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Procession
Procession
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A procession is an organized body of people walking in a formal or ceremonial manner.[1] A procession may be arranged for a variety of purposes, including to advertise something, signal a change in government, display a group's power, show solidarity for a cause, mark the beginning or end of an event such as a wedding or funeral, entertain a crowd, or practice a religion. Processions have been an aspect of celebrations and ceremonies since ancient times, and they are practiced in some form throughout all cultures. They often involve a mode of transport, such as a carriage or a car; music or vocalizations, including a choir or a marching band; a visual signal of a hierarchy within the precession; and the display of eye-catching items like banners.

A funeral procession, illustrated in a manuscript of the Hours of the Virgin. Fifteenth century. British Library, Add MS 27697.

History

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A royal procession

Processions have in all peoples and at all times been a natural form of public celebration, as forming an orderly and impressive ceremony. Religious and triumphal processions are abundantly illustrated by ancient monuments, e.g. the religious processions of Egypt, those illustrated by the rock-carvings of Boghaz-Keui, the many representations of processions in Greek art, culminating in the great Panathenaic procession of the Parthenon Frieze, and Roman triumphal reliefs, such as those of the arch of Titus.[1]

Greco-Roman practice

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Processions played a prominent part in the great festivals of Greece, where they were always religious in character. The games were either opened or accompanied by more or less elaborate processions and sacrifices, while processions from the earliest times formed part of the worship of the old nature gods, as those connected with the cult of Dionysus and the Phallic processions, and later formed an essential part of the celebration of the great religious festivals (e.g. the processions of the Thesmophoria, and that of the Great Dionysia), and of the mysteries (e.g. the great procession from Athens to Eleusis, in connection with the Eleusinia).[1]

The most prominent of the Roman processions was that of the Triumph, which had its origin in the return of a victorious army headed by their general, who accompanied by the army, captives, spoils, the chief magistrate, priests bearing the images of the gods, amidst strewing of flowers, burning of incense and the like (Ovid, Trist. iv. 2, 3 and 6), proceeded in great pomp from the Campus to the Capitol to offer sacrifice.

Connected with the triumph was the pompa circensis, or solemn procession that preceded the games in the circus. It first came into use at the Ludi Romani, when the games were preceded by a great procession from the Capitol to the Circus. The praetor or consul who appeared in the ponipa circensis wore the robes of a triumphing general (see Mommsen, Staatsrec/zt I. 397 for the connection of the triumph with the ludi). Thus, when it became customary for the consul to celebrate games at the opening of the consular year, he came, under the empire, to appear in triumphal robes in the processus consularis, or procession of the consul to the Capitol to sacrifice to Jupiter.[1]

Christian practice

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Christian Easter passion procession in Stuttgart, Germany (detail)
Christian Easter procession in Malaga, Spain
Procession of Our Lady of Fátima in Gwardamanġa, Malta

Early

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After the ascendency of Christianity in the Roman Empire, the consular processions in Constantinople retained their religious character, now proceeding to Hagia Sophia, where prayers and offerings were made; but in Rome, where Christianity was not so widely spread among the upper classes, at first the tendency was to convert the procession into a purely civil function, omitting the pagan rites and prayers, without substituting Christian ones.[2]

Only after Theodosius did the processions become a religious event, replete with icons, crosses, and banners. There were other local processions connected with the primitive worship of the country people, which remained unchanged, but they were eventually overshadowed by the popular piety of the Church. Such were those of the Ambarvalia, Robigalia, which were essentially rustic festivals, lustrations of the fields, consisting in a procession round the spot to be purified, leading the sacrificial victims with prayers, hymns, and ceremonies to protect the young crops from evil influence.[3]

Tertullian (2nd century) uses processio and procedere in the sense of to go out, appear in public, and, as applied to a church function, processio was first used in the same way as collecta, i.e. for the assembly of the people in a church.[4] In this sense it appears to be used by Pope Leo I,[5] while in the version by Dionysius Exiguus of the 17th canon of the Council of Laodicea (about 363–364) Ancient Greek: σονάξεσι, is translated by processionibus.[1][6]

For the processions that formed part of the ritual of the Eucharist, those of the introit, the gospel and the oblation, the earliest records date from the 6th century and even later,[7] but they evidently were established at a much earlier date. As to public processions, these seem to have come into rapid vogue after the recognition of Christianity as the religion of the empire. Those at Jerusalem would seem to have been long established when described by the author of the Peregrinatio Sylviae towards the end of the 4th century.[1]

Very early were the processions accompanied by hymns and prayers, known as litaniae, rogationes or supplicationes. It is to such a procession that reference appears to be made in a letter of St Basil,[8] which would thus be the first recorded mention of a public Christian procession. The first mention for the Western Church occurs in St Ambrose.[9] In both these cases the litanies are stated to have been long in use. There is also mention of a procession accompanied by hymns, organized at Constantinople by St John Chrysostom (c. 390–400) in opposition to a procession of Arians, in Sozomen.[10]

Some liturgists maintain that the early Church in its processions followed Old Testament precedents, quoting such cases as the procession of the Ark of the Covenant round the walls of Jericho,[11] the procession of David with the Ark,[12] the processions of thanksgiving on the return from captivity, &c. The liturgy of the early Church as Duchesne shows[13] was influenced by that of the Jewish synagogue, but the theory that the Church's processions were directly related to the Old Testament ritual is of later origin.[1]

In times of calamity penitential processions were held, in which the people walked in robes of penitence, fasting, barefooted, and, in later times, frequently dressed in black (litaniae nigrae). The cross was carried at the head of the procession and often the gospel and the relics of the saint were carried. Gregory of Tours gives numerous instances of such litanies in time of calamity; thus he describes[14] a procession of the clergy and people round the city, in which relics of St Remigius were carried and litanies chanted in order to avert the plague. So, too, Gregory the Great[15] writes to the Sicilian bishops to hold processions to prevent a threatened invasion of Sicily. A famous instance of these penitential litanies is the litania septiformis ordered by Gregory the Great in the year 590, when Rome had been inundated and pestilence had followed.[1] In this litany seven processions, of clergy, laymen, monks, nuns, matrons, the poor, and children respectively, starting from seven different churches, proceeded to hear mass at St. Maria Maggiore.[16] This litany has often been confused with the litania major, introduced at Rome in 598 (vide supra), but is quite distinct from it.

Funeral processions, accompanied with singing and the carrying of lighted tapers, were very early customary (see ceremonial use of lights), and akin to these, also very early, were the processions connected with the translation of the relics of martyrs from their original burying place to the church where they were to be enshrined.[17] From the time of the emperor Constantine I these processions were of great magnificence.[1]

Festivals involving processions were adopted by the Catholic Church from the pre-Christian Roman festive calendar. The litaniae majores et minores, which are stated by Hermann Usener[18] to have been first instituted by Pope Liberius (352-366). It is generally acknowledged that they are the equivalent of the Catholic Church of the Roman lustrations of the crops in spring, the Ambarvalia, &c. The litania major, or great procession on St Mark's day (April 25) is shown to coincide both in date and ritual with the Roman Robigalia, which took place ad. vii. Kal. Mai., and consisted in a procession leaving Rome by the Flaminian gate, and proceeding by way of the Milvian bridge to a sanctuary at the 5th milestone of the Via Claudia, where the flamen quirinalis sacrificed a dog and a sheep to avert blight (robigo) from the crops.[19] The litania major followed the same route as far as the Milvian bridge, when it turned off and returned to St Peter's, where mass was celebrated. This was already established as an annual festival by 598, as is shown by a document of Gregory the Great[20] that inculcates the duty of celebrating litaniam, quae major ab omnibus appellatur. The litaniae minores or rogations, held on the three days preceding Ascension Day, were first introduced into Gaul by Bishop Mamertus of Vienne (c. 470), and made binding for all Gaul by the First Council of Orléans (511). The litaniae minores were also adopted for these three days in Rome by Pope Leo III (c. 800).[1]

A description of the institution and character of the Ascensiontide rogations is given by Sidonius Apollinaris.[21] The solemnity of these, he says, was first established by Mamertus. Hitherto they had been erratic, lukewarm, and poorly attended (vagae, tepentes, infrequentesque). Those he instituted were characterized by fasting, prayers, psalms, and tears. In the Ambrosian rite the rogations take place after Ascension, and in the Spanish on the Thursday to Saturday after Whitsuntide, and in November (Synod of Girona, 517).[1]

Baroque Catholicism

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The element of ritual was prominent in early modern Catholicism, even after Luther's critique of the "empty rituals" in late medieval Christianity. There were processions to commemorate almost all the holiday. Though 18th-century Church reformers made strides to simplify the liturgical year and its complex web of holidays, festivals and processions, these practices remained as essential to Catholic ritual traditions in 1750 as they had been in the 15th century.[22] After 1650 the number of processions was on the rise as processions became as essential to the observance of feast days as Catholic Mass. Some processions were tied to agricultural lifestyles, while others were pilgrimages to shrines and holy places, or to develop ties with other parishes.[23]

During the Reformation, the liturgical year was central to the liturgical practices of Catholicism. Beginning with the Christmas season (from Advent to Epiphany) and followed by the feasts of Easter, Passiontide and Pentecost, Trinity Sunday and the Feast of Corpus Christi.[24] In the early 18th century there were eleven processions of note at the village of Ettenkirch (near Lake Constance). These processions could travel to destinations as far as two hours away. Monthly processions took place around the Church, and on All Souls' Day and Palm Sunday.[23] Corpus Christi was one of the most elaborate.

