Sto. Nio The Sto. Nio is a representation of the Child Jesus which literally means holy child.

Filipinos, being largely Roman Catholics, venerate and are faithful devotees of the Sto. Nio. Many feasts are offered in honor of the Child Jesus and are celebrated particularly in the month of January.

History In April 1521, Ferdinand Magellan, in the service of Charles V of Spain, arrived in Cebu during his voyage to find a westward route to the Indies.[1] He persuaded Rajah Humabonand his wife Humamay, to pledge their allegiance with Spain. They were later baptized into the Roman Catholic faith, taking the Christian names Carlos and Juana. Ferdinand Magellan presented the Santo Nio to the newly-baptised Queen Juana as a symbol of the alliance. To her husband Carlos, Magellan presented the bust of the "Ecce Homo", or the depiction of Christ before Pontius Pilate. He gave an image of the Virgin Mary to the natives who were later baptised with their rulers. However, Magellan died later on April 27, 1521 in the battle that took place in Mactan, leaving the image behind. After initial efforts by the natives to destroy it, as legends say, it endured and prevailed to become a pagan idol. The Cebuanos revered the image of the Santo Nio as Bathala (an animistic god of creation). Many historians consider the facial structure of the statue made from Belgium, where Infant Jesus of Prague statues were also common. In 1980, Filipino historian Nicomedes Mrquez Joaqun wrote about the 44 years after Magellan's soldiers left before the next Spanish expedition came under Miguel Lopez de Legazpi. Joaquin said that the statue was once denounced by natives as originally brought byFerdinand Magellan, but was re-inforced again by de Legaspi which the natives continued to dispute claiming that the statue came originally from their land. In 1565, Spanish mariner Juan de Camus found the statue in a pine box at a burned house. The image measures 30 centimeters tall, wearing a loose velvet vestment, a gilded neck chain and a woolen red hood. It is carved from wood and coated with paint. The image holds a golden ball, a replica of the world in the left hand, and the right hand is slightly raised as a gesture of blessing. Camus presented the Image to Miguel Lopez de Legazpi and the Augustinian priests. The natives refused to associate it as a gift of Ferdinand Magellan, claiming it has existed there since ancient times. Writer Dr. Resil Mojares wrote that the natives refused to claim the statue belonging to Ferdinand Magellan in fear that the Spaniards would demand it back. The natives version of the origin of the Santo Nio is in the Agipo (stump or driftwood) legend caught by a fisherman who chose to rid of it, only to have it returned with great plentiful harvest. The statue was later taken out for procession, afterwards which Legazpi then ordered the creation of the Confraternity of the Santo Nio de Ceb appointing Father Andres de Urdaneta as head superior. Legazpi installed a festivity in commemoration of the finding of the

Holy Image. Although the original celebration still survives until today, Pope Innocent XIII moved the celebration to the Third Sunday of January so as not to conflict with the 40-day celebration of Easter. The statue is dressed like royal prince with its ornate decorations, including a sash adorned with old Castilian coins and a Toison de Oro (Golden Fleece) with a ram pendant reputedly given by King Charles III of Spain. The Minor Basilica of Santo Nino (Spanish: Basilica Minore del Santo Nio) was built on the spot where the image was found on April 28, 1565 by Juan de Camus. The parish was originally made out of bamboo and mangrove palm and claims to be the oldest parish in the Philippines. Pope Paul VI elevated its rank as Minor Basilica on its 400th year anniversary.

