SEMANA SANTA in SEVILLE by Mary Flannery VIDEO SPANISH …

Semana Santa in Seville, by Mary Flannery, p. 1

SEMANA SANTA in SEVILLEby Mary Flannery

VIDEO SPANISH ENGLISHViews of Seville Saeta music.

Quick cuts of processions Drums

Antonio Antonio: Subí por allí para arriba.Parece que el Cristo viene andando,sabes? Viene moviendose esetúnica por allí y parece que elCristo viene andando la calle arriba.

English V.O.: I saw Christwalking up the street. His tunicwas swaying, and it really lookedlike he was walking.

Susan Susan: We see them move out ofthe chapels and through thestreets with this human gait.

Celia Celia: Pues hacen sentir unaemoción impresionante que noimporta que no comas o noduermas.

English V.O.: They fill you withsuch a strong emotion that itdoesn't matter if you don't eat orsleep.

Pepe: Y todo el mundo es Ole!Viva! Guapa! y Bonita! no?

English V.O.: And everyone'syelling Ole! and Viva!

Nazarenos in procession

Images of Christ in procession.

Backs of Nazarenos.

Virgin.

Christ.

Virgin.

Senatus Populus banner.Candles.

Narrator A: "Por la Gloria deDios, salimos en viernes sancto,acompañando una Imagen que nosRepresente los pasos de nuestrasalud, poniendo con todaveneración un SanctissimoCristo...después de que siguentodos los hermanos...y alcabo de ladicha Procesión, se lleve unaImagen de la Virgen sancta Mariaseñora nuestra para que llevadopor Capitan delante de nuestrosojos a Jesu Cristo, y las espaldasamparadas con su divina Madre,seamos libres del demonio..."

Narrator A:"For the Greater glory of God wego out on Good Friday,accompanying an image thatrepresents to us the way to ourspiritual health, bearing with allveneration a most holy Christ,after whom all the brothers follow,and at the end of the processionwe carry an image of Our Lady,the most holy virgin so that bycarrying Jesus Christ as captainbefore our eyes, and with ourbacks protected by his divinemother we will be free of thedemon."

Nazarenos holding a Rule Book.

Pan down from back of paso toband members following.

Narrator: These words, writtenin the year 1570, are from theRule Book of a Catholicconfraternity in Seville, Spain.They describe a ritual that hasbeen observed in Seville everyEaster for nearly five centuries:The processions of the penitentialbrotherhoods during SemanaSanta.


TITLE: SEMANA SANTA IN SEVILLEStream of red-hooded nazarenos.

Processional MUSIC

Moon over the Alcazar.

Paso de misterio at night.

Narrator: Every year duringSemana Santa, under the fullmoon of the vernal equinox, thecity is transformed into a movingtableau of religious scenes.Lifesize images of Christ & theVirgin are carried through thestreets.

Various nighttime processions &pasos.

Music: Drums

Guadalquivir River at Triana Bridge.

Map of Europe/N. Africa.

Map of Spain.

Narrator: Seville sits on thebanks of the Guadalquivir River insouthern Spain. The capital ofAndalucía, it is one of the oldestcities in Europe. Its varied &illustrious past dates back to theancient Phoenicians.

Bird's eye view of Seville.

Gypsies singing on the street.

Various shots of Seville by day.

MUSIC: Si tu te va...

Una ramita de perejil.

P.O. from Torre de Oro

Moorish gate.

Narrator: The Moors from NorthAfrica invaded the city in thebeginning of the 8th century.Their 500 year reign left a lastingmark on Seville.

Patio/Arabic plaque/T.D. to narrowstreet in Barrio Sta. Cruz.

Music: Guitar

Cathedral interior.

La Giralda

Narrator: When King Fernando IIIreconquered the city in 1248, hedestroyed the great mosque. Hebuilt Seville's magnificent gothicCathedral over its ruins. But hecouldn't bear to destroy theminaret. Today The Giralda, is thesymbol of Seville.

Painting of La Giralda Music: GuitarT.U. from Patio de los Naranjos

Callejon de la Inquisición

White nazarenos in front ofCathedral.Procession in Plaza de SanFranciscoPainting of Auto de fe.

Narrator: King Ferdinand &Queen Isabella established apermanent tribunal of theInquisition in Seville in 1480.Autos de fe, or pageants of faith,were held in front of the Cathedraland in the Plaza de San Francisco.The sentences handed down tosuspected heretics werepronounced at these grand publicevents. Every year hundreds wereburned at the stake.


Black & white engraving of the Portof Seville.

Caravela at sea.

Narrator: In 1492 the Moorssuffered their final defeat at thehands of Ferdinand & Isabella . Thatsame year, Columbus departed onhis first voyage to the New World.

Pan painting of the Port of Seville. Narrator: Riches from theAmericas--gold, silver and tobacco--brought new-found wealth andpower to Seville.

Montage of Seville Music: Guitar

P.O. from candle to little statue.

The altar of the Cathedral.

Narrator: During the 16th century,Northern Europe was swept by theReformation. While the cry forausterity rang through the churchesof Germany, Switzerland and Holland,the altars of Seville were beingadorned with gold and elaboratepolychrome sculpture.

Montage of church interiors. Music: Hymn

Archbishop in Palm Sundayprocession.Paso de misterio. (Christ seatedwith his hands tied.)Gran Poder carrying cross.

Christ crucified.

La Resurrección.

Narrator: Semana Santa begins onPalm Sunday, the day Christ enteredJerusalem. It continues through hiscondemnation, his agonizing walkdragging the cross to Calvary, andhis slow death on the cross. This isthe Passion of Christ. It culminateson Easter, Sunday of theResurrection.

Pan down band to paso w/ palmtree.

Music: Processional

Carrying Virgin inside church.

Man pouring wax on paso.

Putting candelabra on paso.

Costaleros carrying bare paso atnight.

Inside Cathedral, nazarenosaccompanying paso.

