55. Rolling on the River: APALIT’S APUNG IRU FIESTA

VIVA APUNG IRU! Apung Iru’s Fiesta as celebrated seventy seven years ago. As one can see, the deep-seated traditions and rites have remain unchanged through the years. Picture caption reads,”Plancha (water float) of St. Peter and some decorated bancas, Annual Festival of Apalit, Pampanga, June 28-29, 1926”.

Religious festivals revolving around a body of water are common events in countries of Asia. Water, after all, is an all-important element that has come to stand for life. In India, mass bathing is done in the holy waters of Ganges River to cleanse people of their sins. In Thailand, every full moon on the 12th lunar month (usually mid-November), the Loi Krathong festival is held, to honor Mae Khongka, the mother of waters. Under a moonlit night, flowers, candles and incense are floated on rivers all over the country to the accompaniment of prayers, songs and fireworks display.

In the Philippines, fluvial festivities are also observed with much folk revelry especially in provinces with river towns like Bocaue (Bulacan) and Peñafrancia (Bicol). But in terms of mass fervor , unabashed excitement and elaborate preparation rituals, nothing beats the celebration of the fiesta of Apalit, highlighted by a traditional river procession of its pintakasi, Saint Peter or Apung Iru, on the waters of Pampanga River.

Held every last week-end of June (28-29 this year), the fluvial rites may have begun as a primitive festival to honor the many gods of nature that our ancestors worshipped. With the coming of our Spanish colonizers, the rites could have merged with Christian elements, mutating into the distinctive folk festival that we know today. In the midst of all these is the one object of the townsfolk’s deep veneration--the age-old ivory image of the titular patron, Apung Iru, originally owned since the early 1800s by Apalit’s eminent family, the Arnedos.

The life-size image shows a seated Saint Peter, complete with papal accouterments: a gold crown, cape, ring and staff. The santo is housed in the Capalangan barrio chapel after a fire gutted the private shrine where it used to reside. The religious pageant begins with a town procession of the santo, carried by members of the Knights of Saint Peter. Then, the sacred image is brought to the river bank of Sulipan where as much as five thousand people and a flotilla of boats wait with eager frenzy for the saint’s arrival. It is here where the libad or fluvial parade begins.

Anticipation mounts as Apung Iru is transferred from a wooden boat to a processional pagoda decorated with multi-colored flowers. Swimmers fill the river to assist in the smooth conveyance of Apung Iru. With the image enthroned, the floating pagoda begins its 7-kilometer, 2-hour journey to San Simon town. From the banks of the river, throngs would acknowledge the passing Apung Iru by waving leafy branches and fronds or by making the sign of the cross. With excitement reaching fever pitch, brave souls would dunk themselves in the waters of the river, unmindful of the danger, swimming alongside the flotilla as hundreds more throw food offerings to water-drenched devotees.

It is interesting to note that in Christian Goa, India, a similar fluvial festival is observed every 29 June to honor Saints Peter and Paul and to welcome the monsoon. Fishermen from the large fishing families of Bardez taluka would lash their boats together to form rafts on which religious presentations were made. From the 17th to the 19th century, Goa was a major center for ivory; could the fine ivory used in carving the image of Apung Iru have originated from this former Portuguese colony?

Whatever, Apalit’s ancient way of paying homage to Apu Iru remains unrivalled in color and spirit, and, flavored with the Kapampangan’s zest for living and feasting, continues to be a unique, mind-boggling experience that mixes deep religiosity with riotous revelry!
(5 July 2003)

54. Pampanga's Churches: SAN MIGUEL DE MASANTOL

NUEVA CASA PARROQUIAL DE MASANTOL. A new parochial house was built next to the church of San Miguel to serve as the parish priest’s residence with a multi-function open social hall on the groundfloor. Completed during the term of Fr. Teodoro Tantengco. Dated 27 March 1927.

Masantol town was one of the last foundations of the Augustinian missionaries in Pampanga. The town derived its name from “ma-santul”—abundant with santol (Sandoricum koetjapa Merr.)—even if today there are no substantial number of those aforementioned fruit-bearing trees here (so much like Mabalacat and its fabled balakat trees!). Popular lore however, tells of the townspeople penchant for “sinigang”, a local viand that owes its taste to souring agents like kamias or sampaluk. Local folks, however, favored santols to give their sinigang an uncommon zing. In answer to consumer demand, vendors from nearby Macabebe, Lubao, and Guagua trooped here selling baskets of santols by the thousands—hence, the town name.