Symbols The countrys oldest and most precious Christian relic, the Santo Nino, is with Magellans Cross, the most popular symbol of Cebu. Expressive of the pleasing oppositions in Cebuano culture, it is at once both foreign and native. In history, it was made by Flemish artisans, brought to the island by Ferdinand Magellan in 1521. In local tradition, it is a miraculous piece of wood, cast out of the Visayan sea, worshipped from times immemorial. On the other hand, it is a powerful deity that, in the colonial period, was called Capitan General and honored with a 21-gun salute when taken out from the church for a procession. On the other hand, it is an icon that disappears to become a playful and innocent child cavorting with peasants and fishermen. Invoked by rulers and subjects to the present day, enshrined in business suites and cardboard shanties, it is metaphor for Cebuanos as a people and for what they desire. (Symbol of humility) On the solemn Feast of the Sto. Nino, we are reminded to enliven our faith instead of letting it remain stagnant because of negative effects of popular religiosity. Among the wrong notions of practicing the faith is treating the image of the Sto. Nino as a good luck charm. The devotion to the Infant Jesus brings a much deeper theology than the one mentioned. First, Jesus' infancy and childhood is all about humility, poverty, and obedience. it is never about crowns, power or wealth. May we be reminded that despite the things that we own, we rely totally on God for our existence. . Secondly, Jesus' infancy brings out the glory of God the Father. Like St. Paul who said, "I boast of my weakness" because God becomes his strength, so too we proclaim God's majesty and glory through our nothingness, otherwise, we are acting like little gods in this world; we don't have time to serve our Father simply because we are so busy creating our own worlds and thirdly, the gospel reminds us not to cause scandal to the next generation simply because of serving as wrong examples to them. The reality of social sin is bringing havoc over the moral and spiritual growth of our children. Who would then among our

children recognize the Fatherhood of God if we as adults don't give good examples of Christian servant hood to them?

The Santo Nio is the soul of Cebu. Devotion to the Holy Child Jesus is strongest in Cebu but one, whether in statue or stamps form, is found in all Catholic homes across the entire Philippines. Filipinos in other parts of the country often appreciate if a statuette of the a Santo Nio is brought as apasalubong (travel souvenir) or remembrance from Cebu. The original statue is small, barely about 12" tall. It is made of dark wood is given as a conversion gift to the wife of Cebu's ruler Rajah Humabon by Magellan himself in 1521. The church burned down in 1565 but the little statue was undamaged and became a a legend. The Santo Nio is more than Cebu's patron saint and is an object of veneration of cult-like proportions. The Santo Nino exists in various forms, from black to white with blonde hair, alone or posing with Mary and Joseph, or lying down taking a nap. This replica is the classical pose but is (Spanish) Caucasian in features while the original is dark brown. from my personal collection of devotional an 19th century replica from provenance Boho antiques in Cebu, the Philippines

CEBU, Philippines - The Santo Nio devotion is, indeed, a famous spiritual heritage spread all throughout the Philippines and there are Filipinos who unquestionably attribute the miraculous powers of the infant Jesus, locally known as the Santo Nio even to the simplest of things. Here in Cebu, for example, faith (or call it belief) in the power and benevolence of the Sto. Nio in princely robe is elemental to whatever happens in the locality. And since Santo Nio is a much-revered figure in our local history as in the case of the Santo Nio de Cebu (a gift given by Magellan to Queen Juana, wife of Rajah Humabon of Cebu as form of alliance), it also figures quite prominently in the history of the city and the province. The stories (can be mere myths, urban legends, or purely divine) playing around the Santo Nio have a distinct human interest angle in the Catholic faithful as they usually involve the booming of business, healing of the sick, passing of the board exam, resolution of marital problems, among others. This would possibly explain why many Catholic devotees have transformed the Santo Nio into a work of artperhaps a doll to play around with to serve as the hapless model of their creation and what can only be surmised as towering fashion innovation. My visits to Sto. Nio exhibits over the years, compounded by the influence of boob tube and in print media proved to be a trail of unsuspecting visual extravaganza. I have never seen so many Santo Nio icons displayed in wide array in those sessions and believe me, there are varied representations of the Holy Child according to artists, artisans, sculptors and image carvers.

