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Ecclesial Futures – DOI: 10.54195/ef19163

DOI: 10.54195/ef19163

A R T I C L E

Ecclesial Futures
2024

Examining Filipino Popular Piety in the light 
of Vatican II’s Directory of Popular Piety and 
the Liturgy: Principles and Guidelines

Kevin Maicom

Abstract
Celebrating popular piety in different regions reflects the vibrant, diverse, and festive 
culture of the Philippines. The innumerable religious practices through rites and cere-
monies show the intensity and vibrance of Filipino Catholic spirituality. It is part of the 
heritage and unique identity of the Filipino Catholic Church to the extent that it also 
impacts the local liturgical calendar. Given this distinctive characteristic of popular 
piety, finding its harmony with the liturgy is challenging. The focus on the ritual aspect 
of popular piety diverges from orthodoxy, raising conflict between its praxis and 
Church teachings, which allows for misinterpretation and syncretism. This paper will 
employ a descriptive research design to assess the reception of Vatican II’s Directory 
of Popular Piety and the Liturgy: Principles and Guidelines (DPPL), using the method of 
critical reflection. It comprehensively analyzes the reception of DPPL and its profound 
impact on Catholicism in the Philippines. This study aims to establish an understanding 
of popular piety as a valid form of worship through analysis and evaluation of the 
process of inculturation to foster a deeper understanding and appreciation of these 
practices. It enriches theological discourse on the realm of inculturation, which leads 
to the preservation of cultural heritage and the understanding that popular piety is an 
encounter of evangelization and culture that should be treated with profound respect 
and mutual understanding.

Keywords: popular piety, liturgy, inculturation, popular religiosity, devotion

1 Introduction
The Second Vatican Council (Vatican II) aggiornamento aimed to renew the Church in 
response to the contemporary world. One of the council’s documents, the Constitu-
tion on the Sacred Liturgy Sacrosanctum Concilium, called for a reform of the liturgy 
and necessitated the recognition of popular piety. In response, Vatican II issued the 



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DPPL in 2001. This document offered guidance on integrating popular piety, the reli-
gious practices of people from local culture, with the liturgy. In order to enhance 
comprehension of the study of popular piety in the Philippine setting, it is important 
to establish clear definitions of relevant terms. Within various regions of the country, 
there is a tendency to conflate the concepts of popular piety, popular religiosity, and 
devotion, resulting in frequent interchangeability.

The document with the authority to define these terms is the 2001 DPPL. It defines 
popular piety as “diverse cultic expressions of a private or community nature … in 
the context of the Christian faith” (DPPL, 9). while popular religiosity is a “universal 
experience … of people, nations, and their collective expressions but does not always 
necessarily refer to Christian revelation” (DPPL, 10). On the other hand, devotion 
refers to “various external practices (e.g. prayers, hymns, observances attached to 
particular times or places, insignia, medals, habits or customs) animated by the atti-
tude of faith” (DPPL, 8). The prevalence of misconceptions regarding these terms 
can be attributed to a deficiency in catechesis. In this regard, the author will employ 
the phrase “popular piety” in this study following the official title of the magisterial 
document.

2 Research Methodology
The study examines the theological foundation of popular piety as an expression of 
faith that finds its harmony with the liturgy, focusing on how these practices coexist 
and influence each other. It uses the method of critical reflection on the DPPL to 
frame the analysis, providing principles and guidelines for evaluating the validity 
of popular piety. The method also integrates historical, cultural and anthropolog-
ical aspects of popular piety, providing a comprehensive view of the lived experi-
ences of the faithful and the cultural context in which these religious practices 
occur. The study also evaluates the process of inculturation, balancing the need for 
cultural expressions in worship while maintaining fidelity to Catholic doctrine. It also 
discusses potential challenges, such as syncretism, which may arise when popular 
piety diverges from liturgical norms. The goal is to foster a deeper understanding 
and appreciation of popular piety as a valid form of worship, emphasizing respect 
and mutual understanding between popular piety and the liturgy. This multifaceted 
approach provides insights to guide future practices and pastoral strategies within 
the Filipino Catholic context.