It used to be that Masantol was just a barrio of Macabebe that counted only 4 puroks in its district—Bebe, Nigui, Kaingin and Bulacus. On 26 June 1877, Gregorio Bautista, Juan Lacap and Manuel Fajardo called for a separation of the said puroks from Macabebe. This was soon granted by a government decree (with a little help they say, from Fajardo, who presented two white steeds to the approving officials!) and so, on 20 March 1878, Masantol was separated from Macabebe. Two months later, the town was inaugurated as San Miguel de Masantol.

In 1886, it was the parishioners’ turn to lobby for the independence of their parish, a request granted by the governor general on 13 January 1894. The town’s pintakasi (patron saint) is San Miguel de Arcangel and his image can be found in the church erected in the last part of the 19th century by parish priests from Macabebe. The church, done in Renaissance style, was finished in 1901, during the term of Archbishop Bernardino Nozaleda. The first parish priest is P. Jose C. Mariano.

The façade of the church shows eclectic architectural forms, from the tapering arches of the semi-circular entrance door, the linear windows of the bell tower, lattice work on the windows to the Doric columns propping the belfry. There are scroll-like flourishes above doors and windows and the canopy features a balustrade.

In 1927, during the term of Fr. Teodoro Tantengco, a new casa parroquial or convento was built to serve as residence for the parish priest and for other social purposes. Five years later, in 1932, during Msgr. Bartolome Zabala’s stay, the church was refurbished inside and out, and the churchyard was cemented and defined. In the 1980s, the church was further reinforced with cement and steel.

Masantol holds the distinction of being the first town visited by Pampanga’s patroness, Virgen de los Remedios, in the days of the Cruzada de Caridad, which was organized by the 1st Bishop of San Fernando, His Excellency Cesar Ma. Guerrero. This was on 15 April 1952. To mark this event, the portrait of the Virgin was installed on the patio of the church.
(28 June 2003)

53.THE PAMPANGA CARNIVAL OF 1933

MABALACAT TOWN BOOTH. The 21 municipalities of Pampanga competed for the best booth of the fair and each tried to outdo each other with their creative designs and structure. Most had art deco motif, the prevailing design fad in the 1930s. One of the favorite booths was the Mabalacat booth, but did not win a prize.

MISS PAMPANGA OF 1933. Corazon Hizon, a slim, raven haired beauty from San Fernando became Pampanga’s muse at the 1933 Pampanga Carnival. She was the daughter of Jose Hizon and Maria Paras. After her reign, she married Marcelino Dizon.

Pampanga’s peacetime years were a period of plenty for the province, making it the richest market outside of Manila. To celebrate the advancements made by the province in the last two decades, a provincial fair was proposed by the current administration officials led by then Pampanga Governor Pablo Angeles David. Thus, from 22 April to 6 May 1933, the Pampanga Carnival Fair and Exposition—“the greatest concourse of people on the island of Luzon”--was held at the Capitol grounds in San Fernando. Appointed as Director General was the Hon. Jose Gutierrez David, justice of the peace of San Fernando and Pampanga’s delegate to the 1934 Constitutional Assembly.

The main purpose of the Pampanga Carnival was to showcase the products, commerce and industries made by the province. In so doing, it also hoped to show the progress it has made in its other pursuits, encourage better reciprocal relations with other provinces and promote local and international tourism. More than a display of prosperity though, the Carnival was also meant to be a concrete expression of local autonomy in keeping with the principles of a truly democratic government. The proceeds of the Carnival were to be set aside for the construction of roads and schools in the province.

As such, almost all of the 21 towns of Pampanga came to participate, setting up their own booths and displays, in the grand tradition of the national Manila Carnivals. The 12-hectare Provincial Capitol was transformed into one giant fairground where “beauty and romance reigned supreme”. The grand entrance to the auditorium had an art deco motif, the prevailing design fad at that time.

