One thing I ask of the Lord;
this I seek:
To dwell in the Lord’s house
all the days of my life,
To gaze on the Lord’s beauty,
to visit his temple.
For God will hide me in his shelter
in time of trouble;
Will conceal me in the cover of his tent;
and set me high upon a rock.
(Psalm 27:4-5)
We speak of the church as house of God. In the common parlance the word “church” denotes the building in which people worship and the word “Church” refers to the people themselves. In the earlier era of Christianity the building used for worship was called Domus Ecclesiae, the house of the Church. Thus, it would appear that the Church is the house of God’s people, our house, since we are also children of God.[1]
In the 1983 Code of Canon Law the word church would refer to the “sacred building intended for divine worship.”[2] As a means to exemplify the provisions for sacred places in the Canon, this article takes to consider the church of St. Paul the Apostle in Inabanga, Bohol, Philippines. We shall also consider the “principles and norms of liturgy and of sacred art”[3] which the canon stipulated. Before going further into the critique of the church (building) it is just proper to have a short review on the description and historical background of the Church (people).
Inabanga was a mission area in 1596. Like Talibon, it was administered by the Jesuits from the Colegio de San Ildefonso in Cebu. According to Fr. Luengo, La Iglesia de San Pablo de Inabanga was founded by Fr. Silvestre Puigvert, S.J. in 1726.[4] It was passed on to the Recollects in 1768 and they remained its pastors until 1898. Inabanga is also the birthplace of Dagohoy who took the longest revolt in the Philippine history against the Spaniards that started in 1744.
St. Paul Parish was then a part of the Diocese of Tagbilaran which was established on November 8, 1941 separating it from Cebu, its mother diocese. On January 9, 1986, Inabanga became one of the parishes of the newly erected Diocese of Talibon. St. Paul Parish of Inabanga is at the northwestern tip of this diocese. At present it is composed of 33 barangays with an estimated 28,000 parishioners.
Inabanga is geographically located in the northern coast of Bohol at about seventy-one kilometers from the city of Tagbilaran. This town is composed of 50 barangays. Before the Spaniards arrived, the people called this place Inabangan because of the river. People believed that the yearly loss of human life either by being drowned or crocodile attack is a sort of a rental or “abang” in the local dialect. The people of Inabanga have been known for their warlike nature, but this was true only during the time of the revolution. Nowadays, Inabangnons are peace-loving and hospitable people unless their rights are trodden upon and their anger provoked. The people are industrious and they are engaged in various trades such as fishing, mat making or weaving, nipa thatches production. The town is proud of its Inabanga River, being the largest river in Bohol, the Nature Park and other tourist destinations.
The parish church building is ideally situated on an elevated area beside the banks of the Inabanga River. Stone embankments protect the site. An earlier church of stone was built during Jesuit times but it was burned probably during the Dagohoy revolt. The church was in bad condition and so was the adjoining convento. A new stone church was completed in 1899[5] but this was partially burned by Americans in 1902 in retaliation for the attack on the garrison at Tubigon. The church is composed of various materials, the last being concrete, introduced by the secular priest Fr. Quiterio Sarigumba in 1931. The church uses gothic elements in the façade and has a portico in front of the entrance. The interior is disappointingly modern, except for the murals of the Garces brothers, done in the style of Canuto Avila and Ray Francia. In February 2004 the church underwent major repairs under the main sponsorship of Mr. Alex Te. The works were mainly structural. Roofing was changed from the corroded G.I. sheets into adobe tiles. To support the weakening church structure, four major columns were constructed each measuring 0.75 m. in diameter. The flooring was replaced with new tiles. The old pews were also replaced. There were no major changes with regard to the architectural design of the building and up to this time the church still has no working sacristy. The walls are still awaiting for repairs and reinforcing since these walls were made up of stone blocks and later on plastered with cement The choir loft and the baptistery are no longer functional. The belfry also needs repairs. It is sad to note that only a few parishioners, if there are, who show concern to our church heritage whether on the larger structure or the smaller ornamentations.
The church then needs our care and attention because this contains the works of art and artistic treasures handed down to us from past centuries as well as the artistic expression of our people today. Our efforts to preserve and enhance these things must be motivated towards the nourishment of faith and devotion.[6] This is so because this place is intended by the church for the exercise or promotion of worship, piety and religion.[7] With this purpose of the church which is for divine worship, other activities such as meetings of the church organizations should be done in another place. The parishioners should be well informed about this because there are instances when the people somehow lost their appreciation of the dignity of the church as a place for prayer.
It is so disappointing to see garbage inside the church after liturgical celebrations. Some people just don’t care about maintaining cleanliness inside the church. For this matter, persons responsible should look for means to ensure cleanliness which is proper to the sacred character of the place.[8]
It is so commendable that a noble benefactor has spent much for the repair of the church. This act is so encouraging for the parishioners and their leaders to show their commitment for the maintenance and improvement of the church so as to conform to the principles and norms of sacred art and liturgy.[9] It is high time for the people in this parish to be aware of these principles and norms and see whether these are applied.
