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The Pasyón () is a Philippine epic poem narrative of the life of Jesus Christ, focused on his Passion, Death, and Resurrection. In stanzas of five lines of eight syllables each, the standard elements of epic poetry are interwoven with a colourful, dramatic theme.
The uninterrupted chanting or pabasa (“reading”) of the entire book from start to end is a popular Filipino Catholic devotion during the Lenten season, particularly during Holy Week.
In 2011, the Pabasa was cited by the National Commission for Culture and the Arts as one of the Intangible Cultural Heritage of the Philippines under the Performing Arts category that the government may nominate for inclusion in the UNESCO Intangible Cultural Heritage Lists.
The indigenous form of the Pasyón was first written down by Gaspar Aquino de Belén in Ang Mahal na Pasión ni Jesu Christong Panginoon Natin na Tola (modern orthography: “ Ang Mahál na Pasyón ni Hesukristong Panginoón Natin na Tulà”, "The Sacred Passion of Jesus Christ, Our Lord, Which is a Poem"), written in 1703 and approved in 1704.
An 1852 recension by Aniceto de Merced, El libro de la vida ("The Book of the Life of") did not gain popularity with the masses.
A still widely-circulated reprint of the Pasyóng Genesís is its 1949 edition, whose title begins with “ Awit at Salaysay...” ("Song and Narrative") instead of “ Casaysayan”. It was published by Ignacio Luna and Sons, Co. in Manila.
Devotees chant the Pasyón from beginning to end uninterrupted; this non-stop recitation is made possible by chanting in turns. Chanters usually perform this rite as a panatà ("vow"), or votive offering in request, or as an Ex-voto in thanksgiving. While chanters are frequently older women and some men, more younger Filipinos have lately shown interest in the devotion.
The Pasyón is almost always chanted facing the family’s permanent house altar, or a temporary altar with religious icons, particularly those related to the suffering and death of Jesus. Temporary altars may be built inside or outside the house for the devotion, with outdoor booths and venues decorated with palm leaf walls. The pabasa may also be performed at a local visita/ kapilya (chapel of ease) or some other community space, and even the sides of streets.
As per Filipino etiquette, the host of the pabasa (often the master or lady of the house) is responsible for preparing refreshments for the shifts of chanters and other guests.
Instrumental accompaniment to the Pabasa is not as popular nor uniform in practice, as most devotees would chant A cappella, using tonos from memory. If there is accompaniment, the guitar and electronic keyboard are commonly used.
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