Narrator:The hosts of this grandcelebration are the penitentialbrotherhoods, or confraternities.There are more than 50 of theseorganizations in Seville. Many ofthem date back to the 14th and15th centuries. They are thekeepers of the images. They are theones who prepare the pasos everyyear. It is the brothers themselveswho carry the heavy platformsthrough the narrow, winding streetsof the city. Other members, dressedin tunics and hooded masks,accompany the images throughoutthe procession. They are callednazarenos.


Continuation of preceding image ofpaso inside Cathedral.

La Resurrección exiting theCathedral.

Christ paso entering church - frominside the church.

Black nazarenos inside theCathedral, behind gold cross.

NARRATOR: The processions ofSemana Santa go day & night for afull week. More than a hundredprocessional platforms, called pasos,and tens of thousands of nazarenosfill the streets. The officialprocessional route begins at eachbrotherhood's "home" church. Fromthere they go through the Cathedralin the center of town, where theyare reviewed by the archbishop.Then they return to their homechurch. It can take up to 16 hoursto cover the entire route!

Black nazarenos coming througharch inside cathedral.

Purple hooded nazarenos in thestreet.

Susan speaking.

Susan Verdi Webster, Ph.D, ArtHistory: I can imagine that formany Americans these processionsmight seem somewhat sinister sincemost of us cannot help but think ofthe KKK when we look at theseprocessions passing through thestreets. And yet the KKK adoptedthese robes and the penitentialconfraternities of Seville haveabsolutely no relationship to the KKKwhatsoever.

Pan mural of nazarenos.

Manuel speaking.

P.I. to cross above church door.

Nazarenos with big gold cross byCathedral at night.

Black nazarenos inside cathedralcarrying crosses through arch.

Manuel J. Perales Gómez,Economista: Claro sin duda.Semana Santa de Sevilla es unproducto de siglos. Desde queFernando III al mediado del siglo XIIIconquista Sevilla a los arabes queestaban aquí, lo primero que hace,claro, está convertir las mesquitasen iglesias. Es el triunfo de la cruzsobre la media luna. Y casiinmediatamente, aunque no haytanta constancia de historia tanantigua, pero casi inmediatamente,se supone, que traían la tradicióncastellana de fundar hermandadesy cofradías de penitencia.

Manuel J. Perales Gómez,Economist, (V.O.): There is nodoubt that Semana Santa in Seville isa product of centuries. It goes backto the time King Fernando IIIreconquered Sevilla from the Arabsin the middle of the 13th century.The first thing he did was convertthe mosques to churches. Thetriumph of the cross over thecrescent moon. And almostimmediately afterwards--althoughthere are no historical records thatdate so far back--came the traditionof penitential brotherhoods from thenorthern Kingdom of Castille.


Carlos

Nazareno with candle.

Painting of a friar.

C.U. nazarenos in the street.

Montage of procession (fromabove) in Plaza de San Francisco.

Carlos José Romero Mensaque,Doctor en Historia: Si, bueno,realmente se puede decir que losprincipios de la religiosidad popular,y tambien de la religiosidad popularpenitencial, comienzan en la plenaedad media. Entonces hay todomovimiento que protaganizan losordenes mendicantes--losFranciscanos, los Dominicos--deintentar que el pueblo, que estabemuy alejado de lo que era la iglesiaoficial, volviese de nuevo a ella.Entonces para eso, pues recurre auna seria de praticas, a una seriede devociones, una de las cual erala Via Cruces.

Entonces, a través de esaspequeñas devociones, el puebloentiende, vive, y se identifica con elJesús que sufre y muere en la cruz.Entonces, a partir de allí, es elpropio pueblo, ya independiente deesas ordenes religiosas, él quecobre su protagonismo. El sesiente participantes en esos ritosque está celebrando. Y empiezaorganizar pues lo que podemosllamar los principios de la SemanaSanta, no?

Carlos José Romero Mensaque,Ph.D., History (V.O.): Expressions of religious piety byordinary people began in the MiddleAges. At that time the mendicantorders, like the Franciscans &Dominicans, promoted thismovement. They wanted the people,who had become so far removed fromthe official church, to come back. Sothey introduced a series of devotionalpractices, like the Stations of theCross.

By participating in these rituals, thepeople could understand, experience,& identify with Jesus who suffered &died on the cross. From then on, itwas the people themselves,independent of the religious orders,who took over the movement. Theywere active participants in theserites. And they began to organizewhat were the beginnings of SemanaSanta.

Montage of procession in Plaza deSan Francisco.

Music--Spanish National Anthem.

Putting rosemary on paso.

P.O. from Virgin.

People circling around static Christsculpture in chapel.

Narrator: Some brotherhoodsevolved from the guilds of the 14th &15th centuries. Each guild, such asthe Coachmen's or the Tanners' guild,had a spiritual patron. Woodsculptures of Christ and the Virginwere commissioned by the brothers.Soon, devotional cults developedaround these images.

Carrying Christ in chapel.

Rooftops of Seville.

Music: Hymn.


Street scene in Seville.

Gypsies playing organ.Gypsies with goat.

White nazarenos in procession,carrying crosses.

Narrator: Other brotherhoods wereformed by groups of outsiders whohad immigrated to Seville, where theybecame easy targets of persecution.These confraternities protected theirmembers from the distrust of thetownspeople and, ultimately, from the

The Brotherhood of The Gypsies, orLOS GITANOS is one confraternitywhich was formed as a result ofpersecution.

Gypsies begging outside church.

M.S. Emilio speaking.

C.U. Emilio speaking.

Emilio Jiménez Núñez,Hermano de LOS GITANOS: La hermandad de Los Gitanos datade 1753. Los gitanos en esaepoca no pueden pertenecer aninguna hermandad. Se les cierrenlas puertas de todos lashermandades por el mero hecho deser gitano, no?En aquella epoca, los gitanos noestaban bien visto, no? Eranpersonas de mal vivir, que sellamaban. Al cerrarse las puertasde otras hermandades, pues elloscrearon la suya propia.

Emilio Jiménez Núñez,Brotherhood of The Gypsies: Thebrotherhood of LOS GITANOS wasfounded in 1753...At that time,gypsies couldn't belong to any of theestablished brotherhoods. The doorswere closed to them simply for beingGypsies. Gypsies were looked downupon. They were called people of the"bad life."...Since the other doorswere closed, they created their ownbrotherhood.

