SELF- FLAGELLATION AND CRUCIFIXION AS EXTREME EXPRESSION OF FAITH

lare, to whip) rituals were built around processions, hymns, distinct gestures, uniforms, and discipline.

Flagellants - hooded, half-naked men- scourge themselves by first cutting their backs, chest, arms and legs. with a blade or knife then whip their backs with bamboo-tipped burillos or with whips embedded with thorns and glass shards as the blood flows out of their wounds.

Some participants carry crosses through local churches, then lie on scorching concrete pavements, with arms spread as they are hit on the back with wooden paddles as an act of full surrender to the mercy of God.

For many flagellants, it is not enough that they confess their sins. Serious injuries must be inflicted upon themselves so that they will be convinced that their sins have been forgiven. They believe that by punishing the body, the sins would be absolved and the soul would be more potent.

Some do it as an act of sacrifice for the welfare of their families or to re-live the pain and sacrifice of Christ in the hands of the Roman soldiers

Flagellation and self- flagellation were widespread practices in some parts of the Catholic ministry.

It was even featured in “The Da Vinci Code” wherein Silas, an Opus Dei albino monk, whips himself with a “discipline,” or knotted cord while wearing the cilice - a spiked chain worn on the upper thigh as a reminder of Christ’s suffering.

It was during the 2013 Moriones festival in Torrijos, Marinduque that I witnessed an actual live crucifixion. The Moriones refers to the masked and costumed penitents who march around the town for seven days searching for Longinus.

The re-enactment of Jesus Christ’s crucifixion started as the staging in Holy week of 1955. of the street play “Via Crucis” in Pampanga

by poet-playwright Ricardo Navarro

with Pedro Cutud as the artist who was ‘crucified’. The actual live crucifixion only happened in 1961 when Arsenio Añoza made a vow to nail himself to a cross every Holy Friday.

Penitencya and crucifixion are sometimes associated with “religious dark tourism” which attract thousands of local and international tourists every year to watch the gory displays of faith in a fervently Catholic nation.

Remembering the passion and death of Christs through flagellation and crucifixion became the perfect ingredient of visitor economy.

Health officials has consistently reminded participants to ensure that nails and other sharp objects that will be used during the acts are well sterilized to avoid contracting tetanus infection.

However, they warned there is no assurance that the sterilization would not cause infection because of exposure to various elements in the course of penitence.

A disturbing practice is using a razor blade or a small wooden plank embedded with glass shards to prick the skin of the back and initiate bleeding before the flogging starts. In most cases, only one such implement is used on several penitents.

The Catholic Church has discouraged these activities which it considers as extreme misinterpretation of faith.

“We are doubtful that these are real expressions of Christian faith. These are expressions of superstitious beliefs and usually done for tourism purposes,” the Catholic Bishops Conference of the Philippines (CBCP) said in a 2015 statement.

(Peyups is the moniker of University of the Philippines. Atty. Dennis R. Gorecho heads the seafarers’ division of the Sapalo Velez Bundang Bulilan law offices. For comments, e-mail info@sapalovelez.com, or call 09175025808 or 09088665786.)

Ben Cal

As the defense reporter of the Philippines News Agency (PNA) for four decades, I had the rare privilege to go around the country countless times to cover news events, particularly at the height of the Moro insurgency war in Southern Philippines. I also covered the Visayas region during the ‘70s and ‘80s in the company of military officers, particularly then Maj. Gen. Fidel V. Ramos, who was chief of the Philippine Constabulary and Integrated National Police (INP) at that time. Gen. Ramos, who was also the vice chief of staff of the Armed Forces of the Philippines (AFP) at that time, regularly visited government troops on the frontline to give them moral support.

It was during these out of town sorties, especially in critical areas that I found myself in the line of fire four times, and thanked God, I survived unscathed.

My first coverage on the battlefield was in 1976 on the island of Sulu in Mindanao, together with fellow journalist, Alex Allan of the now defunct Philippine Daily Express. We were the only journalists from Manila who accompanied Gen. Ramos to Sulu where government forces were fighting the rebels of the Moro National Liberation Front (MNLF).

We left Manila very early morning on board a Philippine Air Force Fokker-27 plane for Jolo, the capital of Sulu. The flight took two and a half hours. Earlier, we were briefed by Rear Admiral Romulo Espaldon, commander of the Southern Command (SOUTHCOM) of the AFP, about the situation in Sulu, a known MNLF stronghold.

Upon landing at the Jolo Airport, I saw hordes of government soldiers in full battle gear. “Boy, this is really war,” I said to myself. The formidable display of armour and heavy weapons convinced me that the country was facing a serious rebellion in Mindanao. Casualties on both sides were heavy, not to include civilians caught in the crossfire.

There was a short briefing at the Army headquarters before we boarded two Air Force “Huey” helicopters armed with M60 machine guns.

