In the Philippines, Holy Week is marked by traditional rituals that commemorate the suffering and death of Christ, which are deeply rooted in local expressions of Roman Catholicism. One significant practice is the pabasa, the public chanting of the pasyon, a narrative recounting Christ's passion, death, and resurrection. Typically performed by mambabasa (a group of readers) to a mournful melody, some communities also include musiko (musicians) who provide instrumental accompaniment, which adds a distinct musical layer to the event. Previous scholarly works have focused on the pasyon as a symbol of nationalism, revolutionary struggles, and its role as a musical form, which shapes the academic discourse surrounding this tradition. Drawing on an ethnographic case study of a pabasa in a town of Metro Manila, I analyze the performance structure and the dynamic relationships between the host, readers, and musicians. I explore the social and cultural meaning embedded in the pabasa, specifically examining how the involvement of musiko and their musical contributions influence the affective atmosphere of this ritual that produces an intensified emotional state closely related to Collins’ concept of ‘emotional energy’, rooted in Durheim’s collective effervescence. I specifically emphasize the role of music in shaping the emotional and communal experience of the pabasa, where the interplay of chant and instrumental soundscapes reflects a shared moral purpose. The study also found the affective solidarity experienced among participants through chanting and music due to the collective emotions felt during the performance.
GERARD REY ZAPANTA JACINTO (Tue,) studied this question.