Provinces from near and far were invited to participate and Bulacan, Tarlac, Nueva Ecija, Bataan, Ilocos Norte, Laguna, La Union, Tayabas, Pangasinan, Baguio and even faraway Lanao responded by sending their delegations. Schools led by the University of the Philippines, Ateneo de Manila, San Juan de Letran, U.S.T. and Pampanga High School were also represented, as well as local, national and international industries like Honolulu Iron Works, International Harvester, I. Beck, Inc., Alhambra, La Insular, Gonzalo Puyat, Erlanger and Galinger, Pampanga Sugar Mills, Angeles Electric Light and Ice Plant, San Fernando Soft Drinks, Moderna Furniture and Carbungco Restaurant. Government bureaus like the Bureau of Forestry, Commerce, Science and Plant Industry also set up their own stalls. Designated as the official photographer of the fair was the popular Juan de la Cruz Studio, managed by Kapampangan Rogerio Lagman.

Awards were presented to the winners of the best booths, products and displays. Medals were designed and executed by Crispulo Zamora, the leading metal crafts company that also made Manila Carnival medals, crowns and trophies. Notable winners included the town booths of Bacolor, (2nd prize, a geometric pavilion topped by the Villa de Bacolor crest), Guagua (2nd prize, with a façade painted with hieorglypics) , Macabebe (3rd prize, surmounted by a painting of a vendor, captioned with “Macabebe-Home of the Peddlers”), and San Luis (3rd prize, made of bamboo and decorated with buntings). Businessmen Rafael Lazatin, furniture maker Teodoro Tinio, and the Nepomucenos, owners of Angeles Electric Light and Ice Plant and Reyna Soft Drinks, were among those who earned individual 1st Prize honors. The top awards, consisting of 2 Gold Medals, were won by the Pampanga Trade School and Pampanga Agricultural School.

The much-awaited selection of Miss Pampanga 1933 provided the climax of the fair. Pampanga’s leading muses, most from socially prominent families, competed for the honor of representing the province to the Miss Philippines Contest. The contestants were feted and paraded in motorcades. In the finals, the crown went to slim and fashionable Corazon Hizon of San Fernando, the daughter of Maria Paras and Jose Hizon.

In the end, when the lights dimmed and the curtains fell on the fairgrounds, the successful staging of the 1933 Pampanga Carnival was truly a tribute to the people of Pampanga whose energy, enterprise and spirit were made manifest in their notable achievements of the peacetime years.

52. RIO GRANDE DE LA PAMPANGA

A RIVER RUNS THROUGH IT. The Pampanga River at Puente de Tenejeros, Bacolor town. A Filipino fisherman catches fish using a salambao net. Ca. 1900.

Water has always been the lifeblood of ancient communities. Early settlers set up homes near rivers, brooks, lakes and streams for convenient reasons. Water gave life, served as means of travel, nourished plants and spawned abundant marine produce that fed people, gave livelihood and caused whole towns to grow and flourish. Kapampangans, like the Tagalogs, thus settled by the banks of a great river too, and the riverine settlements that grew along its pampang (river bank) and its tributaries would define the Pampanga region and its people.

Rio Grande la Pampanga, as the great river of our province is called, is one of the longest rivers in the Philippines with an area of 9,520 sq. kms. snaking through Pampanga, Bulacan, Nueva Ecija and portions of Zambales, Rizal, Quezon, Tarlac and Nueva Vizcaya, The Rio Grande originates from several rivers in the southern slopes of the Southern Caraballo range, in mountains Lagsing and Mingolit opposite to the Magat River of Cagayan. It flows in a southerly direction to its mouth in Manila Bay, joining its major tributaries, Rio Chico Talavera near Mt. Arayat and the Angat River at Sulipan.

On this fabled river sailed the Malayan pioneers from the Malay Peninsula and Singarak Lake in West Sumatra, discovering dwellers along its banks. Henceforth, the inhabitants of the riverside communities were known as “taga-pangpang”, giving Pampanga its name. As a rich source of livelihood and as means of commercial transport, the great Pampanga River has become inextricably linked with the province’s economic, political and social history through centuries. It was no wonder then that our forebears considered the river as sacred, its ebbs and flows dictating the course of life along the banks and the towns beyond.

Rio Grande and Rio Chico (or Chiquito) provided wide access from south to north of Pampanga until the 18th century. Back then, travelers would find sailing the waters of the river very smooth, nothwithstanding the rainy season. One can actually go upstream in a small boat from Manila Bay to Lingayen Gulf without seeing the sea! The course starts northward via Pampanga River, to the Chico River, then rounds off the east of Arayat and along the Tarlac-Nueva Ecija boundary, up to Canarem Lake, then northwest along Tablang, Quiniblatan and Mangabol Rivers, roceeding to Tarlac River which empties downstream to Bayambang River and into Agno River which is the main tributary of Lingayen Gulf.