Ascension Day was another important ceremony that held strong anti-Protestant meaning. In Herbolzheim the procession involved villagers "flying flags, crosses held high, singing and loudly recited prayers" as they passed near neighboring Protestant villages. When the Bishop of Strasbourg forbade the Ascension Day procession in 1743, believing the practice would create conflict with Protestants in neighboring towns, the Rhine Valley villagers protested.[25]

One of the effects of the Tridentine reform was to ensure that the variety of devotions that sprang up in ecclesiastically fragmented parts of Europe were connected with the rituals of the Catholic Church. Not all devotional practices were tolerated. The Josephine Reforms banned Good Friday processions with costumed figures and palmesel processions for Palm Sunday, but some still went on. On Palm Sunday villagers carried green branches re-enacting Christ's entry into Jerusalem, and Palmesel processions still took place with a representation of Christ on a donkey.[26] The parish of Niederwihl claimed possession of a piece of the True Cross and by the 18th century had introduced new processions for the Discovery of the True Cross (May 3) and the Elevation of the True Cross (September 14). The relic would be carried by the townspeople for processions through their agricultural fields integrating a Counter-Reformation devotional theme with the ancient fertility rites of the townsfolk's rural religion.[27]

Imperial China

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The Story of the Stone, written in the 18th century, contains a description of the procession accompanying an Imperial Concubine:

Presently a faint sound of music was heard and the Imperial Concubine's procession at last came in sight. First came several pairs of eunuchs carrying embroidered banners. Then several more pairs with ceremonial pheasant-feather fans. Then eunuchs swinging gold-inlaid censers in which special 'palace incense' was burning. Next came a great gold-coloured 'seven phoenix' umbrella of state, hanging from its curve-topped shaft life a great drooping bell-flower. In its shadow was borne the Imperial Concubine's travelling wardrobe: her head-dress, robe, sash and shoes. Eunuch gentlemen-in-waiting followed carrying her rosary, her embroidered handkerchief, her spittoon, her fly-whisk, and various other items. Last of all, when this army of attendants had gone by, a great gold-topped palanquin with phoenixes embroidered on its yellow curtains slowly advanced on the shoulders of eight eunuch bearers.[28]

Shi'a Islam

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Mourning of Muharram procession in Iran

In Shi'a Islam, processions form an important part of Ashura, and the month of Muharram more broadly.[29]

Procession elements

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Preparations for Estonian Song Festival procession by University of Tartu Folk Art Ensemble. Over 42 000 persons participated in that procession in 2014.
Vladimir Putin at the Immortal Regiment procession in Moscow.

Many elements may be used to make a procession more significant than just "people walking in the same direction":

  • A special mode of transport, such as a ceremonial barge, elephant howdah, horse-drawn carriage, or a palanquin carried on the shoulders of others. Cleopatra's arrival to seduce Mark Antony on a perfumed barge has taken on legendary proportion. African kings sometimes ride in palanquins carved to look like luxury cars or other status symbols, while Muslim brides travel in camel howdahs as shown in Bride Arriving in a Village, Biskra, Algeria by Philippe Pavy. The Pope has traditionally been carried in a special sedan chair known as the sedia gestatoria. In humbler terms, a mayor, grand marshal, or fair "queen" of a local parade will often ride in the town's fanciest automobile.
  • Music, including everything from the choir of a church procession to the marching band of a military procession. Criers may march before the procession, yelling to clear the way for it. Some high school homecoming parades include trucks filled with people who do nothing but make as much noise as possible.
  • Order of precedence: even without showy display, a group of people walking forward may be said to form a procession if their order and placement clearly visualize a hierarchy or symbiotic relationship. For instance, one's nearness to the king or others of high rank had important political connotations when the royal family walked to or from chapel services at the palace of Versailles. Similarly, precedence came into play when the grandest Edwardian parties progressed from the sitting room to the dining room, and the stylized movement and hierarchy of marching military units clearly sets up a formal procession.
  • Bearers of banners, fans, icons, treasure, or other eye-catching items, or leading exotic animals. This was a very important part of Roman triumphs, as booty gave the Roman populace visual proof of the warrior's success. The most elaborate evolution of this is the spectacular floats of Carnival parades. A simpler example is the ring bearer at a wedding.
  • Scent, provided by flower bearers or censers of incense.
  • Skilled performers, such as acrobats or dancers
  • Special costume: traditionally, the costumes of acolytes, footmen, ceremonial guards, or slaves help show off the wealth of the person staging a procession. An ornate example was the embroidered train of George IV of the United Kingdom, carried at his coronation by nine lords in waiting with their own matching silken clothes, capes, ruffs, and plumed hats. Other examples include the Swiss Guard and high vestments of the Pope. The formal, matching clothes of bridesmaids and groomsmen are in the same tradition, although sometimes purchased at the attendant's expense rather than by the people honored in the ceremony. In egalitarian times and places, whoever has taken the time and money to put together something impressive may appear in a parade; such costumes are of course the focal point of Halloween parades such as that staged in Greenwich Village, New York. Finally, processions may be staged simply to show off the costumes as one part of a larger event, such as at fashion pageants, military reenactments, pop concerts, or Renaissance Festivals.
  • Special lighting: candlelight vigils for the deceased or to show political solidarity often include a candlelit procession. Fireworks illuminate such diverse events as coronations, parades, and Thai royal barge processions.
  • Spectacle, such as an aircraft flyover, or the confetti of New York ticker tape parades
  • The dispensing of gifts, at one time often food or money. Today, most people are familiar with the dispensing of beads at Mardi Gras and the throwing of candy at local fair parades.

Functions of processions

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The Petit Doudou actors in the procession of the Golden Car in Mons (Belgium)

Edo-period documenters enjoyed drawing the processions of pleasure district beauties, such as Courtesan Parading With Attendants by Suzuki Harunobu. Similar parading courtesans feature in Cherry Blossom in the Evening on the Nakanomachi in Yoshiwara by Utagawa Hiroshige and True Scenery of the Gay Quarter of Minatozakimachi Shinminato by Utagawa Sadahide. The Lord Mayor's Show in London has long featured displays by the city's official trade guilds. Parades were at one time important advertisement when a traveling circus arrived in a new town. Today, many parades in the United States are sponsored by department stores, such as Macy's, which expect the public spectacle to lure shoppers to the store.

Change in government

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The Reception of the Ambassadors From Siam at the Château de Fontainebleau was one such example, documented by Jean-Léon Gérôme in 1864. The signing of surrender by Japanese diplomats and soldiers aboard an American battle ship at the end of World War II involved a strictly codified procession on and off the ship.

Royal procession, design from the 14th century.

Processions play an important role in coronations, such as that of Elizabeth II of the United Kingdom in 1953, the Shah of Iran in 1967, Otumfuo Nana Osei Tutu II of the Ashanti in 1999, and Norodom Sihamoni of Cambodia in 2004.

Display of power

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Such as ancient Roman triumphs, the durbar processions of India, and modern reviewing of the troops by generals and heads of state. Return From Vienna, a painting by Jozef Brandt, shows war booty taken from the Turks being escorted into eastern Europe by soldiers.

Entertainment

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Some processions are arranged for entertainment, purely for fun, such as those of community organizations and friendly societies, so popular in Great Britain and the United States of America.

Protest

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Protest march by New South Wales nurses.

Protest marches are a form of procession.[30]

Solidarity

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Religious ceremonies have since prehistory employed the procession of holy objects to inspire solidarity of belief. The Doges of Venice once staged elaborate barge processions to bless the waters on which Venice's tightly controlled maritime economy depended.

Events

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Graduation procession of King's College London, one of the founding colleges of the University of London, showcasing the academic dresses created by globally-renowned[opinion] fashion designer Vivienne Westwood during the Summer 2008 graduation.

Processions used to mark the beginning or end of an event, such as parades at the beginning of county fairs or at the Olympic Games, or processions that begin and end funerals, graduations, and weddings.

Christian processions

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Chienbäse procession with burning wood bundles and fire carts in Liestal, Switzerland (2013)

Processions are found in almost every form of religious worship, such as Holy Week processions. Some biblical examples were the processions with the Ark of Covenant and the procession of Jesus on a donkey into Jerusalem.[31]

In a narrower sense of going forth, proceeding, the term is used in the technical language of theology in the phrase Procession of the Holy Ghost, expressing the relation of the Third Person in the Triune Godhead to the Father and the Son.

It is impossible to describe in detail the vast development of processions during the Middle Ages. The most important and characteristic of these still have a place in the ritual of the Catholic Church, as well as those of the Church of England and the Orthodox Church.

