The Cant de la Sibil-la
Certain representations appear as part of the liturgical celebration in the Middle Ages. Their function was to help the common people to understand and memorize passages from the Bible, New Testament or ecclesiastical dogmas. The representation of the Passion of Christ, celebrated at Easter, or the adoration of the Reyes Magos, at Christmas, are some examples.
Origin of chant
In ancient Greece and Rome, sibyls were women who possessed the gift of clairvoyance. After the arrival of Christianity in the empire, the sibyls were assimilated as prophetesses, attributing to them the announcement of the arrival of Jesus Christ.
Thus, the representation of the Sibyl in which a prophetess tells of the coming of the Last Judgment, the arrival of Jesus Christ and the catastrophes that would accompany him, became a piece that was performed during the Christmas Eve mass throughout the Western Mediterranean.
Thus, on the cold and often rainy Christmas nights of the Middle Ages, a boy or a young countertenor assumed the role of a sibyl and, from the pulpit, and illuminated by just a few candles, prophesied the coming of the final judgment and the punishment of all the impure.
The Sibyl narrated the terrible events in a Gregorian chant in Latin, Occitan, Spanish, Catalan, Galician or Basque, holding a sword that, at the end of the representation, would mark an imaginary cross. In Mallorca, and only in some churches, at the end of the representation, the Sibyl cuts with the sword a small thread that holds a sponge cake.
Its prohibition and (almost) disappearance
During the Council of Trent (1565) the representations and dances that took place in the temples were forbidden and, although the Council of Toledo allowed its celebration again, it did so as long as it did not take place during the liturgy.
Thus the Sibyl stopped going up to the pulpit on Christmas Eve nights and its celebration fell into oblivion. However, in Mallorca (Spain) and Alghero (Sardinia, Italy, at that time part of the Kingdom of Aragon), it continued to be performed until our days, with the opposition of the ecclesiastical hierarchies but the consent of the local church.
It was not until the Second Vatican Council (1965) that women were able to assume the role of sibyl in the performance.