The interior of the church is somewhat incongruent to the façade. It appears to be modern. The retablo at the center was removed following the reforms of Vatican II. However other churches with similar design preserved their retablos. The preservation of church heritage is notable especially among these churches in Bohol.
Going closer to the sanctuary of Inabanga church, the tabernacle is very prominent at the center beneath the crucifix. This arrangement is symbolic on the emphasis of Christ-centeredness of the Church. Even though the retablo had been abandoned, the reason is still theologically sound. The large image of the crucifix welcomes everyone who enters particularly through the main entrance. The tabernacle at the center reminds us that we are a Eucharistic community. We are also reminded of the sacramental presence of Christ. When there are no liturgical celebrations in the church these symbols of our faith help us to dispose ourselves in prayer. However, “by tradition, if the tabernacle is not placed in a separate chapel, its location in the sanctuary is at the right side from the assembly’s view.”[10]
In connection with sacred images while they usher the faithful toward the mysteries of faith, they must be arranged in proper order so as not to distract the faithful’s attention to the celebration.[11] The image of St. Paul that seems to be on top of the tabernacle may be inappropriate in its place. This would obstruct the people’s attention to the crucifix and the tabernacle. The image of St. Paul may be placed at the right side of the sanctuary since St. Paul is the patron saint of the parish. But the deep devotion of the people to their patron saint tolerated this arrangement.
Another noteworthy feature of Inabanga church is the ceiling. Paintings are still visible although some parts are already damaged. So, there is a need to restore such work of art as part of the church heritage of the parish. This would entail a bigger sum, but the hope is still there that in future time this will be realized.
Generally, the arrangement or plan of the church has helped the people to be closer together during liturgical activities. To this effect, the efforts of the pastor could not be brushed aside. He oversees the functionality of the sacred places in the parish. One important aspect is the sound system. For a number of years in the past there were problems regarding the audibility in the church. But at present the pastor gives much attention and care to the audio which results in a more active and meaningful participation of the faithful.
Great responsibility is on the shoulders of our church leaders especially the priests. The priests are well listened to in the local church community. For this reason they have great influence to motivate the people to help maintain and enhance the usefulness of the sacred places. Ecclesiastical authorities are in a proper position to exercise their powers and functions in sacred places.[12]
For some minor shortcomings on the adherence to the principles and norms of sacred places the parish needs competent persons on this matter. In the absence of such, the parish could organize a committee to take charge the liturgical environment and arts. Members of this group could do research and consultation to the experts on this matter. Concern for the church cultural heritage should not to be left out. As a people we have to appreciate our historicity. Not only that we care to look back to the past, but most importantly we have to see how the Lord make himself present in our story as a community.
The Inabanga community used to meet in the church especially in various celebrations of life. We hope that every gathering in this sacred place may become an occasion in which we could fully express our sense of unity in Christ our Lord through the intercession of St. Paul the Apostle, our patron saint. And in celebrating the year of St. Paul we join the universal Church and pray:
Glorious Saint Paul,
Most zealous apostle,
Martyr for the love of Christ,
Give us a deep faith,
A steadfast hope,
A burning love for our Lord,
So that we can proclaim with you,
“It is no longer I who live,
But Christ who lives in me.”
Help us to become apostles,
Serving the Church with a pure heart,
Witnesses to her truth and beauty
Amidst the darkness of our days.
With you we praise God our Father:
“To him be the glory, in the Church
And in Christ,Now and forever.”
Amen.
[1] Charles E. Miller, C.M., Sacraments and Other Matters Liturgical, Liturgy for the People of God: A Trilogy, Vol. 2 (Manila: St Pauls, 2003), 147-147.
[2] 1983 Code of Canon Law (hencefort CIC), 1214.
[3] CIC, 1216
[4] Jose Maria Luengo, A History of the Philippines: A Focus on the Christianization of Bohol (Tubigon, Bohol: Mater Dei Publications, 1991), 229.
[5] Inscription at the back of the church (found at the upper room of the present conven) states: El 18 de Febrero 1889 se comenzo esta obra siendo gobernadorcillo el Hermogenes Torrefranca.
[6] General Instruction of the Roman Missal 3rd ed. (March 19, 2003)[henceforth GIRM], # 289.
[7] CIC 1210.
[8] CIC 1220.
[9] CIC 1216.
[10] Paul VI Institute of Liturgy, Liturgical Guideline on Church Architecture- Approved by the CBCP, January 1999 (Pasay City: Paulines, 1999), 32-31.
[11] GIRM # 318.
