Nuestro Padre Jesus Nazareno: the Image and the Culture of Punas-Punas Chris R. Ragsac When I was assigned at the Parish of Immaculate Conception, Malabon City last year, I was invited by a parish staff to give recollection to the devotees of the Black Nazarene as spiritual preparation for the Feast of the Black Nazarene on January 9. These male devotees whose group called the Balangay of Conception become their panata to go annually to Quiapo during fiesta and Biernes Santo (Good Friday). At first I was hesitant because I am not a faithful devotee of the Narene. But later on I realized I had the moral obligation to enrich and deepen their faith in the Nazarene. Eventually, I assured them of my commitment to their request. Little did I know the beginning of becoming a devotee was when the moment I said “yes” to their invitation. Last January 9, 2015, I joined the group during the procession of the Feast of the Black Nazarene in Quiapo. When I arrived at the place where the members of the group gathered, I was asked by their coordinator if I wanted to climb in the andas to touch the image and garb of the Nazarene. Andas comes from the Spanish word andar which means “go forward.” It is the golden red carriage used to carry the statue of the Black Nazarene on the streets of Quiapo through the practice of pagpasan, an act of carrying the carriage or pulling the rope attached to it. Pahawak is another practice of devotees to touch the statue or its garb. With trembling fear hovering my heart, I responded, “opo, gusto ko.” I was not so sure my own body was prepared or if I had the endurance. But one thing was certain, there was the compelling inner force within me pushing me to go away. So, I decided. 1