Gypsy w/ bottle on head.

Gypsy girl selling palms.

Emilio speaking.

Emilio Jiménez Núñez,Hermano de LOS GITANOS:Es facil asimilar que si se trata deun pueblo tan marginado, tanhumillado, tan perseguido, si nosfijamos bien la figura de JesúsCrista era la más pobre, la máshumillada, la más perseguida, y lamás castigada. Entonces, a lagente, lo quiere son ejemplo, no?

Emilio Jiménez Núñez,Brotherhood of The Gypsies:For an outcast population, that ispersecuted, it's easy to see how theywould be attracted to the image ofChrist, who was so poor, sohumiliated, so persecuted andpunished. The people could relate tothis.

Christ crucifixion image in thestreet.

Music: Processional

T.D. from window to people millingaround paso.

T.U. images on paso to top ofcross w/ hanging shroud.

Narrator: The brotherhoods of Sevillebuilt hospitals and offered communityassistance. Since much of thepopulation was illiterate, theprocessional images of thebrotherhoods provided an educationalmedium for teaching the story ofJesus.


C.U. paso w/ horse; P.O. Music: ProcessionalContinuation of preceding shot w/horse.

La Resurrección in the street.

Narrator: The confraternitiescommissioned the great artists of thetime to create elaborate lifelikesculptures. Their purpose was notmerely to teach, but to move thespectator to prayer and devotion.Five hundred years later, the samesculptures are carried through thestreets of Seville.

Shots of people reaching out topaso/crossing themselves.

Narrator: The people are still deeplymoved.

Baby w/ pacifier.

Priest speaking.

Pan paso of Pilate's presentation ofChrist to the people.

Child spectator.

Mother & child in balcony.

Priest speaking.

Little girl w/ binoculars.

Priest speaking.

José Luis Peinado Merchante,Sacerdote: Y ciertamente, desdeque los niños nacen, los padres losllevan a cualquier procesión y lesvan enseñando, "Mira el Señor queva muerto; tirale un besito." o,"Mira la virgen, como llora, comosufre." O explicar algun paso dePilatos, por ejemplo la presentaciónde Jesús al pueblo. Pues les dicenlo que Pilatos lo hizo con Cristo. Oen el...como el Señor va aquí ensilencio; porque Herodes ledesprecia y él no dijo nada. O seatoda la Pasión, y los padres se lesvan explicando a los niños desdepequeño. Entonces los niños estánteniendo un catequesis desde quenacen. Pero un catequesis visual.Y además, les van tomando unafecto, un cariño.

José Luis Peinado Merchante,Priest (V.O.): From the timethey're born, parents bring theirchildren to the processions and say:"Look, there's our Lord dying.""Throw him a little kiss." Or "Look atthe Virgin crying; see how shesuffers." Or they explain a paso withPilate, for example the Presentation ofJesus to the People. They explainhow Pilate dealt with Christ. HowHerod despised Him, and yet Christsaid nothing. Parents explain theentire passion to their children. Soearly on, these children get a visualcatechism. They even develop anaffection for these sculptures.

Montage of children. Music: Guitar

Cross on exterior wall.

Father & son entering gate to theirhouse.Paso and acolytes exitingCathedral.

NARRATOR: A 17th centurySevillian Abbot wrote that a man musthave three things: "a house in whichto live, a sepulchre in which to beburied, and a confraternity which giveshim honor." This sentiment remainsstrong in modern-day Seville.


People crowding in to chapel. BellsInterior church--carrying the Virgin.

Incense burner.

José speaking.

Old man laughing.

José Francisco Haldón Reina,(Hermano Mayor de la)Hermandad de Montserrat: Hoyen día las cofradías tienen 2funciones principales, que son lafunción original fundacional de darculto a Dios a través de lasimagenes y las titulares, y laprestación de obras asistenciales apersonas necesitadas oinstituciones. De esa manera,puedo decir que hay cofradías queatienden a personas que estanacogidas en hospitales, personasque sufren el paro, personas queestan sujetos a la droga, opersonas de la tercera edad, losabuelos muchas veces olvidados.

José Francisco Haldón Reina,Brotherhood of Montserrat(V.O.): Today the Brotherhoodshave two main functions: One is toworship God via devotional practicesto the images. The second is to givesocial assistance to the needy, or toinstitutions.

There are Brotherhoods that attend tothe sick, the unemployed, drugaddicts, and the elderly.

Montage of brotherhood activities& nazarenos

Music: Guitar

Black & white picture of flagellants.

Susan.

Goya's painting of flagellants.

White nazarenos at night.

Black nazarenos carrying crosses.

Susan Verdi Webster, PhD. ArtHistory: The PenitentialConfraternities began as flagellantbrotherhoods who whippedthemselves in public in theseprocessions during Holy Week. Anddating from probably the 15thcentury and throughout the 16th &17th centuries, the vast majority ofparticipants in these Holy Weekprocessions would be wearing robesw/ the backs open, so they could whipthemselves & splatter blood on thepassersby .... And this was part ofthe very visceral part of thepenitential procession, which now nolonger occurs because it wasprohibited during the Enlightenment inthe late 18th & early 19th centuries.So we see no flagellants in theprocessions today. Instead what wesee are the "Penitentes" who carrythe crosses & that serves as a similarkind of penitential act.

White nazarenos inside Cathedral. Narrator: Hundreds of Nazarenos gobarefoot. Some carry not just one,but many crosses strapped together.


Clump of children nazarenos.

Young nazareno takes elder's hand.

Susan.

Susan V. Webster: For thenazarenos that participate in theseprocessions in Seville, these costumes,these garments that they wear thatcover their faces and their bodiesrepresent penitence & humility, andthe people in Seville have a great dealof respect for the appearance of thenazareno, since it is such anexpression of piety and truepenitence.

Miniature nazarenos in window. Narrator: Each brotherhood has itsown special tunic and identifyingcolors.

Montage of various nazarenostyles.

