, it would be that time of the year and in anticipation of the event, let me take you to a pictorial flashback two years ago.

Our day started early at dawn. The afternoon before, on Friday, the holy images of the Lady of Guadalupe, Cebu’s patroness and the Blessed Child Jesus, were brought to the St. Joseph Parish Church in Mandaue City for an overnight vigil. By early morning on Saturday, the two icons were carried in a procession in the streets to the wharf of Ouano for the customary fluvial procession along the Mandaue-Mactan Channel.


the fluvial procession at Mandaue (photo by my wife)


If there were one perk of working in a company located in Ouano compound, this was it, and we had a front-row vantage point of the proceedings. We climbed onto the roof of the office and got close-up shots as the procession came by. While we weren’t able to get into a boat for the fluvial procession, we joined the thick crowd in a send-off at the Ouano wharf. As you could see in the picture, the sea of humanity who joined in the rites was astonishing.


The images being loaded into the boat for the fluvial parade. Note the priest taking photos of the Sto Niño. He is Fr. Pederito Aparece, OSA aka prncwr in flickr
Camera: Canon EOS 350D Digital, 1/50s, f/5.6, 49mm, ISO 100


The fluvial procession headed off to the port of Cebu and a celebratory parade ushered the images to the Basilica where a reenactment of the christening of the Cebu rajah in 1521 was performed. A holy mass capped off the events in the morning.


the “galleon” boat bearing the images of the Holy Child and Mother, Mandaue City, Cebu, the Philippines (photo by my wife)


Although the grand religious procession started at 1:30PM, as always, we went to the city at 10AM to get a select parking spot. Park spaces are a premium come Sinulog time and we needed a place that was close enough to the Basilica del Sto Niño but just outside the perimeter route of the procession so that we would not get trapped. Our meeting place with friends and family was the nearby Metropolitan Cebu Cathedral. We joined the procession promptly at the start of the parade.


the Metropolitan Cebu Cathedral, Cebu City, the Philippines
Canon EOS 350D Digital, 1/100s, f/20, 41mm, ISO 100


Hundreds of thousands of faithful attended the religious procession. The participants marked the parade with solemn prayers, hymns and recitations of the holy rosary.


the image of the Holy Child (photo by my wife)


For crowd control, the parade route was roped by students. Distinctly, I still can remember giving such mandatory service during Sinulog time. Today, students still do this as part of their co-curricular military or community training in year 1 and 2 in college. I am pleased that nowadays, female students are required the same chore. This is gender equality. Up to the early 90s, only men get the “honor”.


at the Osmena Boulevard, Cebu City, Cebu, the Philippines
Canon EOS 350D Digital, 1/160s, f/8, 55mm, ISO 100


The route was circuitous and extended at least 5 kilometers. In one strip in Jakosalem St, parents decided to dress up their kids as angels for the Holy Child. Perched on a makeshift bleacher, they surely enjoyed the attention from procession-goers. With our feet aching, we delighted in taking a respite and I took photographs of the cherubs.


at Jakosalem St, Cebu City, the Philippines
Canon EOS 350D Digital, 1/100s, f/8, 47mm, ISO 100


It was so wickedly hot that afternoon and I took pity on the children. They were certainly instructed to do their duty to “watch” over the crowd despite the heat. One kid was lucky as she had a parasol to keep up her poise.


at Jakosalem St, Cebu City, the Philippines
Canon EOS 350D Digital, 1/200s, f/6.3, 49mm, ISO 100


Although the procession started early, the Sto Niño carroza only emerged from the Basilica del Sto Niño past 3PM due to the thickness of the crowds.


the thick crowd participating in the procession (photo by my wife)


As we were with the early pack, we arrived early and had time to attend mass at the nearby Cathedral at 4:30PM. The Metropolitan Cebu Cathedral literally became a haven for procession-goers, weary from the walk around the city.


Canon EOS 350D Digital, 4/5s, f/6.3, 18mm, ISO 100
the Metropolitan Cebu Cathedral during the Sinulog procession


Afterwards, we even had an hour to burn before the Sto Niño arrived.


a closer look of the Metropolitan Cebu Cathedral
Canon EOS 350D Digital, 4s, f/22, 18mm, ISO 100


At 6:30PM, the Holy Child finally passed by the Cathedral. Everyone fell to a hush. In prayer, balloons were set free, handkerchiefs were waved in the air and implorations escaped from the lips of the faithful. A feeling of awe and humility fell on everybody.

People became one.

Viernes Santo 2008, part 2

Tableaux

Aside from singular standing icons, there were a few tableaux paraded during Good Friday at Talamban. These are biblical scenes which consist of 2 or more images. There could be more than three tableaux but it was difficult to cover everything in the little time I had.

First, there was the Pieta which is a relatively new addition to the Talamban lineup and owned by a local councilor Nestor Archival. Unquestionably, its design was derived from Michelangelo’s marble masterpiece. I must admit that in the photograph below, I was more interested in presenting the colorfully garbed lay ministers playing the “Apostles” during the Good Friday proceedings than the Pieta or the Santo Entierro in the background.


Canon EOS 350D Digital, 1/500s, f/5.0, 190mm, ISO 800, +2/3EV
the Pieta tableau and the Santo Entierro, as framed by the lay ministers dressing up as the Apostles during the Good Friday procession, Talamban, Cebu City
phototip: Bring life to procession shots by framing them with people.


I was only able to shoot one other tableau, which I think is The Third Last Words. Conveniently parked in front of the school gate, the Crucifixion features the Crucified Christ, the Blessed Virgin Mary, Mary Magdalene and St. John the Evangelist. I took a few frames and below are 3 versions.