The Procession Path (Lat. ambitus templi) is the route taken by processions on solemn days in large churches—up the north aisle, round behind the high altar, down the south aisle, and then up the centre of the nave.[32]

Catholics

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For the Catholic Church, the rules governing them are laid down in the Rituale Romanum (Tit. ix.), and they are classified in the following way:

  1. Processiones generales, in which the whole body of the clergy takes part.
  2. Processiones ordinariae, on yearly festivals, such as the Feast of the Presentation of the Lord (Candlemas), the procession on Palm Sunday or Holy Week (Easter Sunday), the Litaniae Majores and Minores, the Feast of Corpus Christi, in possible addition to Feast of the Ascension, Feast of the Cross, Forty Hours' Devotion and on other days, according to the custom of the churches.
  3. Processiones extraordinariae, or processions ordered on special occasions, e.g. to pray for rain or fine weather; in time of storm, famine, plague, war, or, in quacumque tribulatione; processions of thanksgiving; translation of relics; or the dedication of a church or a cemetery.

There are also processions of honor, for instance to meet a royal personage, or the bishop on his first entry into his diocese (Pontif. Tom. iii.).

Those taking part in processions are to walk bare-headed (weather permitting), two and two, in decent costume, and with reverent mien; clergy and laity, men and women, are to walk separately. The cross is carried at the head of the procession, and banners embroidered with sacred pictures in places where this is customary; these banners must not be of military or triangular shape. Violet is the prescribed colour for processions, except on Corpus Christi, or on a day when some other colour is mandated. The officiating priest wears a cope, or at least a surplice with a violet stole, while other priests and clergy wear surplices.

A Eucharistic procession is one in which the Host is carried in procession in a monstrance. It is often covered with a canopy and accompanied with candles. At the litaniae majores and minores and other penitential processions, joyful hymns are not allowed, but the litanies are sung, and, if the length of the procession requires, the penitential and gradual psalms. As to the discipline regarding processions the bishop, according to the Council of Trent (Sess. 25 de reg. cap. 6), appoints and regulates processions and public prayers outside the churches.

The observance or variation of the discipline belongs to the Sacred Congregation of Rites; in pontifical processions, which are regulated by the masters of the ceremonies (magistri ceremoniarum pontificalium), these points are decided by the chief cardinal deacon. As to processions within the churches, some difference of opinion having arisen as to the regulating authority, the Sacred Congregation of Rites has decided that the bishop must ask, though not necessarily follow, the advice of the chapter in their regulation.[1]

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Eastern Orthodox

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Outdoors

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Typically the procession commences with the phanarion (a lantern) followed by the cross,[note 1] flanked by processional banners and icons, then choir and clergy, the deacons with censers, the priests with icons, and then the faithful. Hymns particular to the event are sung. Typically the outside of the church is circled thrice; however, some processions proceed to a designated place where a ceremony, e.g., a baptism or burial, is performed.

Indoors

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Oriental Orthodox

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Reformed churches

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Procession with the statue of the Blessed Virgin, Anglican National Pilgrimage at Walsingham, 2003

The Reformation abolished in all Protestant countries those processions associated with the doctrine of transubstantiation (Corpus Christi); the Sacrament of the Lord's Supper, according to the 28th Article of Religion of the Church of England was not by Christ's ordinance reserved, carried about, lifted up, or worshiped. It also abolished those associated with the cult of the Blessed Virgin and the saints. The stern simplicity of Calvinism, indeed, would not tolerate religious processions of any kind, and from the Reformed Churches they vanished altogether.[citation needed] The more conservative temper of the Anglican and Lutheran communions, however, suffered the retention of such processions as did not conflict with the reformed doctrines, though even in these Churches they met with opposition and tended after a while to fall into disuse.

Liturgical processions were revived in the Church of England by the members of the Oxford Movement during the 19th century.[34] In Ritual Notes, an Anglo-Catholic liturgical manual, it is stated that "A solemn procession as part of the ceremony proper to the occasion, is ordered to be held respectively at Candlemas; on Palm Sunday; at the Rogations (i.e. on April 25th and the three days preceding Ascension); and on Corpus Christi ..." "A procession is a distinct act of worship in itself, though it is desirable (and accords with ancient practice) that it should have a definite purpose, such as to commemorate some notable event, or to honour the Blessed Sacrament".[35]

The Lutheran practice has varied at different times and in different countries. Thus, according to the Württemberg Kirchenordnung of 1553, a funeral procession was prescribed, the bier being followed by the congregation singing hymns; the Brandenburg Kirchenordnung (1540) directed a cross-bearer to precede the procession and lighted candles to be carried, and this was prescribed also by the Waldeck Kirchenordnung of 1556. At present funeral processions survive in general only in the country districts; the processional cross or crucifix is still carried. In some provinces also the Lutheran Church has retained the ancient rogation processions in the week before Whitsuntide and, in some cases, in the month of May or on special occasions (e.g. days of humiliation, Busstage), processions about the fields to ask a blessing on the crops. On these occasions the ancient litanies are still used.

Processions in art

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Vase with Processional Scenes, West Bengal/Chandraketugarh, circa 100 BC

The wealth of display associated with processions makes them a rich subject for literary and visual art. Some examples include:

  • Processions were popular subjects for the Romantic painters of the late 19th and early 20th centuries. Fantastical Ludwig II of Bavaria was the subject of Sleigh Ride by Wenig. Spring, a painting by Sir Lawrence Alma-Tadema, displays a romanticized Roman procession, while his Finding of Moses shows an heiress of the Pharaoh proceeding to the palace with her entourage. The exotic Queen of Sheba's Visit to King Solomon by Edward Poynter touches on a longstanding convention of elaborate processions from "the East". Walter Crane depicted Beauty being escorted by wigged monkeys in his 1874 Beauty and the Beast.
  • the processions of Tarkhaans and Tarkheenas are emblematic of Tashbaan's wealth and glamour in the book The Horse and His Boy by C. S. Lewis

In film

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  • elaborate Chinese wedding processions feature in the films Crouching Tiger, Hidden Dragon and The Last Emperor
  • in the film Pillow Book, the heroine compares her wedding procession with the procession of a Heian Period empress. In another film by the same director, Peter Greenaway, the act of Prospero simply walking through his house becomes a lush, visual procession because of the house's wealth of literary and visual symbolism.
  • the Buddha discovers death, old age, and poverty while watching an elaborate procession in the film Little Buddha
  • the Nazi entourage in Raiders of the Lost Ark, upon arriving at their island base, begin an elaborate trek to the centre of the island, with soldiers holding aloft National Socialist standards. The procession is somewhat ostentatious given the climate, prompting the black-dressed Gestapo agent to remove his hat and wipe the sweat from his brow.
  • the film Jefferson in Paris includes a scene during which Thomas Jefferson and his daughter watch one of the daily processions that make up the royal ritual at Versailles
Illustration of part of the funeral procession of Queen Elizabeth I
Fantasy
  • a utopian parade is depicted by James Gurney in his Dinosaur Parade
  • Processions appear in several Star Wars films, including award ceremonies at the end of The Phantom Menace and A New Hope, a funeral procession at the end of Revenge of the Sith, and a military procession during Return of the Jedi
  • the god Ra appears in a formal procession shortly before being overthrown in the film Stargate
  • the procession of Audrey Hepburn as an Italian princess sets up the dilemma of her character at the beginning of the film Roman Holiday
  • the procession of Prince Ali in the Disney film Aladdin allows the hero to show off his newfound prestige
  • the procession of the wicked Skeksis into their regeneration chamber, and the following procession of their spiritual counterparts, the Mystics, marks the climax of the film The Dark Crystal

In music

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  • The opera Aida is known for its triumphal procession in Act II.[36] The first staging included a live elephant on stage.

See also

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Footnotes

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
A procession is the organized movement of a group of people, animals, vehicles, or objects proceeding in orderly succession, typically along a designated route in a formal or ceremonial manner. The term originates from the Latin prōcessiō, denoting "a marching forward" or "advance," which entered via Anglo-French processiun and references to religious marches, reflecting its early association with ritualized progression. Historically, processions have manifested across cultures for millennia, from ancient Roman and Greek funeral corteges honoring lineage and societal roles to civic festivals reinforcing communal bonds in pre-Christian . In religious traditions, they function as public expressions of devotion, often involving the transport of relics, icons, or Eucharistic elements to signify collective spiritual advancement and witness faith amid worldly challenges. Secular variants, such as royal or military displays, underscore hierarchical authority or unified purpose, while modern adaptations include marches that channel group resolve without inherent ceremonial formality. These assemblies inherently embody directed motion toward an endpoint—be it a sacred site, burial ground, or symbolic goal—distinguishing them from mere crowds by their structured intentionality and cultural persistence.