Solo trumpet music.

Manuel.

Manuel donning tunic.

Manuel speaking.

Manuel donning antifaz.

Manuel J. Perales Gómez, : Latúnica, llevar o no llevar capa, es unhabito.Está directamente relacionada,pues con la manera de vestir, delmonje del monasterio o de uncrusado guerrero de la Edad Media.

El antifaz. El antifaz tiene dosexplicaciones muy claras. Una, elanonimato. El nazareno vahaciendo penitencia y no tieneporque verlo nadie. No tieneporque saber nadie que hay detrásde esos ojos.

Manuel J. Perales Gómez, (V.O.):The tunic, with or without a cape, is ahabit. It is directly related to theclothing of a monk, or a Crusader ofthe Middle Ages.

The mask, or antifaz is forAnonymity. The nazareno is doing hispenance, and no one need see him.No one needs to know who's behindthe eyes.


Outside capirote shop.Inside capirote shop.

Nat. sound

Inside capirote shop (cont'd.)

Woman pasting capirote edge.

Boy trying on capirote.

White nazarenos in street.

Manuel speaking.

Purple-hooded nazarenos

Manuel speaking.

White nazarenos at night.

Manuel J. Perales Gomez: Elcapirote puede provenir, no se sabemuy bien, puede provenir de 2 vias.Una de ella sería una via dehumildad. En la medida de que latunica nos recuerda la funciónreligiosa que está cumpliendo elnazareno en ese momento, elcapirote sería una manera dehacerse humilde antes los demás.Puesto que el capirote se hanutilizado hace no demasiado tiempoen las escuelas para ponerselo alniño más torpe o al más revoltoso,rebelde, de manera de castigo ytal.

Por otra parte, tambien, quizás enla misma medida o en el mismotiempo, a los condenados por lainquisición, se les ponía esescapirotes por la calle. Claro, queellos con la cara descubierta. Allí,sí era importante que se viera lacara al condenado. Pero el capiroteestaba encima, pues seguramenteen la misma medida. En señalarque bueno, qu eres malo. Al reoque había pecado y tenía que llevarel capirote. Pues en ese sentido, elnazareno que va haciendo unpenitencia. El nazareno ha pecado.Está repentido.

Manuel J. Perales Gómez,(V.O.): The dunce cap, orcapirote, could come from--noone knows for sure--but it hastwo possible origins. One ishumility. As the tunic is areminder of the religious aspectof this moment, the capirote is tomake them humble in front ofeveryone. Until not so long ago,they used the dunce cap in schoolto punish slow or unruly children.

On the other hand, and perhaps inthe same way, or dating from thesame period, they put capiroteson people who were condemnedby the Inquisition and paradedthem in the street. Of coursethey went w/ their facesuncovered, which was important,to see the face of thecondemned. But the capirotemeant the same thing: Bad.Sinner. In the same sense, thenazareno doing his penance, hassinned. He is repentant.

Manuel speaking.

Manuel exiting house.Walking down the street.

A mí, me gusta pensar que además,Sevilla inventa una explicaciónpoetica del capirote. Y el capirotehace que el nazareno crezca enestatura física porque está crecidaen estatura moral mientras vahaciendo su estación de penitencia.

I also like to think that Sevilla hasa poetic explanation for thecapirote. It makes the penitentgrow [in (physical) stature](physically) in the same way thathe grows morally, while doing hispenance.


Montage of nazarenos & pasos inCathedral.

Music: Hymn

Ricardo speaking.

Solo nazareno going back & forth.

Black nazarenos w/ crosses.

Ricardo speaking.

Nazarenos passing by crowd.

Ricardo Requera García,Nazareno: Pues para mí laSemana Santa es un tiempo deoración, un tiempo de re-encuentro. De poder pensar unpoco en tu intimidad porquevivimos en una ciudad grande en lacual, como siempre en todas lasgrandes ciudades, vamos corriendo,vamos con prisa. Y sin embargo esun tiempo en el cual puedes pararel tiempo y poder pensar en tuscosas intimas, no?

Entonces, puedes mirar a la ciudadde otra forma. Vas por la ciudad, yvas pensando y vas meditando. Yincluso la misma ciudad se olvidade que tu eres una persona. Eresun nazareno. Entonces, puedes oirincluso conversaciones, puedestener una visión completamentediferente a la que tienesnormalmente de la ciudad.

Ricardo Requera García,Nazareno (V.O.): For me,Semana Santa is a time of prayer,of self discovery, to be able tothink privately. Because we live ina big city where, like in all bigcities, we're always running around,rushing. But during this time, youcan take time out and think yourprivate thoughts.

It allows you to look at the city in adifferent way. You go through thecity, thinking, meditating, and thepeople seem to forget you're aperson. You're just anothernazareno. So you can listen toconversations, as if you wereinvisible. You have a completelydifferent relationship with the citythan usual.

Pablo.

Montage of young nazarenos.

Pablo Miguel Angel Fernández,Nazareno: Cuando salgo, primerome visto. Después para acá, parala iglesia y ya recogemos los ciriosy nos ponemos en fila ya. Despuésnos ponemos en la calle. Si noscansamos, pues nos vamos. Yrezamos al Cristo cuando lonecesitamos, claro.

Pablo Miguel Angel Fernández,Nazareno (V.O.): When I goout, first I dress. Then I go tochurch. I get my candle & get inline. Then we go out in the street.If we get tired we leave. And wepray to Christ when we need to.

Manuel speaking.

Montage of nighttime nazarenos.

Manuel J. Perales Gómez: Y enese tiempo dar lugar a pensar enmuchas cosas distintas. Hay, almenos en mi caso, siempre hay unrecuerdo a mis mayores que ya noestán, que fueron en el lugar dondeyo voy ahora.

Está la oportunidad anual delautoexamen de hacer un balancedel año. Es una vez al año en elque repites los mismos gestos,pasa por los mismos lugares. Y esote ayuda pues a recordar qué haocurrido durante este periodo detiempo. Ha sido bueno ha sidomalo, ha sido regular? Quéconclusión se puede sacar paramejorar en el futuro?

