Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal

IF 0.3 2区 艺术学 0 THEATER
A. Tiatco
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引用次数: 0

Abstract

Abstract On 16 March 2020, then Philippine President Rodrigo Duterte imposed the Enhanced Community Quarantine putting the main island of Luzon – where Manila, the National Capital Region, is located – on a total lockdown to protect the spread of COVID-19. The lockdown restricted mobility, social gatherings were prohibited, and everyone was mandated to stay inside their homes. Moreover, there was a temporary closure of what were considered as non-essential establishments, including religious institutions. Being a predominantly Roman Catholic nation, religious rituals and festivals were heavily affected by the lockdown. Many of its ritualistic and festive performances involve human contact, which serves as the faithful’s direct and intimate relationship to the heavens. This essay interrogates how cultural festivals in the Philippines, mostly organised by the Church, adapted to the global health crisis. It reflects how the adaptations challenged and recontextualised the understanding of the live vis-à-vis the context of the digital or the virtual. Finally, a preliminary speculation on the future of the religious festivals in the Philippines is provided as a concluding reflection.
新冠肺炎大流行期间的菲律宾天主教节日:在“新”常态下现场表演
摘要2020年3月16日,时任菲律宾总统罗德里戈·杜特尔特(Rodrigo Duterte)实施了加强社区隔离,将国家首都马尼拉所在的主要岛屿吕宋岛全面封锁,以保护新冠肺炎的传播。封锁限制了行动,禁止社交聚会,每个人都被要求呆在家里。此外,包括宗教机构在内的被视为非必要的机构也被暂时关闭。作为一个以罗马天主教为主的国家,宗教仪式和节日受到封锁的严重影响。它的许多仪式和节日表演都涉及人与人的接触,这是信徒与天堂的直接和亲密关系。本文探讨了菲律宾主要由教会组织的文化节是如何适应全球健康危机的。它反映了改编是如何挑战和重新文本化对数字或虚拟背景下的现场理解的。最后,对菲律宾宗教节日的未来进行了初步的推测,作为总结性的反思。
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来源期刊
CiteScore
0.50
自引率
0.00%
发文量
21
期刊介绍: Contemporary Theatre Review (CTR) analyses what is most passionate and vital in theatre today. It encompasses a wide variety of theatres, from new playwrights and devisors to theatres of movement, image and other forms of physical expression, from new acting methods to music theatre and multi-media production work. Recognising the plurality of contemporary performance practices, it encourages contributions on physical theatre, opera, dance, design and the increasingly blurred boundaries between the physical and the visual arts.
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