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I rarely post a photo collection on a social media and share it to public. But one day of Lent, I went off my pattern.
The photo series I made were from the Live Stations of the Cross (“Ang Dalan sa Krus”), in the Parish of Our Lady of the Abandoned, Valencia. The collection shows many devoted characters - the youth of the parish. And I felt that owe to them and to the organizers my photographs. In just a few hours the album hit several reactions and shares.
There was this first comment I read, “Re-enactment of violence and torture in full view of the children.”
Whatever the point of the poster, I leave it to him. Indeed, children were there along with other people earlier than 5 o’clock in the morning to attend the event. Violence and torture are not new to them as well. Maybe short from understanding the Science of Crucifixion, but they watch images of scourged and crucified Christ all their life. Some of these little ones will wake up even much earlier than this day to sing the “Alleluia” on the early morning of Easter.
Then I went back to my work for my own recollection of the event.
I recalled that composing an old scene in a crowd of the modern time was quite tricky. A signboard or a pedestrian lane could spoil a shot. A cellphone or tablet could steal attention. I could hide one distraction along the composition but only to expose more. Yes, it’s not that easy on a hurting knee. And many, I compose low so not to obstruct the view of those who were there earlier than I.
So I felt glad having the photographs because it is like amplifying a soft little call to be heard amidst the old loud noise, or putting into array all the elements to draw the simplest, yet, strongest message of all.
While it was clear to me that the people were there to witness love and sacrifice as profession of their faith, I realized that it was not a mere reenactment, but a representation of today. For at present, in front of the many innocent ones, real blood still flows from endless violence, abuses and persecution...
All because of personal beliefs.
CAS|2018
Charlie Sindiong
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