Manuel J. Perales Gómez(V.O.): And you have time tothink about a lot of things. In mycase, I always remember myancestors who aren't hereanymore. Who once passed by thevery place I am passing now.

It's a chance for self-study--to lookback at the year gone by. Once ayear you repeat the same action,you pass (through) the sameplaces. It helps you to reflect onthe past year. Was it good, bad,average?..What can conclusionscan you draw? What can you doto make things better in thefuture?


Black & white engraving of girl withshroud.

Girl with shroud.

Narrator: Most brotherhoodsallow their women members to goout as "nazarenas." There aremany brotherhoods, however, whostill forbid it.

Milagros bustling in church.

Young women at table, sellingSemana Santa paraphenalia.

Narrator: Dr. María MilagrosCiudad Suárez is a member of thebrotherhood of LA HINIESTA. Sheis also the only woman in Sevillewho is a member of the governingboard of her brotherhood.

Milagros speaking.

Woman ("Faith") w/ white gauzeover eyes.

Little nazarenas hugging.

Milagros.

Milagros Ciudad Suárez,Doctora en Historia: Lasmujeres siempre han podido serhermanas desde las cofradías. Loque pasa es que no tenían lasobligaciones y los mismos derechosque los hermanos.

Pero el hecho fundamental no estáen salir de nazarena o no salir denazarena. El hecho fundamentalestá en que la mujer se integratotalmente. Es decir que la mujerpueda entrar en los cabildosgenerales. Y pueda hablar, y puedavotar. O que la mujer puedadesempeñar un cargo como oficialde la junta del gobierno. Eso es elhecho fundamental.

Milagros Ciudad Suárez, Ph.D.,History (V.O.): Women havealways been allowed to be"brothers," since the beginning ofthe Brotherhoods. But they didn'thave the same obligations or rightsas the men....

The important thing is not "To goout as a nazarena or not to goout." The important thing is thatwomen become totally integrated.That is, women should be able toattend the General Assemblies &speak, & vote. They should be ableto hold an official office in thegovernment. That is fundamental.

Lady gazing at mantilla photo instreet.Young women in mantillas partyingwith boyfriends in the street.

Narrator: The women of Sevillehave an old and special tradition.The mantilla dates back tohundreds of years before Christ.


Rosana & mother donning mantilla.

Rosana.

Rosana examining herself in themirror.

Rosana Cervera Lillo,Estudiante: La mantilla es unaprenda que se usa en España y enSevilla ya hace muchos años. Y lamantilla negra es un señal de luto,y se usa especialmente en juevessanto porque la muerte de JesúsCristo.

Bueno, esta mantilla y la peina, laheré de mi abuela que tambien lausaba. Y al igual tambien lospendientes y este anillo que llevo.Que bueno, pues me gusta muchoponermelo por eso, en recuerdo demi abuela porque ella tambien lausaba. Y bueno pues me gustaríamucho tambien que mi hija y minieta los llevan algun día.

Rosana Cervera Lillo, Student(V.O.): The mantilla has been wornin Spain & Seville for many years.The black mantilla is for mourning.It's especially used on HolyThursday for the death of JesusChrist.

I inherited this mantilla & comb frommy grandmother, who wore them.The earrings and this ring I'mwearing, too. Which is why I like towear them so much, inremembrance of my grandmothersince she wore them, too. I'd likefor my daughter & granddaughterto wear them one day.

Pan crowd behind Cathedral. Narrator: Semana Santa takesaway the walls of the Church, andbrings the congregation into thestreet.

Montage of party, crowd &restaurant scenes.

Music: Gypsies.

C.U. feet.Crowd scenes.

Lady tourists with nut vendor.

NARRATOR: While some Sevillanosflee to the beach to escape thecrowds, outsiders come to Seville tobear witness to Semana Santa. Onemillion tourists from all over theworld flood the city.

Nazarenos pushing through crowdbehind Cathedral.

Music: Gypsies.

Sergio speaking. SERGIO López Zafra,Estudiante: Durante la SemanaSanta praticamente se duermepoquisimo. 4, 5, 6 horas, según eldía, no? Hay días especialesdurante la Semana Santa, como lamadrugada, que toda la nochetrasnochen--24 horas sin dormir.Entonces se duerme poco.Praticamente no se descansa.

SERGIO López Zafra, Student(V.O.): During Semana Santa, youhardly sleep. 4, 5, 6 hours a day.There are special nights of SemanaSanta, like Thursday & Friday whenyou stay up all night.

Montage of store windows &processional hoopla.

Music: Guitar

News stand.More windows.

Christ crucified by traffic light.

Narrator: In spite of all theenthusiasm, there have been,through the centuries, those whodo not share this excitement. Somecall it fanaticisim. Others idolatry.


Paso with backwards horse. Music: Processional

Paso with backwards horse.(cont'd).Peanut vendor.

Narrator: A Sevillano namedRodrigo de Cervantes, wrote in1592:

Peanut vendor (cont'd).

Montage of processions & crowds.

Narrator B: "Se diviertan en mirarde las cofradías y impiden que nopuedan entrar a rezar en lasiglesias con quietud y sosiegoporque como son tantas cofradíastodo el Jueves Santo desdemediodia hasta otro dia ViernesSanto por la noche...y así resultademás de la dicha poca devoción elmucho tumulto de gentes."

Narrator B: "They entertainthemselves in watching theconfraternities and are kept frombeing able to go into the churchesand pray with tranquility and calmbecause... there are so manyconfraternities going by all HolyThursday from midday until thenext night, Good Friday, and inaddition to the lack of devotion,this results in a great tumult ofpeople."

People pressing paso. Music: ProcessionalC.U. paso, P.O. to seated Christ.

2 shots of Virgin paso.

L.S. of paso emerging from churchdoor. P.I. to paso.

Narrator: Each brotherhood hasup to three pasos. Some bear animage of Christ. Others feature theVirgin under a canopy, or palio.Pasos de misterio depict a scenefrom the Passion.