At the start of the Spanish colonial period, all major settled areas of the province were mainly situated in the south near the great river and along its tributaries further north. Apalit, Arayat, Bacolor, Betis, Candaba, Guagua, Lubao, Macabebe, Mexico, Porac and Sexmoan were the towns of principal importance at this time, due to their proximity to the river. Merchants from these towns would sail south in bancas and cascos towards the esteros of Quiapo, Tondo and Binondo where they would unload zacate, sugar and other local produce. Mexico’s role as a major commercial center would soon diminish when the tributary on which the town was located, was silted up; commercial traffic moved elsewhere.

Through the years, the Pampanga River has been dammed, silted up and polluted by man. And as everyone knows, the Pinatubo eruption of 1991 caused untold havoc to its tributaries. The disastrous repercussions are most felt during the rainy season, when water from the oversilted river channels and estuaries, which have risen higher than the land around it, flood whole towns and plains, a yearly encroachment that seems unstoppable.

Yet, remarkably, Rio Grande has shown an amazing ability to heal and renew itself. Today, the mother of all rivers flows smoothly still and it often comes as a surprise to the occasional water traveller that the rippling waters have remained pristine in some areas and the scenics similarly well-preserved: from the lush mangroves jutting from the river’s navel, the flock of migrant birds that have come to commune with nature to the magnificent townscapes visible from afar. What other magical sights could our forebears have seen from this river?

51. FASHIONISTAS OF THE 1900s

DRESSED TO THRILL. These prim and proper ladies from Tarlac knew how to flash their best fashions forward, in elegant baro’t saya that have been re-styled with angel sleeves derived from Victorian gowns, stiff triangular panuelos, sayang de kola (train) and elaborately-embroidered and tasseled wrapped around tapiz.

Kapampangan teeners’ idea of japorms at the turn of the century conformed strictly to the dressing tradition set in accord with your place in society. These ladies from Tarlac obviously belonged to the upper rung with their opulent baro’t saya and matching embroidered tapiz.

European fashion in the 1870s inspired the silhouette of the Philippine saya, slightly flaring with a long train (de kola) that one could tuck in front or swish about—although this may imperil other people! An American traveller, Le Roy by name, complained of one lady who “so swished her long calico train in front of a pony that was cantering up to the club with a carromata in which two of us were seated, that we were dumped out into a muddy rice field by the wayside”.

Common sayas were made usually of brightly colored abaca, woven with striped or checked patterns. Other materials like imported brocade, velvet silk and satin were the choices of ladies de buena familia. The colors of the saya were complemented with a tapiz wrapped tightly around the waist in solids or stripes.

The baro and panuelo, on the other hand, imitated the sloping shoulders and wide “angel sleeves” popular in the Victorian period. While sinamay was the standard material, baros and panuelos of the in-crowd were cut from the finest fabrics like jusi or sheer piña, delicately embroidered with the most wondrous patterns—flowers, butterflies, abstracts, art nouveau curlicues and even whole landscapes! In later years, the panuelo was reduced to a panuelito, small enough to hang folded on one shoulder. Apparently, the panuelito was a unisex accessory--the presidential 1st son, Mikey Arroyo, wore one over his shoulder at his wedding.

The baro of these ladies were of the mid 1900s versions, as theirs show signs of being stiffened with almirol or rice starch, to show off the fullness of their sleeves, a practice in vogue at that time. Their panuelos also follow the stiff triangular pattern to frame their lovely faces.

Long-haired girls often wore tortoiseshell peinetas embellished with seed pearls and chased gold. As a finishing touch, these smart dressers donned their best jewellery—gold tamborins on alfahor chains, devotional relicarios and criolla earrings probably ordered from nearby Meycauayan. A fan, perhaps, of ivory sticks, dangled from a gold chain abaniquera, ready to be fluttered when the going got hot. Though invisible from view, these girls most possibly wore low heeled corchos, silver-trimmed zapatillas or leather shoes custom-made by Pampanga’s premier shoemaker, Zapateria Moderna in San Fernando, established by Adriano Tuazon in 1907.

