Black Nazarene

1. Location Quiapo, Manila, Philippines
Date 31 May 1606 (from Acapulco,Mexico)
Witness Recollect Priests
Type Wooden statue
Holy See approval
Pope Innocent X
Pope Pius VII
Shrine Basilica of the Black Nazarene
The Black Nazarene, known to devotees in Spanish as Nuestro Padre Jesús
Nazareno (Filipino:Poong Itim na Nazareno; English: "Our Father Jesus [the]
Nazarene") is a life-sized, dark wooden sculpture of Jesus Christ carrying the cross,
while representing his passion and suffering and is believed to be miraculous by
many Filipino Catholics.
Originally with fair complexion, it turned dark after it survived a burning ship on its
arrival fromMexico. The image is currently in the Minor Basilica of the Black
Nazarene in Quiapo district, Manila,Philippines, where it is venerated weekly with
Friday Novena Masses.
The statue is celebrated on three annual occasions, and comes out of its own basilica
each New Years Day, Good Friday, on January 9, celebrating its transfer (Spanish:
Traslación)[1] and enshrinement in the present Basilica, and is attended by several
million devotees.
Description
The Black Nazarene derives its main title from the citizenship of Jesus of Nazareth,
and its external local title regarding the present skin complexion of the statue. Atop
the statue are the three traditional"Tres Potencias" symbolizing the three powers of
the Holy Trinity, which also symbolize the "Rayos"or rays protruding from the head
of the statue as a form of a Christological Halo. The statue has lost several fingers
over the years of procession, and its original head has been transferred several times
into another replica body constructed at the request of the Archdiocese of Manila.
The statue wears a crown of thorns atop a braided woven wig made of
dyed abaca material, and carries a black life-size cross, adorned with brass gold-plated
ornamentation on its cap. The statue itself also has its own wardrobe, often
made of expensive fabric, gold bullion thread, fancy embroidery and trimmings. In
addition, a gold-plated metal belt bearing the its name also hangs on its waist, with a
golden chain-ball symbolizing the Flagellation of Christ. The statue is always on a
bended knee posture, symbolizing the exhaustion and agony of carrying the cross.
Furthermore, the statue is always barefoot and always rests on its own wooden base
or peana. The external base supporting the statue during its procession is called
a "Carroza" or Carriage while the rope used during its procession is referred to
as "Andas", from the Spanish rootword "Andar" or to move forward.
[edit] History
The statue's original Mexican sculptor is unknown but the image arrived in Manila
via a galleon ship from Acapulco, Mexico. Folk tradition attributes the dark color of
the statue to a fire on the ship carrying it, charring the white image to its present dark
complexion.
Church records in Intramuros district note that there were two identical images of
Black Nazarene brought to Manila. The first was kept in San Nicolas de
Tolentino church in Bagumbayan and later transferred to Intramuros when the old
edifice was demolished. This Black Nazarene was bombed and destroyed in the 1945
Battle of Manila.
The other statue was given by the Recollect Priests to the Quiapo church, and it has
been often mistaken by many to be the first destroyed statue during the war.
THE NEED TO TOUCH AND BE TOUCHED BY HEAVEN:
It has been asked of me, why do you allow the people to touch the statue? Isn’t it
bordering on idolatry? I guess, the view behind that question isn’t really Filipino.