Definition and Etymology

Core Definition and Characteristics

A procession constitutes an organized group of individuals, or sometimes vehicles, advancing in a formal, orderly sequence, frequently for ceremonial, ritualistic, or demonstrative ends. This movement typically follows a prescribed path from one location to another, emphasizing collective progression over individual action. Unlike casual gatherings or spontaneous marches, processions maintain a structured and deliberate to convey or symbolism. Central characteristics encompass in formation, where participants align in rows or files to facilitate and coherence; purposeful directionality, directing the group toward a specific endpoint such as a sacred site, assembly point, or symbolic destination; and public , executed before spectators to affirm communal values, , or devotion. The ritualized nature often integrates elements like rhythmic pacing or synchronized steps, distinguishing it from mere travel by infusing the transit with intentional meaning, whether honoring the deceased, venerating relics, or marking civic events. Processions inherently involve coordination among participants, with leading figures or objects—such as standards or effigies—serving as focal points to guide and unify the ensemble. Empirical observations of processions across contexts reveal their adaptability to scale, from intimate liturgical entries to expansive parades involving thousands, yet consistently prioritizing order to prevent disorder and enhance impact. This ordered mobility underscores causal dynamics: the physical arrangement reinforces social bonds and hierarchies, channeling collective energy toward shared objectives without devolving into chaos.

Linguistic Origins

The English noun procession derives from processioun, first attested around the late 12th century, denoting a formal or ceremonial . This form entered via Anglo-French processiun and procescion or porciession, which adapted the Latin term prōcessiō. The Latin prōcessiō (genitive prōcessiōnis), appearing in classical usage by the BCE, originally signified "a going forward" or "advance," stemming from the verb prōcēdō ("to proceed"), a compound of prō- ("forth") and cēdō ("to go" or "yield"). In , particularly from the 4th century CE onward, prōcessiō evolved to emphasize religious contexts, referring explicitly to liturgical marches or solemn advances of and , as seen in early Christian texts describing Eucharistic or penitential rites. Earlier traces appear in as procedsiun or similar forms before 1150, likely direct borrowings from Latin usage during the Anglo-Saxon period, reflecting the influence of Latin on religious terminology. By the , the term had standardized in medieval European languages to encompass both secular and sacred orderly movements, distinguishing it from pompa (a more general "solemn procession" or "display"), which implied pomp and circumstance rather than sequential progression. This semantic shift underscores the word's causal link to forward motion in formation, aligning with its etymological roots in procedural advancement rather than static ceremony. Cognates persist in Romance languages, such as French procession (attested by the 12th century) and Italian processione, retaining the dual civil and religious senses, while Germanic languages often adopted Latin-derived terms via ecclesiastical Latin during the Carolingian Renaissance (8th–9th centuries). The term's adoption highlights the dominance of Latin as the lingua franca of Western Christianity, where processional rituals—documented in texts like the Gelasian Sacramentary (ca. 750 CE)—necessitated precise vocabulary for ordered group movement in worship.

Historical Development

Ancient Civilizations

In , processions were integral to religious festivals and funerary rites, often centered on transporting divine images or the deceased to sacred sites. The , held annually in Thebes during the New Kingdom (c. 1550–1070 BCE), featured a 27-day sequence of river and land processions where statues of , , and were carried from to aboard barques, symbolizing the gods' renewal of the pharaoh's power through ritual union and public displays of offerings. Funerary processions, occurring after 70 days of mummification, involved oxen-drawn sledges bearing the embalmed body, accompanied by mourners, priests reciting spells, and musicians; these culminated at the with the "Opening of the Mouth" ceremony to restore the deceased's senses for the . Such events, depicted in tomb reliefs from onward (c. 2686–2181 BCE), underscored the causal link between ritual order and cosmic stability, with participants stratified by role—priests leading, family following—to invoke divine favor. In , processions marked seasonal festivals like the (New Year) in , celebrated in spring and autumn from the third millennium BCE, where Marduk's statue was paraded from the temple to a processional street, enacting myths of cosmic victory over chaos to legitimize kingship and ensure agricultural . These rites, evidenced in texts such as the Enuma Elish, involved hierarchical participants including , musicians with lyres and , and the king in , warding off evil through symbolic renewal rather than mere spectacle. Funerary processions, less elaborately documented but inferred from burial goods in Sumerian graves (c. 3000 BCE), included attendants sacrificing animals and libations to guide the , reflecting beliefs in subterranean judges requiring orderly transitions. Ancient Greek processions, known as pompai, evolved from (c. 2000–1100 BCE) delegations to formalized civic-religious events by the Archaic period (c. 800–480 BCE), emphasizing communal piety and hierarchy. The Panathenaic procession in , peaking every four years from c. 566 BCE, saw citizens, metics, and slaves march from the Dipylon Gate to the with a robe for , accompanied by sacrifices and athletic displays to affirm civic unity and divine protection. The procession, spanning 14 miles from to Eleusis biennially from the Mycenaean era, involved initiates carrying torches and myrtle boughs in nocturnal rites promising afterlife benefits, as described in Homeric Hymn 2, prioritizing experiential revelation over political theater. Funerary ekphorai featured the body on a , led by women lamenters and male kin, or inhumation following, to honor the dead and avert miasma. In , triumphal processions celebrated military victories under senatorial grant from c. 752 BCE, with the general () entering the city on a drawn by white horses, followed by troops, captives in chains, and war spoils displayed along the to the Temple of . Over 300 occurred by the Republic's end (509–27 BCE), such as Aemilius Paullus's in 167 BCE with 250 wagons of Macedonian treasure, ritually attributing success to divine favor while distributing loot to reinforce soldier loyalty and public order. These events, restricted to generals killing 5,000+ enemies, blended religious with political display, evidenced in Triumphales inscriptions, contrasting funerary processions held at night to minimize disruption, featuring masked ancestors (imagines) and effigies to perpetuate family prestige. Across these civilizations, processions empirically reinforced social hierarchies and causal beliefs in ritual efficacy, as corroborated by archaeological reliefs and texts, without unsubstantiated modern reinterpretations.

Classical and Medieval Periods

In , processions formed a central element of religious festivals, with the Panathenaia exemplifying their scale and symbolism. Held annually in the month of Hekatombaion, approximately July in the modern calendar, the festival honored , Athens' patron deity, culminating in a grand procession from the city's Dipylon Gate to the . This event featured participants carrying a robe for Athena's statue, accompanied by musicians, dancers, and sacrificial animals, emphasizing communal piety and civic unity. The greater Panathenaia, occurring every four years, expanded to include athletic contests and greater pomp, reinforcing Athenian identity through ritual display. Roman processions, known as pompae, served both religious and military purposes, with triumphs representing the pinnacle of civic celebration. A triumph required senatorial approval for generals who had slain at least 5,000 enemies in campaigns against foreign foes, not Roman citizens. The procession route spanned from the through the city to the temple of , featuring the victorious commander in a , displayed spoils, bound captives, and chanting soldiers, blending thanksgiving to gods with public spectacle. Over 300 triumphs occurred from the Republic's founding to the Empire's early centuries, evolving from Etruscan influences to imperial monopolies by figures like . During the medieval period, processions adapted classical forms to , particularly in where —supplicatory marches—occurred frequently, up to twice weekly, traversing urban spaces with icons, relics, and . These events intertwined imperial authority and religious devotion, often invoking divine aid against threats like plagues or invasions, as documented in eleventh-century typika. In , feast-day processions marked the liturgical calendar; for instance, vigils involved carrying the Host and cross through streets, while (August 1) featured candle-lit marches with garlanded houses to bless harvests. rites, emerging by the fourteenth century in regions like , paraded Passion scenes on floats for public edification, fostering communal amid growing urban populations.

Early Modern to Contemporary Shifts

In the early modern period, the Protestant Reformation significantly curtailed religious processions in northern Europe, as reformers viewed them as superstitious or idolatrous, leading to their suppression in England and Lutheran territories by the mid-16th century. In England, for instance, Rogationtide perambulations—processions marking parish boundaries with crosses and prayers—persisted into the 17th century but shifted toward secular boundary affirmation amid religious tensions. Catholic regions, conversely, intensified processions for communal healing, such as those organized in Milan during 16th-century plague outbreaks to invoke divine protection and reinforce social cohesion. In Bohemia, processions adapted to post-Hussite and Habsburg dynamics, repurposing medieval forms for political legitimacy under Catholic restoration by the early 17th century. The 18th century marked a pivot toward civic processions amid Enlightenment and , exemplified by the Grand Federal Procession in on July 4, 1788, which celebrated the U.S. Constitution ratification through organized floats, militia marches, and trade guild displays spanning over five miles. Such events emphasized national unity over ecclesiastical authority, with similar patterns in where urban elites sponsored secular parades to symbolize progress and governance. By the 19th century, industrialization spurred labor and nationalist processions; in , trades' union marches from 1780 to 1915 followed fixed routes like from to [Hyde Park](/page/Hyde Park), evolving from festive displays to organized demands for rights. Civic rituals democratized further post-1860, incorporating broader public participation in municipal celebrations, though retaining hierarchical elements like mayoral carriages. In the , processions became tools of mass politics, with totalitarian regimes deploying synchronized marches—such as Nazi Germany's from 1933 onward—to project ideological conformity through choreographed thousands. Democratic contexts saw protests reframe processions as dissent vehicles; the U.S. civil rights March on Washington on August 28, 1963, drew 250,000 participants along the , catalyzing legislative shifts via visible collective action. Religious variants endured, adapting to modernity, as in France's Corpus Christi processions, which by 2011 retained medieval routes in but incorporated contemporary participants and scaled-back pomp amid . Contemporary processions blend persistence and innovation, with religious traditions revived in urban settings—like the annual Grand Marian Procession in , restarted in 2011 to foster Catholic devotion amid declining —and political mobilizations amplified by media. Global protests, such as India's 2020-2021 farmers' marches involving millions along highways, function as extended processions asserting economic grievances against state policy. In , the march, originating in 2012 and peaking at 10 million participants by 2015, commemorates dead through personal portraits, evolving into a state-endorsed nationalist ritual by 2016. These shifts reflect causal drivers like constraining routes, technological coordination enabling scale, and secular pluralism diluting religious monopoly while amplifying civic expression.