Long before Kapampangan teens became preoccupied with Nikes, Reeboks, Ralph Lauren, DKNYs, Abercrombies and Calvins, their young counterparts at the turn of the century certainly had the same flair for dressing, relying more on personal style, grooming and good taste rather than on labels and signature brands.
(7 June 2003)

50. His Excellency, BISHOP CESAR MA. GUERRERO, The 1st Bishop of the Diocese of San Fernando

ES SABIO Y SANTO. His Excellency Cesar Ma. Guerrero, the 1st Archbishop of the Diocese of San Fernando together with members of the Kapampangan clergy. Some of those in the picture are: (FRONT) Frs. Licinio Valles O.S.A. (Floridablanca), Macario Punu (coadjutor, Mabt.), Alfredo Lorenzo, Bishop Cesar Ma. Guerrero. (BACK) Frs. Fernando Franco (Dau), Jose Guiao, Fidel Dabu, Benjamin Henson (Mabt.) . Taken during a major ordination rite in Floridablanca, dated 17 Dec. 1955. From the Alex R. Castro Photo Collection.

On 11 December 1948, the provinces of Central Luzon that included Bulacan, parts of Tarlac, Zambales, Nueva Ecija and Pampanga were separated by the Holy See from the Archdiocese of Manila. These civil provinces were thus elevated into the Diocese of San Fernando. Appointed as the very 1st bishop was a Manila-born religious with an impeccable lineage that counted patriots, eminent doctors, poets, artists, writers and diplomats in his family tree: His Excellency Cesar Maria Guerrero.

The future bishop was born on 26 January 1885 in Intramuros, to Don Leon Maria Guerrero, a noted botanist, and Aurora Rodriguez. He displayed his early religiosity as a child, often play-acting like a priest, complete with vestments sewn by his cousins and a basement office to which he affixed the prophetic sign “Arzobispado de Manila”. Schooled at the Ateneo de Municipal, he next pursued his A.B. and Law degrees at the pontifical University of Sto. Tomas and then stayed at the Gregorian University in Rome for 7 years where he earned his Doctorate in Sacred Theology and in Canon Law.

On 28 October 1914, he was ordained a priest and returned home for his first Philippine assignment as assistant parish priest of Binondo Church. He also had a short-lived term as a chaplain of Hospicio de San Jose. After contracting malaria in San Mateo Rizal, he was reassigned by Manila Archbishop Michael O’Doherty to Manila as his secretary.

At that time, the only other diocese was Nueva Segovia, hence a new Lingayen diocese was created in 1928. Finally taking up the bishop’s mitre, Bishop Guerrero was installed as the head of the new diocese on 22 February 1929. The bishop lived a simple life in Pangasinan, often preferring to don the Franciscan brown habit instead of the red and white vestments of a bishop. Under his leadership, he founded the Mary Help of Christians Seminary in Binmaley and revitalized the local clergy.

So outstanding were his accomplishments that on 19 December 1937, he was recalled to Manila where he was named 1st Auxiliary Bishop.. The war years that followed would cause him agony and taint his reputation. Accused of collaborating with the Japanese, he was charged before the People’s Court for treason after the war, but his case was summarily dismissed in 1946. Kapampangans would rather put the past behind, however, and, on 8 September 1949, when Bishop Guerrero was finally installed as their diocese at the San Fernando Cathedral, people came in droves to welcome him. A private mansion once owned by a prominent family was reserved for his residence.

Quickly, His Excellency initiated major projects that endeared him to the Kapampangan faithful. He established a popular devotion to the Virgen de los Remedios, Pampanga’s patroness, by holding town-to-town crusades in which the revered image was kept for 9 days in a parish and then processioned to the next, thus bridging the gap between different social classes of Kapampangans. He likewise founded a minor seminary in Guagua which was later transferred to the Apalit convento on 24 May, 1952. His Excellency also succeeded in convincing the Discalced Carmelite sisters to open a Carmelite foundation in Angeles, which he blessed in August 1956.

At the age of 72, he opted to retire but was made an assistant to the papal throne with the rank of papal count. He stayed at the old Hospicio de San Jose where he once began his ministry. The good bishop presaged his own death; he had a tombstone made inscribed with an epitaph –“Caro—dabitur—vermibus” (the flesh will be given to the worms)—two days before his fatal heart attack.

