The Tale of the Miraculous images of Apung Mamacalulu of Angeles City, Pampanga

A bas relief image of the two images of Apung Mamacalulu venerated in Holy Rosary Parish
and the Archdiocesan Shrine of Apung Mamacalulu, both located in Angeles City, Pampanga

In the previous blog posts, we have featured the history of the images and its accompanying devotion to Santo Angel Custodio and Nuestra Señora del Santisimo Rosario - La Naval de Angeles, the titular and the Queen of the highly progressive Angeles City in Pampanga respectively. As what we've mentioned in the previous articles, the month of October is big celebration in Angeles City with the feasts of Holy Guardian Angels every 2nd of October, Our Lady of the Rosary - La Naval de Angeles every Second Sunday of October and the Feast of Apung Mamacalulu (A Kapampangan term for  'Merciful Lord'), an image of the dead Christ celebrated every last Friday of October.

One cannot help but wonder, why Angeleños celebrate a feast dedicated to the dead Christ in the month of October and why there were two images that is venerated in Angeles City sharing the same title "Apung Mamacalulu"? 

The anatomy of two "Apung Mamacalulu" images

On hindsight, one might believe that the two images are very similar to each other, after all, they are images of the dead Christ. Yet, upon closer look on the images, there are distinct carving styles that set one apart from each other.

Apung Mamacalulu of the Holy Rosary Parish

The Apung Mamacalulu of the Holy Rosary Parish

The image of the miraculous Dead Christ venerated in the Holy Rosary Parish, more popularly known as "Pisamban Maragul" has a binihon style of carving of its beard (A carving style that resembles a mass of fine strands of noodles or pancit bihon). The beard splits into two twin swirls with a cone-like shape towards the end. This is referred to as the “caracol” or snail style of beard ending.

The red lines and dots depicting the flow and drops of blood of from Jesus’ wounds are painted in strategically located points, originating as a crown of blood from the head, flowing down to the torso with calculated, and symmetrical strokes. The image bears holes at the back of the torso and on top of the head, has movable arms and head that could be mechanisms for the Apung Tanggal (taking down of the body of Christ from the cross) ritual held on Good Friday after the Siete Palabras. The torso is hollow at nth center where the rib cage ends.

The face is characterized by a gaunt look with its sunken cheeks, eyeballs peering through half-opened and swollen eyelids, a high-bridged nose that swells slightly towards the end, a set of teeth and tongue visible through a half-opened mouth, with relatively medium sized, detailed carving of an ear on each side of the skull.

The face, the arms and the limbs (from the knees down to the feet) bear a thin coat of black patina. It is theorized that it is a residue of Balsamo de Peru that used to be applied on those particular wound sites by the Recamaderas of old. The said parts of the image bear a faint odor of Balsamo de Peru, giving off a sweet scent similar to that of ammonia. The practice appears to have been done in the past but was halted for unknown reasons. This explains the blackish pools visible on the crevices surrounding the eyes, the nose and the mouth.  Balsamo de Peru is a balm used to promote healing of wounds and sores. The practice hews closely to he embalming of Jesus after his remains were taken down from the Cross in preparation of his burial.

Apung Mamacalulu of the Archdiocesan Shrine of Apung Mamacalulu

The Apung Mamacalulu of the Archdiocesan Shrine of Apung Mamacalulu

The image of the miraculous Dead Christ has its beard done also in binihon and caracol carving styles yet less pronounced. The image also has has movable arms and head but the arms have been fixed following a fire allegedly started by an iconoclast in the ‘80s which damaged the arms and the feet. The image has a hole at the back of the torso, presumably to help secure it to the calandra during processions.

Drippings of red paint depicting the blood from Jesus’ wounds appear to be smudged in less calibrated strokes, giving the appearance following continuously towards the torso. The image has a smoother and glossier finish, albeit a shade darker than the Apu at Pisamban Maragul. It bears no traces of Balsamo de Peru on its body and face. The face bears the same gaunt and haunting look but the eyes appear to be clearer.

Apung Mamacalulu

The origin of the image

The story of the image and devotion to the Dead Christ of Angeles City, Pampanga began in the middle part of the 19th Century (between 1829 – 1849) when Rev. Fr. Macario Paras, then the Parish Priest of Angeles, commissioned a sculptor named Buenaventura to carve an image of the Santo Entierro for Good Friday rites and for the veneration of the faithful. It was first installed in a little sanctuary built by Padre Paras on his own premises where it became an object of veneration among the pious inhabitants of the place.