Compositional Elements

Participants and Hierarchy

Processions organize participants in a deliberate that mirrors prevailing social, , or institutional structures, with leading figures or sacred elements positioned to emphasize precedence and authority. This arrangement facilitates orderly movement while visually reinforcing status distinctions, often placing dignitaries or symbols at the to guide and sanctify the collective advance. In liturgical contexts, such as Roman Catholic Masses, the entrance procession follows a codified sequence beginning with the thurifer carrying a smoking , followed by ministers with lighted candles flanking an or server bearing the , then additional acolytes, a carrying the , and other ministers. The with the Book of the Gospels precedes the , who reverences upon arrival, establishing clerical from assistants to celebrant. Similar orders appear in Anglican processions, adapting scale but maintaining precedence for , torchbearers, and ordained ministers. Secular historical processions, like ancient Roman triumphs, positioned magistrates and senators first, trailed by musicians, sacrificial animals, war spoils, captives, the victorious general in a , and finally the organized legions praising deities and their , thereby displaying conquered wealth before military might. In medieval religious processions, clergy often led with relics or crosses, followed by guilds, penitents in robes, and laity, integrating dramatic elements like chants and props to enact hierarchy and communal devotion. Contemporary variants preserve analogous structures; funeral processions typically commence with a lead vehicle, containing the deceased, immediate family in limousines, pallbearers, and extended mourners, prioritizing kin proximity to the cortege. Military parades arrange units by rank and formation, with commanders reviewing from elevated positions while troops march in disciplined echelons, underscoring over rank-and-file.

Symbols, Regalia, and Vehicles

![14th_Century_Medieval_Chariot.jpg][float-right] Symbols in processions typically include carried icons, banners, and standards that represent religious, communal, or authoritative identities. In religious contexts, these often feature crucifixes, monstrances containing the , or statues of saints and deities elevated on platforms to signify and communal devotion. Banners and flags, such as those flanking altars or borne by participants, display emblems like familial or institutional motifs, including thrones, crowns, and scepters, which evoke and sacred continuity. Regalia consists of ceremonial attire and accessories denoting status and role, with roots in medieval practices. Academic processions employ gowns, hoods, and maces originating from 12th- and 13th-century European university traditions, where hoods' colors and chevrons indicate institutional affiliation, as standardized in the U.S. by 1895 intercollegiate codes. In royal and ecclesiastical processions, items like crowns, orbs, scepters, and embroidered copes symbolize sovereignty and spiritual authority, used continuously in British coronations since at least the 14th century. Penitential in Catholic processions, such as the capirote hoods and nazareno tunics in dating to the 16th century, emphasize anonymity and repentance. Vehicles facilitate the procession's movement and elevation of central figures, evolving from ancient to modern forms. Chariots, light two-wheeled carts drawn by horses, appeared in Mesopotamian and Egyptian royal processions around 2000 BCE, later adapted for ceremonial displays in . Medieval litters and platforms carried effigies or relics, while early modern carriages served European nobility; by the , horse-drawn hearses formalized conveyances. Contemporary processions incorporate motorized vehicles, floats, and trucks for efficiency in large-scale events like civic or religious festivals.

Spatial and Temporal Organization

Processions exhibit spatial organization through linear or columnar formations that enforce and visibility, with participants arrayed in ranks reflecting social, , or institutional precedence. Leaders, sacred icons, or vehicles typically occupy the vanguard, followed by grouped contingents such as , confraternities, or attendants, ensuring the procession's front symbolizes while trailing elements maintain cohesion. Routes are delineated by architectural features or urban topography, such as processional paved for durability and width to accommodate ritual passage, often aligning with cardinal directions, celestial orientations, or landmarks to integrate movement with symbolic . Temporally, processions impose a cadenced rhythm via synchronized steps, chants, or instrumental cues like drums, fostering collective discipline and perceptual unity among participants while distinguishing the moving cortege from static observers. Pacing is generally deliberate and slow to sustain solemnity and enable communal engagement, though variations occur, such as accelerated bursts in certain Spanish Holy Week traditions to evoke emotional intensity. Durations range from brief circuits around a single site to extended sequences spanning hours or days, calibrated to ritual periodicity—annual cycles for feasts like Corpus Domini (instituted 1264) or alignments with solstices and lunar phases in pre-Columbian contexts. This temporal structure demarcates sacred time, suspending everyday routines through measured progression that culminates in pauses for veneration or dispersal.

Sociological and Functional Roles

Display of Authority and Order

Processions function as structured public rituals that visibly enact and reinforce through hierarchical participant arrangements, where the leading positions are occupied by figures of power, followed by subordinates in descending order of rank. This spatial organization mirrors societal hierarchies, compelling observers and participants alike to acknowledge established power dynamics via collective movement and display. In early modern European courts, for example, procession orders adhered to formalized precedence lists among courtiers and officials, serving to regulate social interactions and avert disputes over status during ceremonial events. Historically, such displays extended to contexts, where processions transformed public spaces into arenas for legitimizing rule; Hellenistic royal progresses, derived from religious forms, paraded monarchs amid symbols of divine favor to project empire-wide cohesion and obedience. In Visigothic Iberia during the 6th to 8th centuries, royal processions integrated narratives to assert monarchical control over and communal spheres, negotiating power relations through visibility. Similarly, medieval Corpus Christi processions in , , around the 14th century, arrayed , guilds, and in sequences that affirmed urban hierarchies while navigating symbolic contests over . Sociologically, these rituals impose order by channeling human movement into predictable formations, reducing in crowds and embedding norms of ; the disciplined ranks in military or state processions, such as those in ancient Roman pompae, not only celebrated victories but consecrated via consecrated vehicles and participants, fostering societal alignment with ruling structures. In non-Western traditions, like the gatherings in since at least the , ascetic orders proceed by perceived hierarchies, periodically reinforcing institutional legitimacy amid vast assemblies. This enactment of order counters potential disorder by publicly ritualizing compliance, with deviations often met by corrective mechanisms to preserve the ritual's authoritative integrity.

Religious and Ritual Purposes

Religious processions embody collective through ordered movement, serving to externalize devotion, reenact sacred narratives, and bridge earthly participants with divine entities. These rituals facilitate public expressions of and homage, often involving the of icons, relics, or scriptures to sanctify spaces and invoke blessings. Anthropologically, they generate transcendence by suspending routine spatial practices, fostering communal and reinforcing doctrinal adherence among participants. In Christian traditions, processions frequently honor the or commemorate Christ's life events, as in Corpus Christi observances where consecrated hosts are carried to affirm and solicit graces. Established as a universal feast by Pope Urban IV's 1264 bull Transiturus de mundo, these events historically drew thousands, blending liturgy with civic participation to catechize the populace. Holy Week processions, depicting the Passion, emphasize penitence and redemption, with examples like Seville's Semana Santa involving over 100 brotherhoods and 5,000 participants annually since medieval origins. Hindu rituals employ processions to manifest , parading deities on chariots during festivals such as Rath Yatra, where pulling Jagannath's image symbolizes divine accessibility and purifies participants. The 2019 event mobilized 1.2 million devotees over nine days, underscoring processions' role in spatial devotion and social integration. In broader Indic contexts, these movements honor seasonal cycles and harvest, aligning human order with cosmic rhythms to ensure prosperity. Across Abrahamic faiths, processions promote solidarity; Shia Muslim marches, observed since the 7th-century , involve mourning processions to commemorate Imam Hussein's martyrdom, drawing millions in annually to express loyalty and atone collectively. Jewish circuits encircle scrolls, celebrating revelation and covenant renewal. Such practices empirically correlate with heightened group cohesion, as rituals synchronize behavior and amplify shared emotional states.

