It takes a certain build to be able to port an immense paso, or float, through the streets for the numerous processions that will be held during Semana Santa, or Holy Week. Teams of costaleros, the bearers of the floats, must all be of about the same height and have strong necks.
Costaleros are often encountered at practice, as above, with a training base topped with cinder blocks. Rewarding beer breaks appear part of the team-building practice. As the floats are assembled by members of the church confradias, or brotherhoods, what the porters carry becomes increasingly more elaborate.
In the early evening leading up to Holy Week in Sevilla, almost every church throws open their doors for the faithful to file through to view the heavily gilded pasos.
paso on advance display in a church in Sevilla
A nazareno reaches into his (or her?) cloak for a holy card for a child on the streets of Cadiz
Semana Santa chocolate nazarenos at La Campana in Sevilla
paso on advance display in a church in Sevilla
paso on advance display in a church in Sevilla
Semana Santa chocolate float and nazareno bonbons at La Campana in Sevilla
Semana Santa nazareno bonbons at La Campana in Sevilla
paso on advance display in a church in Sevilla
paso on advance display in a church in Sevilla
costumes and processional banners on advance display in a church in Sevilla
banner-bearing penitentes on Viernes de Pasion in Cadiz
sacred figures on display in a church in Sevilla
paso on advance display in a church in Sevilla
paso on advance display in a church in Sevilla
La Virgen of the lace shop in Sevilla
paso on advance display in a church in Sevilla
paso on advance display in a church in Sevilla
paso on advance display in a church in Sevilla
Semana Santa chocolate float and nazareno bonbons at La Campana in Sevilla
paso on advance display in a church in Sevilla
costaleros practice porting the lower portion of a paso in Sevilla
costaleros practice porting the lower portion of a paso in Sevilla
sacred figures on display in a church in Sevilla
La Virgen of the antique store in Sevilla
paso on advance display in a church in Sevilla
penitentes port a cross on Viernes de Pasion in Cadiz
La Virgen of the tassle shop in Sevilla
Ornately crowned Virgens appear front and center in displays in numerous shops, but the most tantalizing windows are those of La Campana, a confectionary store operating in Sevilla since 1885. Chocolate and bon bon Nazarenos parade side by side next to elaborately crafted candied pasos. Could not help wondering about the proper etiquette for eating a chocolate Nazareno. Feet first? The way I used to nibble at chocolate rabbits when Mother wasn’t looking, thinking she would assume the bunnies merely were sinking deeper in the shiny green grass of the basket?
Last evening found us in Cadiz for processions of penitentes slowly, dirge-like slowly, marching to mark Viernes de Pasion, or Viernes de Dolores, the final Friday of Lent commemorating the suffering of the grieving Virgin Mary. Wearing their signature capirotes, hoods with tall points revealing only their eyes, the figures appeared quite grim.
Guilty confession: dinner summoned us before any actual pasos appeared heading our way along the crowded narrow streets. There were a lot of penitentes in the advance guard.
Wrote so many things about Guanajuato two years ago that few words are necessary. Here is a batch of photos mined there during our meanderings there this past fall.
Casa del Conde Rul
Capilla Santa Casa de Loreto
Templo de San Francisco
Templo de la Compania de Jesus
Iglesia de San Diego
Diez y Seis de Septiembre lights
Teatro Juarez
street corn
Father Hidalgo prepping for Diez y Seis
Universidad de Guanajuato
El Clave Azul Mezcal Bar
Museo Palacio de los Poderes
Basilica of Our Lady of Guanajuato
Teatro Juarez
castillo erected for fireworks to celebrate the Festival of the Virgin of Loreto
Basilica of Our Lady of Guanajuato
Templo de la Compania de Jesus
El Pipila
jarra de claret
My favorite photo here is the rooftop overflow “parking lot” for El Nino Medico. The toy cars left with prayers for El Nino in his glass quarters in Templo de la Compania de Jesus always mount up, sometimes to the point of almost burying him. There were so many stuffed inside this trip that the faithful began parking them on top of his quarters. I am including a photo after the illegally parked cars have been towed away once again by church guardians.
rooftop overflow parking lot for cars and trucks left for El Nino Medico
Bearing a pair of eyes on a platter, Santa Lucia, or Saint Lucy (283-304), watches all entering the Ex-Convento de Santo Domingo, home to El Museo de las Culturas de Oaxaca. The patron saint for safeguarding eyesight and writers, Santa Lucia always has ranked among my favorites.