Skeleton paso in procession. Narrator: La Canina is the onlyallegorical paso of Semana Santa.Dating from the 17th century, itsymbolizes Death: Christ's death,which left the world in darkness forthree days. And the death of theearth in winter. It harkens back topagan Rites of Spring, which, likeSemana Santa, were imbued withthe cyclical theme of life, deathand rebirth.

Paso passing through dark street. Music: ProcessionalCostaleros practicing under pasos.

Costaleros relaxing, smoking

Shots of costaleros rehearsinginside.

NARRATOR: Underneath thepasos are crossbars, which settleon the necks of the costaleros.Once the work of hired dock-handsfrom the port of Seville, it is nowthe brothers themselves who carrythese heavy loads. Nobody cansay how much they weigh, butestimates average at one ton, ormore. In rotating shifts, thecostaleros carry the pasos formany kilometers.

Costaleros practicing in street. Narrator: Injuries are notuncommon, but most aresurprisingly minor. The neck iswhat suffers most.


Juan Luis speaking.

Night view of Christ paso.

Juan Luis speaking.

Juan Luis: Empezé con unapromesa de mi abuela. Esapromesa me metí debajo del paso.Y ya hasta hoy. Me gustó. Y hastahoy.

Mientras estoy debajo del paso,pienso en mi hija, mi madre, mimujer. En todo. En dios. Paracoger fuerza para poder seguiradelante cuando me falla la fuerza.

Juan Luis Pruna Lopez: It allstarted with a promise myGrandmother made to God that Iwould be a costalero. So I wentunder the paso. And I'm still heretoday. I like it. So here I am.

When I'm under the paso, I think ofmy daughter, my mother, my wife.Everything. I think about God so Ican keep going when I get tired.

C.U. costalero feet/Montage ofswaying Virgin paso.

Music: Processional

Capataz walking backwards in frontof paso, yelling.C.U. knocker; P.O. to full paso shot.

NARRATOR: The capataz is theleader of the costaleros, the onewho directs their movements &their steps.

Rafael speaking.

Montage of costaleros practicing atnight.

Rafael Ariza Moreno, Capataz:El hombre debajo del paso no vepraticamente; va tapado por losfaldones del respiradero. Entoncesnosotros somos en cierto modo losojos del costalero, del quien vadebajo.

Empiezan...se suelen empezar unpar de meses antes de SemanaSanta. Entonces ya se igualan y sevan conformando la cuadrilla, quees el conjunto de, se llamacuadrilla, el conjunto de costaleros,y ya se empiezan salir a la calle conlos pasos. Logicamente sin ningunornamento ni la Virgen, ni el Cristo,ni el Señor. Simplemente lo que esla parihuela, lo que es el sustento.

Rafael Ariza Moreno, Capataz(V.O.): The men under the pasocan't see because of the curtainscovering them. So we're like theeyes of the costalero.

We usually begin a couple ofmonths before Semana Santa. Westart lining up and forming theteams of costaleros. Then we goout in the streets with the pasos.Without the ornamentation;without the Virgin or the Christ.Just the parihuela, which is thesupport frame.

Capataz talking to costalerosunderneath the paso.

Narrator: It is also his job toencourage them, to cheer them onwhen their strength starts to wane.

Capataz yelling. Capataz: TODOS POR IGUALESVALIENTES!

C.G.: All together, brave men!

C.U. of injured neck/Montage ofcostaleros getting ready.

Music: Guitar

Juan Luis donning head wrap. Narrator: Juan Luis has been acostalero for his brotherhood LaSed for 11 years.

His wife, Victoria follows him forthe entire15-hour procession.


Montage of Sculptures &processional paraphenalia.

Music: Guitar

Carlos speaking.

Pieta sculpture inside chapel.

Carlos José Romero Mensaque:El Baroco supone sobre todo unefectismo. Es decir procurar que elespectador vibre y siente con esasimagenes que salen a la calle.Entonces procuran que esa imagensea por supuesto lo más expresivaposible.

Son imagenes que incitan a ladevoción.

Carlos José Romero Mensaque(V.O.): In the Baroque period,EFFECT was very important. Theywanted the spectator to feel, torespond to the images in thestreet. So they tried to make themas expressive as possible.

These are images which inspiredevotion.

Susan speaking.

C.U. Virgin's face

Susan.

Virgin paso in street, followed bydevotees.

Susan Verdi Webster: All ofthese sculptures were designed toevoke an emotional response fromthe spectator in the street. And tothat end, they were often equippedwith glass eyes & tears & wigs ofactual hair. Actual clothing &adornments. So they could evokea much more realistic presence &much more visceral aspect for thespectator in the street. There arenumerous recorded instances inchronologies of the 16th & 17thcenturies that describe onlookersfalling on their knees in prayer &weeping at the approach of aprocessional sculpture.

Virgin paso in street...(continuationof previous shot).

Narrator: Antoine de Latour, aFrench traveler of the mid-nineteenth-century was fascinatedby the response of the Sevillanos:

Christ lying in glass box inprocession.

Narrator B: "En las andascubiertas de flores, reposa una cajatransparente que deja ver el cuerpodel Redentor. Con la aparición de ladivina imagen, la multitud mostróun profundo y sincerorecogimiento, huyendo de sumente todo pensamiento profano;aquel gentío hincado de rodillas,con las manos tendidas haciaCristo, había encontrado la fe delos tiempos antiguos."

Narrator B: "On a platformcovered with flowers, there lay atransparent box that permitted avision of the body of theRedeemer. With the appearance ofthe divine image, the crowddemonstrated a profound andsincere spiritual absorption, allprofane thoughts fleeing from theirminds; kneeling, with their handsstretched out towards Christ, theyhad found the faith of oldentimes."


Priest speaking.

Shots of Gran Poder.

Photographers.People watching Gran Poder.