Filipinos are a people of ‘the concrete’. Our expressions are expressed ‘in the
concrete’. This is an Asian trait. 'Christ was Asian!' according to one of the
statements affirmed by the International Gathering of Asian Shrine Rectors. That is
why, in the bible, Christ touched the sick, the children and sinners. The crowds
too were pushing on Jesus, wanting to touch Him. Remember the woman who was
sick with a hemorrhage. When Jesus asked who touched him, the disciples
complained that there were many people touching him and he asked the question
who touched him? The woman believed that if she could only touch Jesus, then she
would be healed and true enough, her faith healed her. It is a Filipino trait to want to
wipe, touch, kiss, or embrace sacred objects, if possible. We Filipinos believe in the
presence of the Divine in sacred objects and places. The people want to be connected
to the Divine, be it through the lining up for the Pahalik; or holding on to the
vestments of the Nazareno after the Pabihis; or to be able to touch the rope and put it
on their shoulders - this is a way of expressing one’s faith. It is an expression of their
devotion. We all know we don’t worship statues. We worship God and if these
statues would ‘bridge us to God’, then we want to connect with God using these
statues. Kissing or holding on to the statues is not worshipping statues, it is
connecting to the divine, to touch and be touched by heaven itself. When I scolded a
child for joining the procession and touching the statue, I asked her: “Bakit mo

2. ginawa iyon? (Why did you squeeze through the crowd and touch the statue – that is
dangerous!)” The child answered, “Kasi po kung mahawakan ko siya,
mabebendisyonan na Niya ako at maririnig Niya ang aking panalangin! (Because if I
touch the statue, I will be blessed and Jesus will hear my prayers!)”
People go to Quiapo Church because they believe that God’s presence and power is
more intense in this Shrine. A theologian once said: “Shrines are places here on earth
where the veil that separates heaven and earth has a tear.” I guess our task is not to
destroy popular practices, but to understand them and re-focus them so that a more
sound faith may develop. One of our problems in Quiapo is how to multiply the
possibilities where people could get in touch with the Divine in a way that
would not cause harm to them or their faith. We also need to deepen the devotees ’
encounter with our Lord. We have just tried to begin regular Holy Hours and
Benedictions and reviewed our liturgies and prayers to reach the soul of our
devotees. We have increased the schedules of our pilgrim images visiting parishes
and dioceses all over the Philippines. We have begun a liturgy for the changing of
the garments of the Black Nazarene which culminates in the devotees’ touching of
the used garment of the Black Nazarene. We have also started healing services every
Thursday before First Fridays where priests are invited to lay their hands on the
devotees.
WHY IS THE DEVOTION GROWING?
Interestingly, the Protestants have begun analysing the devotion to the Black
Nazarene. They identified three elements why Catholics devoted to the Black
Nazarene are growing. They cited three reasons: 1) Miracles and Healing 2) The
identification of the Filipinos with the Sufferings of Jesus Christ and 3) The
Panata/Commitment. I agree with the reasons stated here. I myself had witnessed
numerous miracles which Our Lord of the Black Nazarene has done to peoples.
This essay falls under Historicism. Historical critics
see works as the reflection of an author's life and
times or of the characters' life and times. They believe
it is necessary to know about the author and the
political, economical, and sociological context of his
times in order to truly understand his works.
Ophelia A. Dimalanta, obviously explains what is her
observation on the time of the Philippines' history for
every which is the "Pista ng Nazareno". As what have
said in Historical approach, it is more on the
reflection of an author's life. Maybe the author wants
us to show the historical event of her time which until
now it is really important event to us. She actually
narrate and describe to us what is behind and what is
really happening on the "Pista ng Nazareno". However,
there are some details that the author didn't tell us.
For example, the attire of the devotees in the said
"Pista ng Nazareno", the negative situations happening
on that day like people who are fainting ,devotees who
are getting lost their sons/daughters as well as the
valuable things like cellphone which gets lost while
devoting to the Black Nazarene.
Quiapo Church has been a witness to several practices of Popular Piety,
which have become part of the Devotion to the Black Nazarene. Among
them are the Pahalik (kissing of the statues), Pasindi (lighting of multi-coloured
candles outside of the church), Padasal (from theMandarasals or
the Priests), Pabihis (the changing of the garments of the Black
Nazarene),Pabendision (sprinkling of holy water after Masses or the kissing
of the hands of the priests),Pahawak (touching of the garments of the Black
Nazarene), Pamisa (Mass Offerings),Pagnonobena (Novena prayers or
Masses), Pagpasan (Carrying of the wood of the carroza or the rope
attached to it), Pagyayapak (walking barefoot during
processions), Paglalakad ng Paluhod (processing to the altar on bended
knees).