Upon reaching what was considered a marriageable age, Santa Lucia opted to dedicate herself to God and pledge herself a virgin. Born into a wealthy family in Sicily, she began distributing her worldly goods to the poor.
Alas, Lucy’s mother previously had promised her daughter’s hand to a suitor, a man displeased with the dispersal of the family’s wealth perhaps more than the personal rejection. Vengeful, he reported her Christian beliefs to Roman authorities.
The Roman authorities sentenced Lucy to reside in a brothel and to be forced into prostitution. Divine intervention rendered her immovable, despite the soldiers’ repeated efforts to budge her in order to carry out the sentence. Thwarted, they gouged out her eyes and set her ablaze. But Lucy proved impervious to the flames so they resorted to ending her life by thrusting a sword through her throat.
This background is why Santa Lucia would seem ideal to offer temporary sanctuary to a Penny Siopsis’ powerful short film, Communion, relating to the end-of-life experience of a Dominican nun, Sister Mary Aidan (1914-1952). The Irish-born doctor, Elsie Quinlan, had devoted years to lovingly tending and healing Black South Africans in a clinic in New London, South Africa, when she turned her automobile into a public square in November of 1952.
Apartheid was institutionalized by the National Party of white rulers of the country, and public gatherings of Blacks were outlawed. The African National Congress spurred a protest in the square as part of the 1952 Defiance Campaign, and soldiers firing into the crowd killed several Blacks.
By the time Sister Aidan drove into the midst of the then angry mob, instead of recognizing a nun who had been helping them the rioters only saw yet another white person determined to harm them. She was stabbed seven times and set ablaze in her car.
The fire had fused my rosary beads….
“voice” of Sister Mary Aidan narrating Communion
The crowd still was determined to avenge the deaths of those shot by the soldiers. The first-person narration continues with the inquest:
Parts of my body were missing. Someone said a lady had a bread knife.
By the time police broke up the riot, the government admitted to fatal shootings of at least nine. Unofficial reports placed the number at closer to 200.
And that is all of the tragic tale I can bear to relate. What could be sadder than, as artist Siopsis described during a dialogue with artist William Kentridge, “being killed by people you love and who love you?”
“Hacer Noche/Crossing Night,” Arte Contemporaneo del Sur de Africa, through February 5
“Drum/Tambor,” Samson Mudzunga, 1996
“Drum/Tambor,” Samson Mudzunga, 1996
“Rain Prayers/Los Rezos de Lluvia,” Simphiwe Ndzube, 2018
“Rain Prayers/Los Rezos de Lluvia,” Simphiwe Ndzube, 2018
“The Revenge of 400 Years Is Losing its Baby Teeth/La Vengaza de 400 Anos Esta Pendiendo sus Dientes de Leche,” Dan Halter
“Rain Prayers/Los Rezos de Lluvia,” Simphiwe Ndzube, 2018
El Museo de las Culturas de Oaxaca, Ex-Convento Santo Domingo
El Museo de las Culturas de Oaxaca, Ex-Convento Santo Domingo
The film is part of “Hacer Noche/Crossing Night: Arte Contemporaraneo del Sur de Africa,” an exhibit at the Museo de las Culturas closing February 5.
The dancing skeletons visible in the background of one of the photo’s of Simphiwe Ndzube’s “Rain Prayers” are a frame from Kentridge’s short film “30% of Life/30% de Vida.”