[12] CIC 1213.
this I seek:
To dwell in the Lord’s house
all the days of my life,
To gaze on the Lord’s beauty,
to visit his temple.
For God will hide me in his shelter
in time of trouble;
Will conceal me in the cover of his tent;
and set me high upon a rock.
(Psalm 27:4-5)
We speak of the church as house of God. In the common parlance the word “church” denotes the building in which people worship and the word “Church” refers to the people themselves. In the earlier era of Christianity the building used for worship was called Domus Ecclesiae, the house of the Church. Thus, it would appear that the Church is the house of God’s people, our house, since we are also children of God.[1]
In the 1983 Code of Canon Law the word church would refer to the “sacred building intended for divine worship.”[2] As a means to exemplify the provisions for sacred places in the Canon, this article takes to consider the church of St. Paul the Apostle in Inabanga, Bohol, Philippines. We shall also consider the “principles and norms of liturgy and of sacred art”[3] which the canon stipulated. Before going further into the critique of the church (building) it is just proper to have a short review on the description and historical background of the Church (people).
Inabanga was a mission area in 1596. Like Talibon, it was administered by the Jesuits from the Colegio de San Ildefonso in Cebu. According to Fr. Luengo, La Iglesia de San Pablo de Inabanga was founded by Fr. Silvestre Puigvert, S.J. in 1726.[4] It was passed on to the Recollects in 1768 and they remained its pastors until 1898. Inabanga is also the birthplace of Dagohoy who took the longest revolt in the Philippine history against the Spaniards that started in 1744.
St. Paul Parish was then a part of the Diocese of Tagbilaran which was established on November 8, 1941 separating it from Cebu, its mother diocese. On January 9, 1986, Inabanga became one of the parishes of the newly erected Diocese of Talibon. St. Paul Parish of Inabanga is at the northwestern tip of this diocese. At present it is composed of 33 barangays with an estimated 28,000 parishioners.
Inabanga is geographically located in the northern coast of Bohol at about seventy-one kilometers from the city of Tagbilaran. This town is composed of 50 barangays. Before the Spaniards arrived, the people called this place Inabangan because of the river. People believed that the yearly loss of human life either by being drowned or crocodile attack is a sort of a rental or “abang” in the local dialect. The people of Inabanga have been known for their warlike nature, but this was true only during the time of the revolution. Nowadays, Inabangnons are peace-loving and hospitable people unless their rights are trodden upon and their anger provoked. The people are industrious and they are engaged in various trades such as fishing, mat making or weaving, nipa thatches production. The town is proud of its Inabanga River, being the largest river in Bohol, the Nature Park and other tourist destinations.
The parish church building is ideally situated on an elevated area beside the banks of the Inabanga River. Stone embankments protect the site. An earlier church of stone was built during Jesuit times but it was burned probably during the Dagohoy revolt. The church was in bad condition and so was the adjoining convento. A new stone church was completed in 1899[5] but this was partially burned by Americans in 1902 in retaliation for the attack on the garrison at Tubigon. The church is composed of various materials, the last being concrete, introduced by the secular priest Fr. Quiterio Sarigumba in 1931. The church uses gothic elements in the façade and has a portico in front of the entrance. The interior is disappointingly modern, except for the murals of the Garces brothers, done in the style of Canuto Avila and Ray Francia. In February 2004 the church underwent major repairs under the main sponsorship of Mr. Alex Te. The works were mainly structural. Roofing was changed from the corroded G.I. sheets into adobe tiles. To support the weakening church structure, four major columns were constructed each measuring 0.75 m. in diameter. The flooring was replaced with new tiles. The old pews were also replaced. There were no major changes with regard to the architectural design of the building and up to this time the church still has no working sacristy. The walls are still awaiting for repairs and reinforcing since these walls were made up of stone blocks and later on plastered with cement The choir loft and the baptistery are no longer functional. The belfry also needs repairs. It is sad to note that only a few parishioners, if there are, who show concern to our church heritage whether on the larger structure or the smaller ornamentations.
The church then needs our care and attention because this contains the works of art and artistic treasures handed down to us from past centuries as well as the artistic expression of our people today. Our efforts to preserve and enhance these things must be motivated towards the nourishment of faith and devotion.[6] This is so because this place is intended by the church for the exercise or promotion of worship, piety and religion.[7] With this purpose of the church which is for divine worship, other activities such as meetings of the church organizations should be done in another place. The parishioners should be well informed about this because there are instances when the people somehow lost their appreciation of the dignity of the church as a place for prayer.
It is so disappointing to see garbage inside the church after liturgical celebrations. Some people just don’t care about maintaining cleanliness inside the church. For this matter, persons responsible should look for means to ensure cleanliness which is proper to the sacred character of the place.[8]
It is so commendable that a noble benefactor has spent much for the repair of the church. This act is so encouraging for the parishioners and their leaders to show their commitment for the maintenance and improvement of the church so as to conform to the principles and norms of sacred art and liturgy.[9] It is high time for the people in this parish to be aware of these principles and norms and see whether these are applied.