Political and Communal Functions

Processions fulfill political functions by visibly enacting hierarchies of power, legitimizing rulers through orchestrated displays of dominance and unity. In , emperors employed triumphal entries, such as Nikephoros II Phokas's procession in 963 CE following victories against Arab forces, to symbolize military success and divine endorsement, thereby consolidating imperial authority amid potential unrest. Similarly, in early medieval , bishops led processions during crises, like those in Visigothic Mérida under Fidelis in the mid-6th century, to assert ecclesiastical control over urban defense and , intertwining religious and secular power. These rituals also served to signal transitions in rule or territorial integration, as seen in Charlemagne's adventus into in 774 CE, where the ceremonial march marked Frankish conquest and the absorption of Lombard territories into Carolingian domains. In Fāṭimid , caliphal processions, including al-Muʿizz's entry in 973 CE, projected over newly conquered lands, with elaborate routes linking administrative centers to reinforce state cohesion. Communally, processions cultivate social bonds by demanding synchronized participation, which instills collective discipline and shared purpose among diverse groups. In , regular liturgical processions—approaching two per week by the —involved broad urban crowds, transforming streets into communal spaces that linked residents to imperial and institutions, thereby enhancing group . Such events, including rogation processions established around 471 CE in by Bishop Mamertus of Vienne, extended participation to rural and urban populations, fostering localized identity while mitigating social fragmentation during invasions. In early modern settings, civic and royal processions integrated social strata into political spectacles, as in the Grand Federal Procession of July 4, 1788, in , where participants from various classes marched to celebrate the U.S. Constitution's , projecting national unity post-independence. However, these functions could exclude marginalized groups, underscoring processions' dual capacity to unify insiders while delineating boundaries against outsiders.

Entertainment and Cultural Transmission

Processions have long served as public entertainment through orchestrated displays of pageantry, music, and communal spectacle, drawing large crowds and fostering shared excitement. In , triumphal processions celebrated military victories by parading victorious generals in chariots, accompanied by soldiers, exotic animals, captives, and spoils of war, often transitioning into games at venues like the , which held up to 250,000 spectators. By the 1st century CE under emperors like , over 320 such triumphs had been recorded, blending theatrical pomp with visceral elements like public executions to captivate and unify the populace in affirmation of imperial might. Beyond mere diversion, these events transmitted cultural narratives by visually reenacting historical triumphs and virtues, embedding lessons of and in . Similarly, medieval European festivals integrated processions with biblical reenactments, garlanded parades, and street performances during occasions like Midsummer Watch, where evening torchlit marches featured floral decorations and hierarchical displays, entertaining while reinforcing and folk traditions through participatory ritual. In modern contexts, religious processions exemplify ongoing cultural transmission intertwined with entertainment value. 's Semana Santa observances, particularly in , involve nightly parades of ornate floats (pasos) depicting Christ's Passion, carried by hooded nazarenos amid brass bands and , attracting over a million visitors annually for their dramatic artistry and emotional theater, which sustains Andalusian identity and devotional customs across generations. In Italy's Naca da Cristo procession in Davoli, symbolic tree-bearing marches on preserve ancient rites, engaging communities in acts that encode religious symbolism and local heritage for intergenerational continuity. ![Holy Week in Seville, Spain, Royal archbrotherhood of "La Carretería"]float-right

Religious Variations

Abrahamic Processions

Processions within Abrahamic traditions—, —manifest as ritualized movements that publicly express devotion, commemorate historical or scriptural events, and reinforce communal identity, often drawing from biblical precedents of sacred marches such as the ' circumambulation of Jericho's walls described in 6. In , hakafot constitute a central processional form during , where congregants, led by scrolls borne aloft, perform seven circuits (hakafot) around the synagogue's bimah amid singing and dancing, symbolizing joy in and echoing Second Temple-era rituals of daily altar processions with the (, , myrtle, and ). These Temple practices, recorded in the ( 4:5), involved 21 circuits over seven days, culminating in a festive water-drawing (Simchat Beit HaShoevah) to invoke divine for . Modern hakafot, observed annually on / (typically late September or October), engage entire communities, including children, in egalitarian participation post-20th-century reforms in some denominations. Christian processions emphasize Christ's real presence and salvific acts, with the Corpus Christi observance—formally instituted by Pope Urban IV's 1264 bull Transiturus de hoc mundo following Eucharistic miracles reported by St. Juliana of Liège—involving clergy and laity processing with a containing the consecrated host, halting at temporary altars for and hymns like Pange Lingua. This rite, celebrated on the Thursday after (May or June), underscores public witness to , as affirmed in the (1551). processions, tracing to 4th-century liturgies documented by Egeria, reenact ' triumphal entry (Matthew 21:1-11) with blessed palms or substitutes, evolving into expansive sequences in regions like , where Seville's 2023 Semana Santa featured 116 processions over six days, mobilizing over 5,000 nazarenos in hooded penitential garb. Eastern Orthodox variants, such as lity processions with icons and relics during feast days, invoke intercession amid incense and troparia, as practiced in for St. on December 6. In , processions feature prominently in Twelver Shia observances of , particularly (10th of Muharram, corresponding to October in 2025), marking the 680 CE martyrdom of at , where participants in azadari marches carry black flags, alam standards, and ta'ziyeh effigies of battle scenes, accompanied by nohe laments and matam chest-beating to express collective grief and defiance against perceived tyranny. These rituals, rooted in 10th-century Buyid-era public mourning but amplified under Safavid Persia (), vary regionally—e.g., Iran's 2024 Arbaeen pilgrimage drew 20 million to —though extreme practices like zanjir-zani (chain-flagellation) face fatwas from Khamenei deeming them (innovation) since 1994. Sunni traditions eschew such commemorative marches, observing via optional fasting per (Sahih Bukhari 2004), while mandates processional elements like tawaf (seven circumambulations of the ) and sa'i (seven traversals between Safa and Marwah), performed by up to 2.5 million pilgrims annually under Saudi oversight since the 1950s expansions.

Dharmic and Eastern Traditions

In Hinduism, processions known as yātrās or raths (chariots) are central to festivals honoring deities, often involving the transport of sacred images through public spaces to foster communal devotion. The annual Rath Yatra in Puri, Odisha, exemplifies this, where massive wooden chariots bearing the deities Jagannath, Balabhadra, and Subhadra—each weighing over 100 tons and standing up to 45 feet tall—are pulled by thousands of pilgrims along a 3-kilometer route from the Jagannath Temple to Gundicha Temple, a journey symbolizing the deities' visit to their aunt's home. This event, dated to at least the 12th century in historical records, draws millions and includes rituals like pahandi (deity transfer) and chhera pahara (sweeping by the Gajapati king), emphasizing hierarchy and collective labor. Buddhist traditions in feature relic processions (pūjā or perahera) to venerate 's remains or artifacts, promoting merit accumulation and communal piety. In , the Esala Perahera in , held in July or August, involves a nightly procession over ten days, with a tusker elephant carrying the Temple of the Tooth's relic casket, flanked by over 100 performers including drummers, dancers, and torch-bearers, culminating in a water-cutting at the . Similar expositions occur regionally, such as the 2024-2025 loan of a tooth relic from to , where processions in drew over 2,000 participants escorting it to shrines, blending with devotion. These events trace to ancient practices of relic custodianship post-'s parinirvana around 483 BCE, serving to reenact the Dharma's dissemination. Sikhism employs nagar kirtan processions to publicly affirm faith and equality, with the scripture carried reverently on a float or palanquin, led by the (five initiated in blue attire wielding kirpans), followed by hymn-singing (), langar (communal meals), and seva (service) stations. These occur on occasions like (April 13 or 14, marking the 1699 founding) or Guru Nanak's birth (November), as seen in the 2025 Winnipeg event attracting thousands for music and reflection on the scripture's 1469 origins. In Eastern traditions like , mikoshi processions during matsuri festivals transport portable shrines housing kami (spirits) from main shrines to temporary sites or streets, invigorating communities through physical exertion. Carried by teams shouting "wasshoi!" on wooden poles, these gilded structures—often weighing 1-2 tons—weave through neighborhoods, as in Tokyo's (May), where over 100 mikoshi parade over three days, drawing 2 million spectators and rooted in 7th-century purification rites. Taoist-influenced Chinese funerals may include processions with priests leading mourners and spirit tablets, but these prioritize ancestral harmony over public spectacle.