As our helicopters flew just about treetop level, the pilots sped away at more than 100 kilometers per hour. Not only did the daring Air Force pilots fly so dangerously low, but they also zigzagged their way into

In The Line Of Fire

the vast Sulu sky to deny the rebels a clear target. Feeling helpless, I tightened my seat belt, held my breath and prayed Psalm 23. As we were about to land at a military camp in Central Sulu, a battle was raging between the Philippine Marines and MNLF rebels less than a kilometer away.

But instead of ordering the pilots to abort the flight and fly back to Jolo, Gen. Ramos, told the pilots to proceed to our destination, undaunted by the ongoing firefight. As our choppers landed, Gen. Ramos was the first to jump out from the helicopter and strutted his way toward a group of Marine troopers led by their commander, Maj. Vicente Bacquial, who incidentally was a former schoolmate of mine. After rendering a snappy salute, he was surprised to see me, but when I told him I’m a journalist, we shook hands.

Gen. Ramos and the rest of us later went inside a room stacked with sandbags. About 10 minutes into the briefing, MNLF rebels attacked the Marine camp’s gate, but the troops were able to retaliate. The crackle of gunfire did not distract Ramos a bit as I observed his stoic expression. He continued puffing his cigar and occasionally asked Maj. Bacquial questions about military operations in Sulu.

Then, the Marine troopers engaging the MNLF radioed, informing Maj. Bacquial that the rebels were closing in fast. At this point, Gen. Ramos calmly told Maj. Bacquial “stop the briefing, attend to your men.”

Despite being the highest ranking military official, Gen. Ramos, a veteran of the Korean and Vietnam wars, did not interfere in any manner with what Maj. Bacquial would do to contain the MNLF attack.

The young officer immediately went into action and ordered his men to reinforce the troops. He also dispatched one V-150 armoured vehicle.

Radio communications between the Marine unit and Maj. Baquial continued as the team leader gave a blow-by-blow account of the fighting. He asked his men if there were any casualties.

“Two dead on the enemy side, sir,” the soldier replied over his twoway radio.

We monitored the ongoing firefight and after 30 minutes the MNLF rebels retreated bringing with them their casualties.

Gen. Ramos calmly ordered Maj. Bacquial to resume the briefing as if nothing happened. After the briefing, we flew to a mountainous area to visit a new Army detachment. We were accompanied by Col. Salvador M. Mison, commander of all military forces in Sulu and nearby Basilan Island.

Shortly after landing, we received an SOS message from an Army patrol asking for the immediate evacuation of a wounded soldier. Upon hearing, Gen. Ramos ordered the pilot to rescue the wounded trooper and bring him to the Army hospital in Jolo.

Since we were perched at a vantage point overlooking the area, we were able to witness in real time the daring helicopter rescue operation. The two choppers flying in precision banked to the right and dived toward the other side of the mountain where the firefight was raging. One of the helicopters plucked the wounded trooper, while the other circled above to provide air cover.

In five minutes, the entire rescue episode inside enemy territory was successfully completed as it unfolded before our eyes. It was like seeing a movie – except that it was for real.

On March 13 to 19, 2023, Davao City’s top tourist destination Eden Nature Park and Resort featured the artworks of Davao artists’ groups Tabula Rasa and GAMA in an exhibit dubbed Festival of Colors: A Culture and Arts Exhibit, which is part of the resort’s 86th Araw ng Dabaw celebration.

Visitors not only enjoyed the alltime cool weather of Eden but were able to experience arts and culture through the paintings displayed at the Day Tour Center.

The artists presented artworks that flaunted the Indigenous Peoples, local animals, flowers, and fruits that make Davao City admired by the tourists.

GAMA exhibited coordination and observational skills as they treated guests and the Davao City media with a live sketching and painting session at the Upper Veranda on March 18. Guests were all able to witness and have their likeness painted in real time and had a chance to take a piece of it home as a souvenir.

Over 25 portrait sketches were drawn during the one-day session. Local artist Christine Lagura also had a live hand painting of “bayong” bags showcasing the flowers that are common in the resort.

Founding member of the Tabula Rasa art group and a self-taught painter, Dinky Munda, expressed gratitude to Eden for the opportunity and hopes for more collaboration in the future.

The week-long exhibit was opened with a ribbon cutting held at the Day Tour Center led by Eden Nature Park and Resort’s Ann Marie Ayala, operations manager Celia Sutton, marketing manager Jeline Galagar, Munda of Tabula Rasa and Rolando Pinoon of GAMA art group.

Exhibiting artists from Tabula Rasa art group were Dinky Munda, Jr.,

Brando Cedeña, Daryl Descallar, Aurelio Boyaks Peña, Ninio Sepulveda, Vic Navales and Jorge Jocson. Representing GAMA, which stands for Grupo ng mga Aktibong Mindanawon Artists, were Rolando Pino-on, Jose Jojo Jimenez, Leo Patos, Rene Guerra, Christine Lagura, Liza Jardinero, Ba Noi Reyno, and George Abaigar.