LENT IN THE PHILIPPINES (PART 2)

Linggo ng Palaspas

Palm Sunday of the Catholic Holy Week is ushered with a widely- practiced ritual; parishioners wave palm fronds, locally called palaspas, in the air, mimicking the crowd that met Christ upon his return to Jerusalem. Blessings, prayers and Sunday mass follows, in affirmation of the religious nature of this age-old custom.

The Pasyon

The Pasyon refers to the verse narrative on the life and sufferings of Jesus Christ. The pasyon text may be written in Tagalog or in other major Philippine languages, like Pampango, Ilocano, Pangasinan, Bicol, Ilongo, Cebuano, and Waray. There are also pasyon narrative among the Ibanag and Itawes of Cagayan, the Gaddang of Nueva Vizcaya, and the Cuyunon of Palawan.
Among the Tagalog, the most commonly used text is entitled Casaysayan ng pasiong mahal ni Jesucristong Panginoon natin na sucat ipag-alab ng puso ng sinumang babasa (An account of the sacred passion of our Lord Jesus Christ which should inflame the heart of anyone who reads it), which is one of the many later editions of a work by an unknown writer first published in 1814.

Continuous singing of this length is not practiced in the Spanish and Mexican lenten traditions. It relates to the Philippine cultural practice connected with epic singing during important celebrations of the community. The pasyon may also be chanted, though rarely now, during wakes and death anniversaries, as well as during the reenactment of Christ's Last Supper on Holy Thursday evening. There are various melodies and musical styles in the rendering of the pasyon.

Because the text is in 5-line stanzas while melodic phrases tend to be symmetrical, various techniques are employed to reconcile the difference. In a widely used, old Tagalog punto, the first musical phrase encompasses lines 1 and 2, while the second musical phrase covers lines 3, 4, and 5. In adapting folk song melodies or similar tunes, a four-phrase melody is first sung for lines 1 to 4, which is repeated to render lines 2 to 5. Another formula makes a four-phrase melody coincide with lines 1 to 4 and appends a stock melody or standard melodic ending for line five. Generally, pasyon singing is a capella.

Many innovations in pasyon singing have been introduced, like the use of the guitar or rondalla for accompaniment and the use of the accordion by a traveling group of pasyon singers. Singing of the pasyon is performed in two basic group formations. In the first, two people or groups of people sing alternately. In the second formation, each of the singers take their turns in singing a stanza of text.

The pasyon chanting tradition is seen by many of its practitioners as a vow or panata made by an individual or family, which in many cases has been passed on from one to two generations back.

Source: http://www.filipino.com.au/categ/culture/pasyon.htm