IN FIERY red pants and long-sleeved high-collared shirt a la
Elvis taking over the flowing robe of his time.
Short cropped hair a la early Beatles, and sideburns straight from King FPJ himself.
Mick Jagger tongue, yeah that same one hanging from wide open puffed lips that has become the trademark of the now-geriatric-but-still-rocking Rolling Stones.
There is nothing biblical in the countenance and appearance of the Judas on-a-perch at the center of the courtyard of the St. Thomas the Apostle parish church in barrio Poblacion of the eponymously named town. He looked more like a puppet from some Punch-and-Judy show. But the throng, nay, the horde of faithful do not mind at all.
That was the Judas the elders have seen since their youth. The Judas now passed to their sons and grandsons, and to be passed on to their own progenies.
Easter Sunday noon has always been the designated time for the Judas show. But the concelebrated Mass traditionally officiated by the archbishop almost always takes a little too long with all those post-communion remarks of the pastoral council president and the awarding of some certificates of appreciation to the comite de festejos, Easter being the fiesta too.
Short cropped hair a la early Beatles, and sideburns straight from King FPJ himself.
Mick Jagger tongue, yeah that same one hanging from wide open puffed lips that has become the trademark of the now-geriatric-but-still-rocking Rolling Stones.
There is nothing biblical in the countenance and appearance of the Judas on-a-perch at the center of the courtyard of the St. Thomas the Apostle parish church in barrio Poblacion of the eponymously named town. He looked more like a puppet from some Punch-and-Judy show. But the throng, nay, the horde of faithful do not mind at all.
That was the Judas the elders have seen since their youth. The Judas now passed to their sons and grandsons, and to be passed on to their own progenies.
Easter Sunday noon has always been the designated time for the Judas show. But the concelebrated Mass traditionally officiated by the archbishop almost always takes a little too long with all those post-communion remarks of the pastoral council president and the awarding of some certificates of appreciation to the comite de festejos, Easter being the fiesta too.
The tensed
uneasiness turns to collective relief, and explosions of joy, at the pealing of
the church bells, the music from the band, and the explosion of kuwitis that signalthe end of the Mass.
Some more minutes of waiting had to be endured as the patio gets cleared of the parked vehicles.
Then some firecrackers woven in large sipa ball-like contraption are let loose around the platform holding Judas’ perch to clear it of people. To establish a sort of a safety zone.
Then, the show starts.
Four papier-mache pyrotechnic black ravens from four corners of the platform “peck” at Judas’ feet igniting them and propelling Judas to make dizzying twists clockwise and counterclockwise, then turns upside down, round and round, the tongue sticking in and out.
Then the explosions begin with the feet, the legs, the hand and arms – the head last, and loudest.
Judas gets blasted to smithereens. In all of 15 minutes. A murmur of disappointment. Judas did fewer twists and turns. His tongue did not stick out that long. And the head exploded too soon and not too loud, as the crowd desired.
In years long past, this would have borne an ill omen. The loudness of the bang ending Judas then deemed a sign of the volume of the year’s harvest in the then-farming town: the louder the bang, the higher the yield.
In 2012, instead of Judas, what exploded on Easter Sunday noon was a globe. No, it was not meant to signify the end of the world, not to presage any interpretation of the Mayan calendar that purportedly pointed to that year as the end for humankind.
What was blasted away, symbolically, were the worldly sins, those that keep mankind away from God. It was some sort of raising the event from pure vengeful glee to a higher level of spirituality.
Whatever, the loss of Judas at the scaffold unsettled, utterly disappointed the loyal crowd who, year-in and year-out, come from near and far – even from overseas – just to be part of the annual spectacle.
With Judas back for blasting, all is well again here.
Some more minutes of waiting had to be endured as the patio gets cleared of the parked vehicles.
Then some firecrackers woven in large sipa ball-like contraption are let loose around the platform holding Judas’ perch to clear it of people. To establish a sort of a safety zone.
Then, the show starts.
Four papier-mache pyrotechnic black ravens from four corners of the platform “peck” at Judas’ feet igniting them and propelling Judas to make dizzying twists clockwise and counterclockwise, then turns upside down, round and round, the tongue sticking in and out.
Then the explosions begin with the feet, the legs, the hand and arms – the head last, and loudest.
Judas gets blasted to smithereens. In all of 15 minutes. A murmur of disappointment. Judas did fewer twists and turns. His tongue did not stick out that long. And the head exploded too soon and not too loud, as the crowd desired.
In years long past, this would have borne an ill omen. The loudness of the bang ending Judas then deemed a sign of the volume of the year’s harvest in the then-farming town: the louder the bang, the higher the yield.
In 2012, instead of Judas, what exploded on Easter Sunday noon was a globe. No, it was not meant to signify the end of the world, not to presage any interpretation of the Mayan calendar that purportedly pointed to that year as the end for humankind.
What was blasted away, symbolically, were the worldly sins, those that keep mankind away from God. It was some sort of raising the event from pure vengeful glee to a higher level of spirituality.
Whatever, the loss of Judas at the scaffold unsettled, utterly disappointed the loyal crowd who, year-in and year-out, come from near and far – even from overseas – just to be part of the annual spectacle.
With Judas back for blasting, all is well again here.
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