Indigenous and Animist Practices

In indigenous and animist traditions worldwide, processions function as pathways to invoke ancestral spirits, harmonize with natural forces, and reinforce communal hierarchies, often blending movement, , and offerings to transcend the physical realm. These practices emphasize direct engagement with the unseen, where linear or circular marches symbolize life's cyclical transitions and the perpetual influence of the deceased or beings on the living. Among the Toraja of , , the Ma'nene ceremony—rooted in the animistic Aluk To Dolo system—entails exhuming mummified ancestors from cliff tombs, cleaning their remains with betel nut and water, redressing them in fresh attire, and carrying them in processions through villages to renew spiritual pacts and ward off misfortune. Typically held every two to three years in August, particularly in areas like Lembang Paton, this ritual, preserved for nearly a millennium, reflects beliefs in ancestors as active intermediaries who demand periodic care for familial prosperity. Yoruba Egungun masquerades in southwestern and feature processions of masked figures embodying specific forebears, who advance through communities amid drumming and chants to dispense blessings, adjudicate disputes, and redistribute wealth via gifts of cloth or money. Performed annually during festivals like Odun Egungun, these events, integral to Yoruba cults, affirm the animistic tenet that the dead retain agency over the living, with costumes layered in fabrics symbolizing layered identities and spiritual potency. The Zulu Umhlanga Reed Dance involves a multi-day procession of up to 40,000 unmarried women bearing tall reeds overhead from riverbeds to the royal , enacting submission to authority while invoking and ancestral approval through synchronized songs and dances. Conducted yearly in late August or September at sites like Enyokeni Palace in , this rite, originating in the 1940s but drawing on pre-colonial animist customs venerating earth and forebears, promotes chastity and unity amid beliefs in reeds as conduits for royal and spiritual vitality. Wait, no wiki, skip or find alt. Actually, guideline no wiki, so use [web:79] but it's wiki, wait no, [web:78] https://www.southafrica.net/... and [web:82] https://peakd.com but low quality, perhaps cite [web:80] https://www.xtrafrica.com/news/the-umhlanga-reed-dance-meaning-purpose-history-cultural-lessons Contemporary powwows among North American indigenous groups open with the Grand Entry, a procession of dancers entering the arena in ranked order—veterans, elders, then categories like fancy or traditional—led by eagle staff and flags to the beat of honor songs, facilitating prayers for healing and cultural renewal. Emerging in the mid-20th century from older intertribal customs, this sequence, observed at events drawing thousands, integrates animistic invocations of directions, animals, and creators across tribes.

Secular and Political Applications

Military and State Parades

Military and state parades constitute organized processions of armed forces, often involving thousands of troops, vehicles, and aircraft, designed to demonstrate discipline, operational readiness, and national cohesion. These events trace roots to ancient practices of displaying prowess but formalized in modern eras to commemorate victories or assert state power, as seen in post-World War II commemorations where parades reinforced of sacrifices. In democratic contexts, they emphasize unity and historical milestones, while in authoritarian regimes, they frequently serve to project deterrence and internal control through choreographed spectacles of uniformity. Historically, large-scale parades emerged prominently after major conflicts to honor victors and instill public reverence for the . The ' Grand Review in May 1865 featured over 145,000 Union soldiers marching through Washington, D.C., symbolizing the Civil War's end and national reconciliation under President . Subsequent U.S. events, such as the 1991 with 8,000 troops and historical reenactments, marked operational successes but remained tied to wartime contexts, reflecting a cultural aversion to peacetime displays perceived as overly ostentatious. France's parade, held annually since 1880 on July 14, involves approximately 5,600 marching troops, 250 vehicles, and over 80 aircraft, evolving from Third Republic traditions to showcase with allies, as in 2017 when U.S. forces participated to highlight bilateral ties. Russia's Victory Day parade on May 9 in , commemorating the 1945 defeat of , draws over 9,000 troops and features historical vehicles like tanks, underscoring Soviet-era contributions while signaling contemporary capabilities amid geopolitical tensions. In 2025, the event marked the 80th anniversary with international dignitaries, emphasizing Russia's narrative of resilience against perceived existential threats. North Korea employs parades on state anniversaries, such as the October 10, 2025, event for the Workers' Party's 80th founding, mobilizing tens of thousands to unveil systems like the Hwasong-20 , primarily to deter adversaries and promote regime loyalty through mass synchronization. These processions, while varying in scale, universally rely on precise to convey order, with logistical demands often revealing state priorities—democracies favoring restraint, autocracies amplification for ideological reinforcement.

Civic Celebrations and Festivals

Civic processions in celebrations and festivals serve to reinforce communal bonds, display local heritage, and promote without religious or connotations, often originating from municipal traditions or commercial initiatives to boost and economic activity. These events typically involve organized marches of floats, bands, vehicles, and participants along designated routes, drawing large crowds to symbolize civic unity and prosperity. Historical precedents trace to medieval European towns, where such processions expressed socio-political hierarchies and fostered among citizens, distinguishing rulers from the populace while integrating elements like guilds and merchants. The in exemplifies a longstanding civic procession, instituted in the 13th century following King John's 1215 charter allowing the to elect its own mayor, who must annually present credentials to the monarch or courts. Held each November, the event features the Lord Mayor's state coach—a gilded 275-year-old carriage—alongside modern floats, marching bands, and representatives parading 3 miles from Mansion House to the Royal Courts of Justice, attracting over 500,000 spectators and generating substantial revenue. Despite interruptions like plagues and wars, it has persisted as a marker of London's , with pageantry evolving to include themed displays tied to the Lord Mayor's trade guild. In the United States, the Tournament of Roses Parade in , established in 1890 by local boosters to highlight the region's floral industry and mild climate, represents a secular procession emphasizing innovation and community involvement. Covering 5.5 miles along Colorado Boulevard on , it includes up to 40 flower-covered floats constructed from natural materials, equestrian groups, and marching bands from schools and organizations, viewed by over 700,000 in-person attendees and millions via broadcast. Governed by a nonprofit association with civic oversight, the parade underscores participatory , as entries from nonprofits and businesses reflect themes of and , contributing millions to the local through and volunteer labor exceeding 900 hours per float. Similar civic processions occur in other contexts, such as Spain's El Vítor in , a festival procession reenacting the city's legendary founding since the medieval period, where participants carry effigies amid smoke from burned wineskins and choral tributes, symbolizing communal resilience and historical continuity without doctrinal elements. In , 16th- and 17th-century processions by civic bodies reinforced urban identity through orchestrated displays of trade guilds and magistrates, binding disparate social strata in spectacles that projected stability and prosperity. These examples illustrate how civic processions function causally to sustain social cohesion by ritualizing shared narratives of origin and achievement, often adapting to modern logistics while preserving core participatory structures.

Protest and Dissent Formations

Processions serve as a key tactic in and by enabling organized, visible movement through public spaces, amplifying grievances and demonstrating collective resolve. Unlike stationary assemblies, these linear formations disrupt normal traffic and routines, forcing confrontation with authorities and capturing media attention to pressure for change. Empirical analyses indicate that such nonviolent protests succeed in achieving shifts approximately 53% of the time, compared to 26% for violent ones, due to mechanisms like signaling broad support, fostering participant , and posing credible threats to elites without alienating . Historically, Mahatma Gandhi's Salt March exemplified dissent procession's catalytic role; from March 12 to April 5, 1930, Gandhi led 78 followers on a 240-mile trek from Sabarmati Ashram to Dandi, India, to defy British salt monopoly, eventually drawing tens of thousands and igniting widespread civil disobedience that eroded colonial legitimacy. In the United States, the Woman Suffrage Procession on March 3, 1913, saw about 5,000 women march down Pennsylvania Avenue in Washington, D.C., demanding voting rights; despite violent opposition from onlookers, it spotlighted the cause nationally and contributed to the 19th Amendment's ratification in 1920. The Selma to Montgomery marches in 1965, particularly the 54-mile trek from March 21-25 led by Martin Luther King Jr. with 25,000 participants, followed Bloody Sunday's violence on March 7 and directly prompted President Lyndon B. Johnson to sign the Voting Rights Act on August 6, enfranchising millions of African Americans. Across political spectra, processions have mobilized varied dissent; the Tea Party movement's 2009-2010 rallies and marches, peaking with events like the September 12, 2009, Taxpayer March on Washington drawing over 70,000 against fiscal policies, shifted Republican platforms toward fiscal conservatism and influenced the 2010 midterm elections by mobilizing voters and altering elite incentives. Labor and health worker processions, such as Australian nurses' strikes marching for better conditions, exemplify sectoral dissent, with the 2022 New South Wales actions involving thousands highlighting wage disputes amid inflation. Mainstream media coverage often disproportionately emphasizes left-leaning protests, potentially underrepresenting conservative or libertarian ones like annual March for Life processions in Washington, D.C., which since 1974 have drawn 100,000-650,000 participants advocating against abortion, sustaining pressure on policy despite limited legislative wins. While effective for awareness, procession outcomes depend on scale, nonviolence, and alignment with public sentiment, as oversized or disruptive events risk backlash without causal links to reform.