Some of the images were obviously antique and were donated from collectors who have devoted their time encapsulating Sto. Nio icons which are truly priceless. The images come in as many forms as there are needs of man. When he is clad in his most popular garment color red, he could be said to be the child deity of general needs And then there were images that were bedecked with precious jewelstruly exquisite works of art. In a visit to the Sto. Nio Musem, I have seen gold pieces, pearls and jade encrusted in the crown and cape of the images. Some of the pieces were just placed in a glass together with other donated items like wristwatch, rings, pendants, perfume bottles and even toys. I wondered if Sto. Nio would have felt comfy wearing gems, ornaments and extended fabric. Having studied the icons at close range, it seems like he has become a symbol of royalty, which for me, a contradictory image of simplicity, or forgive my lack of words, humility. But I dont blame Sto. Nio for that matter. I know he has never obliged the church (or the donors) to let Him wear such expensive clothing. In one of my interviews with Monsignor Renato C. Beltran, Jr., Papal Chaplain of the Archdiocese of Cebu, he said there is more than what meets the eye. He said that people should look more deeply on the values of a child through the Sto. Nio who is the titular figure of the Catholic Church. Innocence, for one, is the greatest value we can learn from the Holy Child. But over and above the quantity and quality of the images on display, what was alarming was the way these images have become models (or victims at some point) of fashion sense, aesthetics, or unrestrained gusto on the part of devotees (who obviously dressed them up) or the ones manufacturing them (who obviously either followed the designer or left with their own discretion). There are Santo Nio images dressed to look like a basketball player, carpenter, baker, farmer, motorcycle driver, fireman, fisherman and a school boy. It seems that while other saints (every one knows He is not a saint or a patron, though) have one distinct look, the Holy Child has been assigned literally and figuratively to be jack of all trades. Normally, the Santo Nio image would be carrying a globe on one hand and a scepter on the other but in some exhibits, some of the icons carry objects that one can think of a basket of fruits, a freshly-caught fish, a ball, a stem of flower, a rosary bead, and a crucifix. I have yet to see a Santo Nio carrying a shovel or boxing gloves. By then, Sto. Nio would represent what Filipinos loveboxing. The late Senator Robert Barbers who when he was still a police general had an image of the Sto. Nio don a police uniform. There is also a Santo Nio dressed as NBI agent and a Santo Nio dressed as a ship captain.

Filipinos love to give Sto. Nio different titles. There is this Sto. Nio Sumasayaw which is said to have a penchant for dancing and a Sto. Nino Lagalag believed to love stepping down from its pedestal to wander into amorseko fields and play all day long. There are also images of Santo Nio de Palaboy (a street child infant Jesus) which is dedicated to the countrys many street urchins. They are dressed in ordinary house clothes such as shorts and sleeveless tops. A Santo Nio clad in ordinary clothes is more politically correct than a Santo Nio dressed in princely robes wearing a crown of jewels. But I can not impose my judgment to everyone, since it is casual to say that different folks have different strokes. Usually, a Santo Nio image would be standing upright. In the exhibits, there are Santo Nio images riding a motorcycle, on a swing, on a see-saw, reclining indolently on a couch; and a sleeping Sto. Nio. The Santo Nios clad in uniforms are self-explanatory (they are dressed up according to the inclinations of the owner), but the images dressed in a floor-length garment complete with a train and a shawl, or overly decorated gown or in fabrics in bright color is too much. It should be known that Sto. Nio is male, thus, it is but appropriate to dress him up as such. But I can be wrong, what is appropriate for me does not necessarily mean suitable for others. I pray that the Santo Nio has a great sense of understanding and looks at this fashion sacrilege as plainly human attempt to address their worshipping tactics. It is just strange that people assign a child (and a God at that) personalities which, in stricter terms, are way too impossible for the Child Jesus to live up, perhaps, assume (come on fellows, He is just a child). But I have nothing against dressing up Sto. Nio in many possible ways to complement our peculiarities and idiosyncrasies as devotees. I respect the personal devotion of Filipinos to give honor to the Child Jesus whether they venerate darkly hued images or the icons who have fair complexion. It is quite reassuring that Cebuanos do not really clothe Sto. Nio the way others do. I know that all these are reflective of the fondness of Sto. Nio and that there is no accounting for piousness and for that matter, fashion sense. But perhaps it is good idea to remind people that the Santo Nio is not a doll that you can play around with or assign fabrics. There should be a demarcation line between religious devotion or devotion just to cater ones whims and caprices.