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3 Significance of the Study
Catholicism in the Philippines is amplified by popular piety as a profound reservoir 
of sustaining faith among the Filipinos. The interactions between the two separate 
domains challenge the complicated correlation between Filipino popular piety and 
the liturgy. The task, therefore, involves the ability to discern how to handle this 
relationship and ensure that these expressions do not overshadow the fundamental 
principles and tenets of Catholicism. This research aims to understand the reception 
of the DPPL that encompasses not just academic growth but also personal enrich-
ment of how faith is assimilated in the Philippines. The study can also shed light on 
the tensions between formal liturgy and cultural expressions of faith in the Catholic 
practices in the country, in the light of Vatican II’s liturgical reforms that intended to 
strike unity amid diversity among the local churches around the globe.

4 Popular Piety and the Liturgy
The liturgy is “the summit toward which the activity of the Church is directed and the 
fount from which all her power flows” (Sacrosanctum Concilium, 10; henceforth SC). 
It requires acknowledging and valuing various expressions of popular religiosity 
within the Christian community. It possesses an inherent predisposition to estab-
lish a connection with the divine, leading to the emergence of popular piety aimed at 
fulfilling the desire for active participation.

Popular piety is an expression of Christian faith in the culture of the people. It is crit-
ical not to dismiss these types of piety and to recognize their relevance in building 
a sense of communion with God and within the ecclesial community. Hence, the 
theological foundation of inculturation is the incarnation of Jesus in time and space. 
Anscar Chupungco (cited by Mark Francis 2014b) asserts that the embodiment of 
Christ, continued by the Church as the physical representation of Christ in many 
human cultures, forms the foundation for both the identity and the variety of the 
liturgy as the Church’s way of expressing itself. Nevertheless, due to challenges with 
inculturation, popular piety can lead to an inevitable distortion of Christian doctrine, 
resulting in a negative impact on liturgical practices. It can lead to the primacy of the 
people’s devotion, and liturgy becomes secondary. The celebration does not centre 
on the Paschal mystery of Christ as its focal point. The prayers lack reflection of 
the trinitarian formula due to their spontaneous nature. Additionally, the absence 
of scriptural text diminishes its significance, and the pneumatological dimension is 
disregarded. These challenges arise from disregarding the process of inculturation 
to address the questions faced by the encounter of evangelization and colonization.



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Mark Francis (2014a) asserts that Vatican II emphasizes the role of culture as the 
heart of the liturgical renewal. However, it seems that the formalization of the liturgy 
is seen as a hindrance to the cultural and ritual expression of the faithful. The publi-
cation of Liturgiam Authenticam promulgated by the Congregation for Divine Worship 
and the Discipline of the Sacraments in 2001 has the main objective of offering 
instructions for translating liturgical texts into vernacular languages. Translations 
must adhere to precise phrasing and remain unaffected by ideological bias. The orig-
inal Latin text should be accurately translated into the local language. This document 
ended the discussions on liturgical inculturation, mandating a literal translation of 
the text from Latin to vernacular without any omissions, additions, or paraphrases. 
It loses the soul of the text that touches the heart of the locals. The culture expressed 
in the language of the prayers hinders the intelligent participation of the faithful. 
Popular piety, on the other hand, allows authentic and spontaneous expression of 
faith to be received in the culture of the people. It involves the body, heart, and mind, 
whereas, in comparison, the liturgy is perceived as formal, repetitive, rubric- and 
formula-driven. This distinguishing feature of popular piety provides a divergence 
from the liturgy.

However, popular piety serves as a channel for the people of God to engage in spiritual 
expression, foster a profound relationship with God and facilitate the enrichment of 
faith experiences and understanding, for “no one who loves God’s holy people will 
view these actions as the expression of a purely human search for the divine” (Evan-
gelii Gaudium, 125, henceforth EG).

5 Popular Piety in the Philippines
Filipinos are known for being religious and pious and are even described as spirit-
oriented, which denotes their active search for the divine and relating themselves to 
the supreme being (Catechism for the Filipino Catholics, 469; henceforth CFC). This 
identity is expressed in popular piety, which includes a wide range of cultic practices 
within the Christian faith that are driven by the assimilation of the beliefs and culture 
of the people and can be done alone or with a group. In the interplay between 
evangelization and culture, Jose De Mesa, cited by Josefina Tondo (2010), discusses 
whether Filipinos have actually been Christianized or if Christianity has just been 
adapted to fit the Filipino culture. Perhaps history will provide an insightful answer 
to this assertion. Christianity touched the Philippines’ soil in the year 1521 with the 
arrival of Ferdinand Magellan. The arrival of Spanish colonizers in the Philippines 
imported the Western canons and introduced the Catholic faith, which has since 
become an integral component of the Filipino identity. Chupungco (2014) asserts that 
the missionaries introduced Western spirituality to Filipino culture, incorporating the 