Controversies and Critiques

Instrumentalization for Propaganda

Processions have been systematically employed by authoritarian regimes to propagate state ideologies, project military might, and cultivate mass loyalty through choreographed displays of uniformity and scale. These events leverage the visual impact of synchronized movement, symbolic regalia, and participant numbers to evoke emotional responses, reinforcing narratives of national strength and ideological purity. Unlike spontaneous gatherings, propagandistic processions are meticulously planned, often incorporating torchlight, banners, and speeches to amplify their theatrical effect and deter dissent by showcasing regime control. In , the annual Party Rallies from 1933 to 1938 exemplified this tactic, featuring torchlight processions of up to 100,000 SA and SS members marching in precise formations to symbolize Aryan unity and Hitler's unchallenged authority. Organized by ' propaganda ministry, these events included rallies attended by over 400,000 participants by 1938, with films like (1935) disseminating footage to millions, embedding the imagery of disciplined masses into public consciousness. The rallies' , including the Zeppelinfeld designed for panoramic views of processions, underscored the regime's emphasis on spectacle to manufacture consent and intimidate opponents. Soviet May Day parades on similarly served as platforms for ideological , evolving from worker demonstrations into militarized spectacles by under , with columns of soldiers, tanks, and civilians carrying portraits of leaders to proclaim proletarian and anti-imperialist fervor. These annual events, peaking with over a million participants in by mid-century, integrated aerobatic displays and unveilings to project status amid internal purges, blending festivity with to sustain legitimacy. In post-Soviet , the march, initiated in 2012 in and adopted nationally by 2015, initially honored veterans through family-carried portraits but has been state-coopted to glorify Soviet sacrifices, rehabilitate , and link historical victory to current conflicts, with millions participating annually by 2019 and processions featuring military elements and pro-regime slogans. Critics, including independent Russian analysts, argue this appropriation distorts memory for mobilization, as evidenced by 2022 adaptations incorporating Ukraine war imagery despite declining voluntary turnout amid repression. North Korea's military parades, held for anniversaries like the founding or Kim Il-sung's birthday, routinely showcase thousands of goose-stepping troops, synchronized rifle drills, and missile launches to deter adversaries and instill domestic awe, with events under Kim Jong-un escalating in frequency—over 30 since —to signal nuclear prowess amid sanctions. State media broadcasts these as unassailable displays of self-reliance, though defectors report underlying coercion, highlighting how such processions mask economic frailty while projecting invincibility.

Safety and Logistical Failures

Processions, involving coordinated linear movement of large groups, are susceptible to safety failures from , bottlenecks, and inadequate , often exacerbated by logistical shortcomings such as insufficient or poor . In religious contexts, these risks manifest during rituals requiring convergence, where participant densities exceed safe thresholds—typically above 4-6 people per square meter—leading to crushes rather than panic-driven stampedes. The during the pilgrimage in exemplifies catastrophic logistical lapses, with over 2,000 pilgrims dying in a crowd crush near the Jamarat Bridge on September 24, amid the stoning ritual procession. Causes included narrow pathways accommodating up to 1.5 million participants without adequate spacing, failure to stagger group timings, and ineffective traffic management by authorities, resulting in a bottleneck where pilgrims were compressed against each other. Saudi officials reported 769 deaths, but independent tallies from , , and others exceeded 2,400, highlighting underreporting and delayed response; investigations criticized the kingdom's monopoly on Hajj organization for prioritizing volume over safety protocols. Similar failures occurred in the 2005 procession in , , where 965 fatalities resulted from a bridge collapse triggered by and unsubstantiated rumors of a suicide bomber amid 5 million participants. Logistical errors involved inadequate structural assessments for the route and insufficient security screening, compounding chaos in a post-invasion environment with limited coordination. In , a January 25, 2005, procession killed 258 and injured 200 due to a narrow hill path unable to handle surging crowds, reflecting recurring issues in festival planning like the , where poor riverbank barriers contributed to drownings and crushes despite prior incidents in 1954 and 1986. Secular events reveal comparable vulnerabilities, as in the 2010 Love Parade festival in , , where 21 died and over 500 were injured on in a tunnel crush during entry procession to the venue. Overcrowding—1.4 million attendees funneled through a single 25-meter-wide ramp—combined with organizers' underestimation of inflow, lack of exit controls, and ignored warnings from engineers created , not individual ; video analysis showed crowd pressure building from unchecked momentum rather than flight response. These cases underscore that failures stem from flawed capacity modeling and venue design, often prioritizing attendance over dynamic flow simulations, with post-event inquiries revealing ignored capacity limits and communication breakdowns between organizers and authorities.

Ideological and Cultural Conflicts

In regions with , processions frequently ignite communal clashes when routes pass through contested territories, amplifying underlying ethnic and sectarian tensions. In , Hindu processions during festivals like Ram Navami have repeatedly escalated into violence since 2022, with participants clashing against Muslim residents in states including , , and ; these incidents involved stone-throwing, arson, and fatalities, such as the deaths of three people in in March 2023. Such events often feature provocative music and slogans directed at minority groups, though reports indicate mutual , with processions serving as pretexts for settled grievances rooted in partition-era divides and uneven enforcement of public order laws. Sectarian disputes over procession rights underscore ideological battles between preservation of tradition and demands for cultural accommodation. In , annual marches in since the 1990s have provoked standoffs, as Catholic nationalists block paths traditionally used by Protestant loyalists, leading to riots, police interventions, and over 100 injuries in 1998 alone; these conflicts reflect broader unionist-nationalist divides, with parades symbolizing sovereignty claims amid post-Troubles fragility. Secular governance models have imposed restrictions on religious processions to prioritize public neutrality, often framing them as disruptions to urban harmony. Quebec's 2025 secularism proposals include bans on spontaneous religious gatherings that obstruct roads, extending Bill 21's limits on symbols to curb what authorities term "hateful demonstrations" by Orthodox Jewish or Muslim groups; critics argue this enforces over pluralism, with over 20 municipalities already restricting prayer vigils by 2024. Similarly, banned a Catholic procession on April 13, 2025, citing traffic and risks amid Hindu-Muslim tensions, a move condemned by secular activists as selective suppression favoring majority practices. In , laïcité under the 1905 law permits processions but prohibits overt proselytizing, resulting in occasional dispersals for exceeding spatial bounds, as seen in 2023 incidents where municipal orders clashed with participants' free assembly claims.

Cultural Representations

In Visual Arts and Literature

Processions have served as a prominent motif in across eras, symbolizing communal ritual, religious fervor, and social order. In , Gentile Bellini's Procession in the (c. 1496) captures the Doge's annual procession on Saint Mark's feast day, commemorating a 1443 where a sacred image reportedly appeared mid-air during the event. The painting, housed in the , details participants in hierarchical formation, with banners and advancing through the square. Netherlandish artists frequently depicted biblical processions amid contemporary landscapes to blend sacred narrative with everyday life. Pieter Bruegel the Elder's The Procession to (1564), an oil-on-panel measuring 124 by 170 cm, portrays Christ bearing the cross in a vast Flemish panorama, where the central event merges with incidental crowd activities, underscoring themes of human distraction from divine suffering. Similarly, Raphael's The Procession to (c. 1509–1511), part of the predella for the Colonna , centers Christ gazing outward while flanked by mourners and soldiers in a compact, emotive composition. In 19th-century Russian art, Ilya Repin's Religious Procession in Kursk Province (1880–1883) illustrates an Orthodox icon veneration event with the shrine of Our Lady of , featuring a cross-section of society—from peasants to officials—revealing tensions in imperial through exaggerated and disorder. Such works, often drawn from observed , critiqued societal hypocrisies while documenting ritual materiality like carried relics and vestments. Literary depictions of processions emphasize procession as a microcosm of societal dynamics, from triumph to turmoil. In Nathaniel Hawthorne's (1850), stylized public processions frame moral reckonings, as in the novel's climactic gubernatorial parade where Reverend Dimmesdale's participation exposes Puritan rigidity. Ancient Roman literature, such as Ovid's , describes triumphal processions with precise details of spoils, captives, and laureled generals parading through the , serving as models for later epic representations of ordered movement affirming state power. These narratives, rooted in historical accounts, highlight processions' role in propagating through choreographed spectacle.

In Media, Music, and Performance

Processions feature prominently in , where they often serve as dramatic spectacles underscoring and communal movement. In Pietro Mascagni's (1890), the Easter Hymn accompanies a village procession, blending sacred with orchestral procession to heighten tension before the opera's tragic climax. Similarly, Nikolai Rimsky-Korsakov's "Procession of the Nobles" from the opera-ballet Mlada (1892) portrays a majestic ceremonial march of Slavic nobility, characterized by brass fanfares and rhythmic strings evoking historical pomp. These compositions exemplify how processional music integrates solemnity and grandeur, frequently performed in concerts to evoke ceremonial atmospheres. In beyond , processional marches have become staples for formal events. Edward Elgar's (1901 onward), especially the first march's trio section with "," originated as concert works but were adapted for academic graduations, symbolizing achievement through steady, triumphant progression. Felix Mendelssohn's "Wedding March" from to (1842) similarly structures bridal processions, its bold theme reflecting ritual transition. Theater history traces processional forms to medieval , where religious cycles like the (14th-16th centuries) unfolded via wagons halting at urban stations, enacting biblical narratives in sequence to engage spectators along the route. These pageant processions, tied to Corpus Christi feasts, combined mobility with episodic drama, fostering communal participation in salvation history. Modern revivals, such as Slovenia's (revived from 1721 origins), adapt this format into scripted processional performances depicting Christ's Passion, blending actors, music, and public paths for immersive storytelling. Film depictions often amplify processions for visual spectacle, as in epic historical narratives. The 1963 film showcases Cleopatra's lavish barge entry into , a choreographed procession symbolizing power and seduction amid Roman pomp.) Roberto Rossellini's Viaggio in Italia (1953) integrates real Neapolitan religious processions to underscore themes of spiritual disconnection, using authentic rituals for naturalistic . Such portrayals highlight processions' role in conveying collective emotion and historical authenticity on screen.

References

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