The first photo was an attempt to isolate the Mater Dolorosa (Grieving Mother) and the Crucified Christ. I tried to eliminate St. John from the frame but not completely so as the halo could still be seen at the right border of the frame. However, I like how the late afternoon sky came out clean and blue.


Canon EOS 350D Digital, 1/1000s, f/18, 50mm, ISO 100
the Crucifixion tableau, Good Friday procession, Talamban, Cebu City


The next picture incorporated Mary Magdalene in the frame. I tried several angles but this time, the background proved to be the distraction. The windows of the house across the school stick out sorely.


Canon EOS 350D Digital, 1/640s, f5.0, 95mm, ISO 400, +1/3 EV
the Crucifixion tableau, Good Friday procession, Talamban, Cebu City


I like the last shot best. It was not taken near the image but was shot some 20 meters away, on higher ground (the church is on a hill overlooking the parish school). There were however, too many streamers and painted murals on the walls. Given no alternative, I tried to present them as a religious context to the scene. I also believe that the high angle managed to illustrate the excitement of the dense crowd just when the procession was about to start.


Canon EOS 350D Digital, 1/500s, f/5.6, 240mm, ISO 800, +2/3EV
the Crucifixion tableau, Good Friday procession, Talamban, Cebu City


Santo Entierro

Ask any Filipino what the climax of the Good Friday procession is and you’ll get a unanimous answer: the Santo Entierro (the Holy Burial or Haya in Cebuano). The parade rightfully reserves a central role to the Santo Entierro as a penitential commemoration of the Jesus’ sacrifice in Calvary.

Talamban’s Santo Entierro, I’ve been told, is owned by the family of the late Vicente Leyson, a former barangay captain, and is as old as the church that was established in the 1960s. As called for by custom, the Santo Entierro is placed in a hearse adorned only with white flowers, linen and lamps although the wooden carroza is painted in gold, which came out remarkably photogenic in pictures.


Canon EOS 350D Digital, 1/125s, f5.6, 40mm, ISO 800, +1/3 EV
the Santo Entierro just before the start of the Good Friday procession, the San Isidro Parish Church, Talamban, Cebu City, the Philippines
phototip: The classical golden section is an effective composition.



Canon EOS 350D Digital, 1/320s, f5.0, 40mm, ISO 800, +1/3 EV
the Santo Entierro just before the start of the Good Friday procession, the San Isidro Parish Church, Talamban, Cebu City, the Philippines
phototip: Photographing the photographer is interesting when the subject is a woman of cloth!


the Veneration

The procession began a little past 5:30 P.M. Following a route that was around 4 kilometers long, the procession only started to file back an hour later. Because of the thick crowd, it took another 15 minutes for all of the carrozas to get back in the school grounds. As expected, upon arrival at the parish school yard, there was a rumble as people elbowed each other to get the flowers adorning the carts, especially that of the Santo Entierro. Belief is that they are miraculous having been blessed in the act of the procession. These flowers are often incorporated in cure-all elixirs called in the vernacular as lana (oil) or haplas (salve). I pity the carroza marshalls for they cannot never really save the flowers but only safeguard the icon from vandalism or damage.

Only the Santo Entierro gets the honor to be ushered inside the Church. It was laid in front of the altar. Automatically, people flanked the image at three sides and the lay ministers had to move in quickly to form queues and maintain order.

Photographing the scenes of veneration was difficult as the jostling madness could not give me any clear shot. Fortunately, I saw that the stairwell leading to the choir loft was not locked. Nobody really minded me sneaking up and settling my tripod. The view from above was perfect. My telephoto lens is not really that powerful nor sharp but it is serviceable on occasions like this one.

The weakness of the 75-300mm 1:4-5.6 II USM lens is nevertheless obvious. Grain can be an issue especially with a crop as severe as the one below. The flickering shadows are actually the moving lines of the worshippers who kissed the image in a span of 20 seconds.



Canon EOS 350D Digital, 20s, f/29, 230mm, ISO 100, -1/3 EV
the Santo Entierro, during Good Friday, the San Isidro Parish Church, Talamban, Cebu City, the Philippines
phototip: I chose a narrow aperture to achieve an exposure of 20 seconds. This allows me to make the worshippers filing to kiss the Holy Body “disappear” into indistinct but ghostly shadows.


Getting a clean shot of the chaos was a challenge. I had to time a shot wherein the Santo Entierro would not be totally covered by people during the exposure. I also composed a frame that juxtaposed the snaking queues against the others worshippers who chose to say their petitions in silence on the pews. Below is one version in full saturated colors.


Canon EOS 350D Digital, 25s, f/22, 49mm, ISO 100, -1/3 EV
the queue to kiss the Santo Entierro, San Isidro Parish Church, Talamban, Cebu City, the Philippines
phototip: Time the shot to ensure that the photo gets a clear view of the subject, the Santo Entierro.


The photo below is the actually the same as the one above, only that I cropped the scene closer to the Santo Entierro. The conversion to black and white allows clearer isolation the subject, as the eye is ultimately led towards the subject of veneration.


Canon EOS 350D Digital, 25s, f/22, 49mm, ISO 100, -1/3 EV
a closer crop of the queue to kiss the Santo Entierro, San Isidro Parish Church, Talamban, Cebu City, the Philippines

When I left the church that night, I realized that not like in the past, I was not really able to walk through the procession. Playing the photographer prevented me so. But documentating is not just spectating. I left with a renewed sense of belief that recording acts of faith is an active affirmation of my own.