The interior of the church is somewhat incongruent to the façade. It appears to be modern. The retablo at the center was removed following the reforms of Vatican II. However other churches with similar design preserved their retablos. The preservation of church heritage is notable especially among these churches in Bohol.
Going closer to the sanctuary of Inabanga church, the tabernacle is very prominent at the center beneath the crucifix. This arrangement is symbolic on the emphasis of Christ-centeredness of the Church. Even though the retablo had been abandoned, the reason is still theologically sound. The large image of the crucifix welcomes everyone who enters particularly through the main entrance. The tabernacle at the center reminds us that we are a Eucharistic community. We are also reminded of the sacramental presence of Christ. When there are no liturgical celebrations in the church these symbols of our faith help us to dispose ourselves in prayer. However, “by tradition, if the tabernacle is not placed in a separate chapel, its location in the sanctuary is at the right side from the assembly’s view.”[10]
In connection with sacred images while they usher the faithful toward the mysteries of faith, they must be arranged in proper order so as not to distract the faithful’s attention to the celebration.[11] The image of St. Paul that seems to be on top of the tabernacle may be inappropriate in its place. This would obstruct the people’s attention to the crucifix and the tabernacle. The image of St. Paul may be placed at the right side of the sanctuary since St. Paul is the patron saint of the parish. But the deep devotion of the people to their patron saint tolerated this arrangement.
Another noteworthy feature of Inabanga church is the ceiling. Paintings are still visible although some parts are already damaged. So, there is a need to restore such work of art as part of the church heritage of the parish. This would entail a bigger sum, but the hope is still there that in future time this will be realized.
Generally, the arrangement or plan of the church has helped the people to be closer together during liturgical activities. To this effect, the efforts of the pastor could not be brushed aside. He oversees the functionality of the sacred places in the parish. One important aspect is the sound system. For a number of years in the past there were problems regarding the audibility in the church. But at present the pastor gives much attention and care to the audio which results in a more active and meaningful participation of the faithful.
Great responsibility is on the shoulders of our church leaders especially the priests. The priests are well listened to in the local church community. For this reason they have great influence to motivate the people to help maintain and enhance the usefulness of the sacred places. Ecclesiastical authorities are in a proper position to exercise their powers and functions in sacred places.[12]
For some minor shortcomings on the adherence to the principles and norms of sacred places the parish needs competent persons on this matter. In the absence of such, the parish could organize a committee to take charge the liturgical environment and arts. Members of this group could do research and consultation to the experts on this matter. Concern for the church cultural heritage should not to be left out. As a people we have to appreciate our historicity. Not only that we care to look back to the past, but most importantly we have to see how the Lord make himself present in our story as a community.
The Inabanga community used to meet in the church especially in various celebrations of life. We hope that every gathering in this sacred place may become an occasion in which we could fully express our sense of unity in Christ our Lord through the intercession of St. Paul the Apostle, our patron saint. And in celebrating the year of St. Paul we join the universal Church and pray:
Glorious Saint Paul,
Most zealous apostle,
Martyr for the love of Christ,
Give us a deep faith,
A steadfast hope,
A burning love for our Lord,
So that we can proclaim with you,
“It is no longer I who live,
But Christ who lives in me.”
Help us to become apostles,
Serving the Church with a pure heart,
Witnesses to her truth and beauty
Amidst the darkness of our days.
With you we praise God our Father:
“To him be the glory, in the Church
And in Christ,Now and forever.”
Amen.
[1] Charles E. Miller, C.M., Sacraments and Other Matters Liturgical, Liturgy for the People of God: A Trilogy, Vol. 2 (Manila: St Pauls, 2003), 147-147.
[2] 1983 Code of Canon Law (hencefort CIC), 1214.
[3] CIC, 1216
[4] Jose Maria Luengo, A History of the Philippines: A Focus on the Christianization of Bohol (Tubigon, Bohol: Mater Dei Publications, 1991), 229.
[5] Inscription at the back of the church (found at the upper room of the present conven) states: El 18 de Febrero 1889 se comenzo esta obra siendo gobernadorcillo el Hermogenes Torrefranca.
[6] General Instruction of the Roman Missal 3rd ed. (March 19, 2003)[henceforth GIRM], # 289.
[7] CIC 1210.
[8] CIC 1220.
[9] CIC 1216.
[10] Paul VI Institute of Liturgy, Liturgical Guideline on Church Architecture- Approved by the CBCP, January 1999 (Pasay City: Paulines, 1999), 32-31.
[11] GIRM # 318.
[12] CIC 1213.
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