José Luis Peinado Merchante:Porque la imagen aquí es como unvehiculo de expresión. Cuandoaparece un Señor del Gran Poder,que es el Señor de Sevilla, que es elVaron de Dolores, que lo defineIsaiah. Maltrecho, mal herido, sinfigura humana. Pero valiente,cargando con la cruz, es como elVaron de Dolores. Entonces, todoel mundo calla y enmudece. Pareceque se ve reflejado allí que es unespejo del interior del hombre. Desu angustia, de su soledad, de susproblemas. Todo el mundo se veidentificado y es como un balsamo.Y hable diálogo con él en el silencio.Y puede haber 700, 800,000personas en un profundo silencio.

José Luis Peinado Merchante (V.O.): The image is a vehicle ofexpression. When Gran Poder, theSeñor of Seville, comes along,battered, badly injured,dehumanized, but valient, carryingthe cross, He is like the Man ofSorrow. A hush falls over thecrowd. They look at him as amirror of their own inner selves:with their sorrow, their loneliness,their problems. Everyone canidentify with him. It's like a balm,having this silent dialogue with Him.And you can see thousands ofpeople in profound silence...

Rafael speaking.

Paso sporting big tree in the street.

People reaching out to touch pasofrom window.

People in street touching paso.

Rafael Ariza Moreno: Entonces,claro, al procesionar las imagenes ala calle, lo que se intenta es que laimagen llega al pueblo, no? QueCristo vivo o muerto, o, y la Virgen,pues su madre, estén en la callecon el Sevillano. Se une a todas laspersonas que lo estan viendo en lacalle, y están cerca de él. De talforma que, rodeado de tantofolklore, por el estilo hay quedecirlo así, y de tanta bellezaplastica, abre tus sentimientosy llegue tan dentro de tí que tupuedes conectar, quizás másfuertemente que en su mismotemplo, o la frialdad de una iglesia.Porque está pegado a tí, lo estásviviendo, no? Intensamente.

Rafael Ariza Moreno (V.O.):Carrying images into the streetreally brings them to the people.So that Christ, living or dead, andthe Virgin, His mother, they're rightthere in the street w/ theSevillano. It brings them together,all the people that are in thestreet, so close. So thatsurrounded by so much folklore &so much physical beauty, you openup emotionally & it really getsinside. You can make a connection,maybe stronger than in a temple,or in the coldness of a church.Because it hits you, you'reexperiencing it. Intensely.

LS of paso moving against thepressing crowd.

Nat. sound.

MS of same paso as above movingagainst crowd.

Susan speaking.

Susan Verdi Webster: This wasthe art that moved the people.More people, I believe, saw theseprocessional sculptures in the 16th& 17th century than ever saw apainting by Velasquez or Murillo, orany of the other artists that wenow consider to be the greatmasters of Spanish Baroque art.


Montage of wooden images. Music: Drums.C.U. hand; P.O. to figure on paso.

Shots of figures on pasos.

P.O. to spectators' view of pasoentering Cathedral.

Narrator: These incredibly life-like figures are carved from wood.Unlike stone, marble, or clay, woodis a once-living material that carrieslatent qualities of life. Whenclothed and carried into thestreets, a magical transformationseems to take place.

Little girl by Montañez sculpture.

Tile painting of Montañez on hisknees in front of his sculputre.

C.U. of face of Christ sculpturemoving through incense-filledstreet.

NARRATOR: There is a legendabout the great sculptor MartinezMontañez. He was overwhelmedupon seeing his own sculpture,Jesús de la Pasión, going throughthe street in procession. It was solifelike, so real, he cried out inastonishment that it wasimpossible that he could havecreated such an image.

Susan speaking.

Paso moving inside Cathedral.

Susan Verdi Webster, Ph.D,Art History: These sculptureswere created by some of thegreatest artists of the time. Notonly Martinez Montañez, who wasknown as "El Dios de la Madera", or"The God of Wood." But alsoartists that are STILL considered tobe the greatest artists of the 17thcentury in Spain: Pedro Roldan.Geronimo Hernandez. All of theseartists that worked in Sevilla,created processional sculptures.And some of them, like Juan deMesa, even specialized inprocessional images.

Continuation of previous shot.

Damaged culptures in Manuel'sstudio.

View of Manuel working fromoutside studio; pull in.

Narrator: There is still a greatdemand for processional sculpturein Seville. Images that aredamaged, or beginning todeteriorate after hundreds ofyears, need to be restored.Sculptures destroyed by fire haveto be re-made. And contracts fornew images from the newbrotherhoods keep modern-daysculptors very busy. ManuelCarmona Martínez works out of hisstudio not far from the center oftown.


C.U. Manuel's hands.

Manuel speaking.

Manuel working.

Sculpture in Manuel's studio.

Manuel Carmona Martinez,Escultor: Bueno, me vine aSevilla muy joven, vine tendríaaproximadamente 13 0 14 años.Me vine aquí para trabajar, porqueescasaba trabajo en el pueblo, yme vine a la capital. Como muchosimigraron a las capitales, yo fuí unode ellos. Siempre pendiente derealizar mi obra de arte, porque esmi afición, y mi deseo siempre hasido trabajar en el mundo de arte.

En Andalucía, la escultura religiosatiene muchisimo poder, así quetoca a todos los artistas. Vivimosdel arte religioso.

Manuel Carmona Martinez,Sculptor (V.O.): When I came toSeville, I was very young--about 13or 14 years old. I came becausethere wasn't much work in myvillage, and a lot of people weremoving to the city, so I came here,too. I hoped to do someththingwith my art, because that's what Ilove. I wanted to be an artist.

In Andalucía, religious sculpture hasa lot of power. So almost all theartists here make their living withreligious art.

Montage of workshop interiors Narrator: Besides sculpture,there are studios of silversmithing... woodwork ... and embroiderythat operate year round, doingwork for the brotherhoods.

Interior embroidery workshop--Joséwatching the girls.

NARRATOR: Jose Manuel ElenaMartín owns one of manyembroidery studios in Seville.

C.U. embroidery.

Pan mantle to ladies at work.

Narrator: The thread they use iscalled "plata dorada." It is finesilver thread, plated w/ gold.

Virgin montage. Nat Sound...ProcessionalMusic

Painting by Velasquez.

Slo-mo T.U. Virgin on her paso.