An entry in the book of records of the  Angeles Parish shows that the image, its calandra (the carriage of the Santo Entierro) and other appendages, appear to have been given as a gift to the church by Padre Paras. There is also a similar entry found in the church records under the date February 20, 1865, where it appears that the Apu image, with its adornments and carriage, was a gift from Padre Paras and was then in his care. Another document shows that the image, together with its carriage, was transferred to the church in 1872.

During the Philippine Revolution, the image and the calandra were moved to Barrio Sapangbato for safekeeping. It was brought back to the church sometime in 1904, where it remained until the controversy of Good Friday of 1928 took place.

The Holy Rosary Parish of Angeles City, Pampanga

The renowned miracle

In no time, the image of the Dead Christ became an object of veneration among the faithful of Angeles City, earning the name "Apung Mamacalulu" - Our Merciful Lord. The devotion to Apu owes its popularity to a famous miracle that happened to Roman “Duman” Payumu. Roman was accused by the Spaniards of being a katipunero and was beaten, tied up and sentenced to die by firing squad. As his last request, he asked to be allowed to pray to Apung Mamacalulu before being taken to the execution ground behind it. When he reached the Pisamban Maragul, all its doors were locked for the siesta. H e then reached to the closest door near to where the image was located, went down on his knees and prayed:

“O Apu cung Manacalulo! Emu cu pu rugu acaquet, pemalu dacu pu at penumbuc. Ala cumang pung bitasang casalanan! Ngeni pu paten dacu pa! O Dios co, balicdan yucu pu careng mata yung mapamacalulu. Ticdo cayu sana pu queng quecayung pañgaquera at lualan yu cu pu!... Cambe yucung caulan matalic at ibalut yucu pu qng quecayung mal a mantu at iligtas yucu pu, at sabe yo pung isambulat dening macamate canacu!"

[Oh my Merciful Lord! Can’t you see me? They clubbed me and hit me in spite of my innocence! Now they’re even going to kill me! Oh My God, turn your merciful gaze upon me! Please arise from your recline and come out to me! Embrace me tightly and enfold me with your holy robe and save me, and cast away my executioners!”]

Apung Mamacalulu of the Holy Rosary Parish

The Spanish and local Macabebe soldiers broke into loud laughter seeing the kneeling Duman in a feverish frenzy of emotion. But unknown to them, Fr. Vicente Lapus was standing right behind the closed church door listening and watching everything through the small cracks. 

As he reached the execution spot, the rope that secured his hands suddenly loosened. Realizing that his arms were free, he fled from his captors and hid in a locust trap (luctun) until his captors gave up their search for him.  Duman returned to his old zacatero livelihood and remained an ever loyal bearer of Apung Mamacalulu till his old age and his natural death. 

The story of Roman Payumu’s salvation from a firing squad and subsequent search became the basis of Angeles City’s “Fiesta nang Apu” celebrations every last Friday of October, starting from the first Apu Fiesta on October 28, 1897. At the same time, his story spread not only in Pampanga but throughout Central Luzon and started the popular devotion to Apung Mamacalulu for millions of devotees up to the present time, many of whom truthfully attest to innumerable personal petitions and favors granted by the Apu.

Apung Mamacalulu

A Controversial Good Friday

The story of Apung Mamacalulu will reach its dark turn on Good Friday of 1928 when its camarero Eriberto Navarro, acting for his aunt Alvara Fajardo  with the assistance of numerous policemen and then town Mayor Juan D. Nepomuceno, caused the image to be taken forcibly from the precincts of the church when the procession was over, and from there it was carried to a place that had been constructed for its deposit. The santo-snatching resulted not only from an ownership dispute but also from a long-standing political quarrel between the then Nacionalistas and Democratas. The incident gave rise to a 1929 suit between the Archbishop of Manila vs. Alvara Fajardo and Eriberto Navarro.

Apung Mamacalulu of the Holy Rosary Parish

Alvara Fajardo claimed that after P. Paras’s death in 1876, the image was inherited by Mariano V. Henson, who transferred his ownership to Fernanda Sanchez, who willed it to her son –and Alvara’s husband, Crispulo Bundoc. But church records show that before his death, Padre Paras had given the image to the church as a gift.