On 27 March 1961, Holy Monday, he was found unconscious in his room by his doctor-brother, Alfredo Guerrero who rushed him to the U.S.T. hospital, but to no avail. His remains were laid in state in his native Ermita Church where Rufino Cardinal Santos sang the Requiem mass. The next day, the body was transferred to San Fernando with the Pampango clergy coming in full force. After the Mass, his body was supposed to be taken to Angeles directly but thousands of Kapampangans requested to have the burial moved in the afternoon so they could accompany their beloved bishop to his final resting place.

Bishop Cesar Ma. Guerrero was interred, together with the bones of his mother Aurora, at the Carmelite Monastery grounds in Angeles, aged 76. In the words of an old Franciscan priest, the good bishop died pursuing both sanctity and wisdom, essential qualities of Christ’s priesthood-“Es sabio y santo!”.
(31 May 2003)

49. SANTACRUZAN: A Fair Homage to a Queen

QUEEN FOR A NIGHT. The role of Empress Helena is often reserved for the town’s pekamalagung dalaga. Here, a Kapampangan Reina Elena is dressed for the evening procession in a satin gown, cape, crown and scepter. Circa 1940s.

May is at its merriest with the double celebrations of the Santacruzan and Flores de Mayo. Flores de Mayo, which began in Bulacan around 1864, pays homage to the Virgin Mary with the whole month reserved for her sole devotion. The Santacruzan on the other hand, commemorates the Finding of the True Cross by Empress Helena, and is marked on the Christian calendar on 3 May. Somehow, the two separate celebrations have merged into one, giving the unified affair more flash and fanfare.

Tradition ascribes the Finding of the True Cross to Emperor Constantine’s mother, a Christian convert. As a token of piety, Helena had churches built, and, at an advanced age of 80, went on a pilgrimage to Jerusalem. At Calvary, she had several excavations made in which 3 crosses were found. To determine the real thing, she had a dying man placed on each cross who recovered upon being touched by the authentic cross. Another story tells of her discovery of 3 nails that shone like gold. Although details of her life are vague and legendary, she was, at one time, considered one of the most important women in the world.

The proper Santacruzan not only gives tribute to Mary and the finder of the Jesus’ cross but also gives recognition to characters from both the Old and New Testament. The procession opens with boys holding ciriales, poles topped with a cross and candles. Heading the cast of charcaters is the ancient Matusalem, followed by 2 Reina Banderadas, flagbearers of the Philippine and papal standards. Toddlers carrying placards spelling out AVE MARIA precede the parade of gorgeous sagalas.

Three maidens representing the virtues of Fe, Esperanza, Caridad (Faith, Hope and Charity) come next, trailed by the Divina Pastora, with a lamb or goat. More queens make their appearance in this order: Reina Mora (the moorish queen, Reina Saba (Queen of Sheba), Infanta Judith (holding Holofernes’ decapitated head), Reina Sentenciada, Abogada and Reina Justicia.

Next in line are more pretty sagalas bearing the symbols of Christ’s passion: 3 dice on a plate, 30 pieces of silver (supot ng Hudas), St. Peter’s rooster (manuk ng San Pedro), the spear, 3 nails, INRI sign and kuronang suksuk. The major beauties of the town follow, starting with Veronica, Maria Magdalena, Maria Salome and Rosa Mistica. The last 3 queens make their grand entrance in this order: The Reina de los Flores holding a bouquet of flowers, Reina Ester, the beloved Jewish Queen of Persia holding a scepter, and finally, framed by a flowered arch—the crowned Reina Elena—a role especially reserved for the town’s loveliest belle—dressed in a magnificent flowing gown with a small crucifix in hand. Walking by her side is Principe Constantino, representing her young son, with a cape, crown and sword. The use of handsome escorts is a fairly modern concept as well as the appearance of multiple Elenas ( as in Reina Elena 1, Elena 2, etc.). Sometimes too, the Reina Elena is treated separately from an Emperatriz, although both are one and the same. Often lost or ignored in the rear-end of the procession is a figure representing San Macario, the bishop who escorted Helena to Jerusalem.

In certain parts of Pampanga, additional drama is provided in the sabat (barrier or obstacle)—when the procession is stopped dead on its tracks by an army of Moors and a battle ensues before the Christian entourage wins and the procession resumes its course. Sadly, today’s Santacruzans have lost much of their religious significance and original intent, deteriorating instead into empty made-for-tourist visual spectacles, which are nothing more than display of feminine pulchritude, pretentious fashion and other commercial excesses.
(24 May 2003)