Narrator: The Virgins are dressedin the style of 16th- & 17th-century Spanish queens. In factthe queens of that period donatedtheir garments to the images.They even gave them their crownsto wear. And that's how Sevillanoslike to see their Virgins: dressedlike queens.

Virgin in sunlight. Narrator: Many people do notrealize that underneath a Virgin'srobes is merely a wooden armature.The only sculpted parts are herface, neck, and hands.


Fernando talking.

Virgin procession in dark street.

Fernando talking.

Same Virgin going up dark street.

Fernando Abad Ortega: Seacuando yo cogo la Virgen paravestirla, previamente han trabajadocon ella las camareras. Que son lasque realmente desnuden y visten ala Virgen por dentro. Digamos queponen las enaguas; le cambian lasenaguas y tal. Una vez que a mí seentregan la Virgen está digamoscubierto su cuerpo, por lasenaguas. Entonces empiezo yo avestirla.

En algunas hermandades hacen deeste vestir a la Virgen un ritual.Bueno, no en algunas, en casitodas. Lo que pasa es que enalgunas hermandades lo hacen másdigamos mas grande, más pomposoincluso. Hay hermandades que tedan hasta invitaciones para vervestir a la Virgen. Yo, en mi caso,es que yo suelo vestirla bastantesolo.

Fernando Abad Ortega (V.O.):When I recieve the Virgin to dressher, women of the brotherhood,her handmaidens, have alreadybeen with her. They're the oneswho prepare her and put on herunder garments. They put on herpetticoats, which they change fromtime to time. So when they bringher to me, her body is more or lesscovered. Then I begin to dress her.

In some brotherhoods, they turnthis dressing of the Virgin into aritual. Not in some, but almost allof them. They make it quite grand,pompous even. There arebrotherhoods that even send outinvitations to see the dressing ofthe Virgin! In my case, I dress herpretty much alone.

Virgin w/ purple nazarenos.C.U. Virgin.

La Macarena coming around BarGonzalo.

Roman soldiers.

L.S. of La Macarena.

Roman soldiers.

Narrator: Over 50 Virgins go outinto the streets of Seville duringSemana Santa. But there is onewho stands out among them all.There is one who is known as theSeñora of Seville: La Macarena.This 17th century image boasts anentourage of twenty-five hundredbrothers, including an escort ofhundreds of Roman soldiers. Ittakes two hours to watch theentire procession pass by.

La Macarena lifted.Manuel in balcony.

M.S. La Macarena.La Macarena from the rear.La Macarena enters smallsidestreet.

Manuel Perales Gómez: Al cielocon ella! Al cielo con ella queremosir todos los Sevillanos. Madre mía!Macarena! Guapa! Reina de laMadrugada! Reina de Sevillaentera.

C.G.:...Raise her up to heaven! Toheaven with her, all we Sevillanoswish to go. My Mother ...Macarena...Guapa. Queen of the Dawn!Queen of all of Seville!

Fernando walking into his shop;plunking down miniature statues oncounter inside.

Narrator: Fernando Abad Ortega,who has an antique shop near theCathedral, has been dressing theVirgin of the brotherhood ofMontesión for many years.


La Macarena enters smallsidestreet. (continuation ofprevious shot.)Saetero sings from balcony.Devotees press against her paso.

Saetero singing to LAMACARENA: Mi madre Santa. Allíse ve. Macarena Sevillana. Ay!Qué guapa va, Madre mía.

Saeta music

Pepe pouring beer.Pepe talking to camera.

Pepe Peregil, Saetero: Unasaeta es un cante, es un rezo. Y almismo tiempo es un canteflamenco. Un cante de flamencode los más duros. La saeta pareceque proviene de cantes liturgicosque se cantaban quizás en laiglesia, y llegaron los flamencos--losartistas flamencos--y cogieron deesas saetas y, como han hecho conmucho cante, la agrandecieron(?).Lo hicieron cante flamenco puro,no? Y además es más puro y másdificil. Porque se canta en unascondiciones muy dificil paraflamenco. La saeta se canta en unbalcon. Sin micro. La saeta secanta sin una guitarra, sin unaacompañamiento.

Pepe Peregil, Saeta Singer(V.O.): A saeta is a song, aprayer. And at the same time, it'sa flamenco form--one of the mostdifficult. The saeta seems to haveoriginated in liturgical songs thatwere sung in church. Then camethe flamenco artists, who tookthese saetas, and made thembigger. They made it pureflamenco. It's very pure and verydifficult, because it's sung indifficult conditions. A saeta is sungfrom a balcony. Without amicrophone. Without a guitar, orany accompaniment.

Pepe singing at the bar. Saeta Music.

Pepe talking to camera. Pepe Peregil, Saetero: Es comouna flecha. Como un dardo. Esuna saeta. Parece que la saetaviene de que se clava en el corazóno yo qué sé?

Pepe Peregil (V.O.): It's like anarrow. A dart. That's what saetameans. It nails you in the heart.

The rooftops of Seville. Saeta music.


T.U. to La Giralda at night. Narrator: The centuries go by...Haunting strains of a saeta driftthrough the night...

Tilt down from tower to applaudingcrowd.

Music: Saeta

Bird's eye view of Pieta sculpturemoving through night.Nazarenos emerge from Cathedral.File of flickering candles.

Narrator: Christ and the Virginfloat over a sea of people...Bearingcrosses and flickering candles,endless files of hooded penitentssnake through the ancient streetsof the city...

Throwing rose petals at the Virgin.

T.D. from La Giralda; Nazarenoswith crosses continue their march.

Narrator: A celebration of springand the Resurrection of Christ...

...Semana Santa in Seville.

Montage of Semana Santa images.(C.U. candlelight to C.U. of profilesof young men holding candles.)

Pepe's saeta: Entre naranjos y lacal. Y es mi Virgen del Museo.Agua, agua, perfume y vaharados..

Saeta music.

Slow-mo push in to La Giralda atnight.

Guitar music.

SEMANA SANTA in SEVILLE by Mary Flannery VIDEO SPANISH …

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Transcript of SEMANA SANTA in SEVILLE by Mary Flannery VIDEO SPANISH …