Moreover, the transfer of property from these families was not proved. What was proved was that, after the priest’s death, Fernanda Sanchez took it upon herself to exercise the office of recamadera, which was passed on to Alvara. Being a recamadera however, did not carry with it the ownership of the image, and so the Supreme Court ruled in favor of the Church and ordered the Fajardos to return the Apung Mamacalulu image.

Apung Mamacalulu of the Archdiocesan Shrine of
Apung Mamacalulu (Apu Chapel)

The appearance of the second image and further controversies

While the original image was apparently returned to the church, an identical image surfaced at the chapel of the Dayrit estate about the same time. The issue of the two images became the source of friction between the Dayrits and the Angeles parish priests for many years. Devotees remained with the Dayrits’ image , in fact, increasing in number until the shrine’s popularity reached cult proportions. The two images were taken out in separate processions, and on two occasions, even simultaneously. But the Dayrit’s processions enjoyed more following.

Further controversy arose when requests for masses by Don Clemente Dayrit in the Apu chapel were always denied by the Archbishop of Manila since 1933 by Archbishop Micheal O'Doherty citing that the chapel was not a recognized property of the Church. It is also cited that the matter of accounting the donations to Apu that became the major issue. The money issue became more serious when the Dayrits began leasing their lands to transient vendors who started making good business on the Apu premises in the 1970's. These circumstances led to the issuance of an interdict in 1985 that prohibited liturgical and para-liturgical celebrations in the Apu Chapel by then Archbishop Oscar Cruz. Despite the imposed ban during that time from 1933 - 1984, masses and other liturgical functions were occasionally held by priests from other localities and congregations.

The Archdiocesan Shrine of Apung Mamacalulu

Ending the Controversy

After 25 years, Archbishop Paciano Aniceto lifted the interdict in 2010, recognizing the significance of the devotion to Apung Mamacalulu at the Apu Chapel in Barangay Lourdes Sur. 

The Apu Chapel was declared an Archdiocesan Shrine in 2012 by Archbishop Aniceto upon recommendation of then Auxiliary Bishop Pablo David (now the current Bishop of the Diocese of Kalookan). Archbishop Aniceto later declared the Apu Shrine as the "Terra Santa of Pampanga".

Procession of Apung Mamacalulu

The devotion at present

Despite the controversy that surrounds the story of Apung Mamacalulu, the devotion to Apung Mamacalulu was resilient and enduring over the years. Pilgrims and devotees from all over Luzon and Pampanga province flock both the Holy Rosary Parish and the Apu Shrine to pay homage to the miraculous images of Apung Mamacalulu. The images goes out twice a year, on Good Friday and on his feast day, the last Friday of October. The October fiesta marks the closing of the month long fiesta celebrations in Angeles City and the procession of Apung is dubbed as "The Good Firday Procession of October" wherein the Holy Week saints that usually accompany the Santo Entierro also participate in the October procession. 

One of the trademarks of Filipino Catholicism is the devotion to the Santo Entierro or the Dead Christ. One might wonder why we have this kind of devotion to the lifeless Christ after his Crucifixion. The image of the Dead Christ has become a symbol of hope for people longing for a connection to the divine especially when all else failed. His image is supine, bruised, caught in the final act of love and sacrifice that has spelled salvation for those who believe in Him. Every kiss that lands His badly bruised feet or a touch that grazes His battered hand comes with a deep conviction that through His death and resurrection, He made all things new.

Apung Mamacalulu, pacaluluan mo cami!

References:

"About Apung Mamacalulu", Retrieved from http://apungmamacalulu-fgnmhs.blogspot.com/p/about.html on OCtober 15, 2019.

Musni, Francis, "The strange case of the two images of Apung Mamacalulu", Retrieved from http://andalltheangelsandsaints.blogspot.com/2010/06/16-strange-case-of-two-images-of-apung.html on October 15, 2019.

"Pyestang Apu Mamacalulu", Retrieved from https://angelescity.ph/event/pyestang-apu-mamacalulu/ on October 15, 2019.

Tomen, Nina L.B. "Apung Mamacalulu: The Sto. Entierro of Angeles City", Curia Sancti Rosarii,Inc,, Angeles City, Pampanga, 2011.

Special credits to the owner of the photographs used in this blogpost.
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