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Baroque style in the liturgy. Hence, the pre-colonial practices in the archipelago bear 
a resemblance to the celebratory characteristics of the Baroque period, which are 
characterized by opulent displays in festivals, extravagant visual elements, elaborate 
sacred artwork and images, expressive dances, theatrical presentations and musical 
performances. Macaranas (2021) argues that because of the length of time that the 
Philippines has been under Spanish colonization, the native pre-colonial culture and 
Indigenous worship have assimilated Christian doctrines and teachings. In this regard, 
Foley (2024) asserts the importance of inculturation, citing that gaining control over 
language, ritual, and music will direct liturgical movement as a form of decolonization.

Furthermore, human beings have an innate desire to relate with the supreme being. 
Filipinos inherently gravitate towards tangible and practical manifestations of their 
faith and religious encounters (CFC, 1534). This faith is expressed in popular piety 
as the treasure of the Church and a form of spirituality that reflects the experiences 
of the Filipino people. The image of the crucified Christ, the Blessed Virgin Mary as 
intercessor, and the paschal mystery of Christ achieved in the lives of the Saints is a 
tangible reality that we have a God who can sympathize with our everyday problems 
and who is with us to celebrate our joy. This may explain why people find this form 
of worship fulfilling in pursuing a spiritual connection with God. Tondo (2010) affirms 
that in decision-making, Filipino cultural values and notions such as bahala na (What-
ever events occur are within the realm of God’s permission) are closely connected to 
faith. It is not an act of surrender but a manifestation of hope that God is in control 
of everything. In this, we can see that faith does not only interplay with culture, but 
their devotion also amplifies trust in the grace and mercy of God.

Faith exerts a substantial impact on society through the assimilation of Christian 
doctrines into the culture, having an impact on both personal and socio-political real-
ities. The expression of religious devotion in the Philippines is commonly observed 
through various forms of “popular devotions, processions, altar and shrines, reli-
gious drama … and dance … these expressions of faith are festive, felt, spontaneous 
… expressive, immediate, communitarian, collective, joyful, symbolic, traditional, 
alive” (Chupungco 2014: 329). It is demonstrated by the act of visiting well-known 
churches that are associated with specific devotions, embarking on a pilgrimage to 
express gratitude to God or seek blessings, touching sacred images of Jesus, the 
Blessed Virgin Mary, and saints, participating in religious processions, engaging 
in extended periods of prayer known as novenas, and undertaking long journeys 
to see various religious celebrations. The prevalent acceptance of religious beliefs 
among the general populace can be comprehended as the extensive transmission 
and embodiment of the religion inherited and assimilated into the cultural fabric of 
the Philippines.



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The profound prevalence of the spirituality of popular piety within the Philippine 
setting significantly influences the local liturgical calendar. The commemoration of 
the Nativity of Jesus Christ takes place on December 25. It will be presided over by 
a major procession in commemoration of the Traslacion ng Poong Itim na Nazareno 
(Feast of the Transfer of Image of the Black Nazarene from its original Shrine in Intra-
muros to the Quiapo Church, now declared as The National Shrine of the Black Naza-
rene) on January 9, followed by the commemoration of the feast of the child Jesus, 
Santo Niño, in the subsequent week since this feast falls in the third week of January. 
These three Christocentric festivities are observed and enormously celebrated by a 
large number of people in the Philippine archipelago. The celebration of Christmas 
reflects the culture of festivity, even in the difficulty of life brought about by various 
forms of economic oppression. The resilience of Filipinos is shown in their attendance 
during the Traslacion, which they relate to the image of the suffering Christ, and lastly, 
the love for children is evident during the feast of the Santo Niño as the epicentre 
of the Catholic faith. Utilizing the “baby-adult-child” pattern of celebration, while 
possessing a comical quality, enhances the religious conviction of the people, forti-
fies their sense of belief, and expresses their unwavering devotion, which moulds the 
hearts of Filipinos. Chupungco (2014) affirmed that this phenomenon under consid-
eration exhibits a profound connection to societal issues and human emotions while 
embodying a celebratory, heartfelt, spontaneous and expressive nature.

6 Gestures and Language of Popular Piety in the 
Philippines

Philippine culture is embedded in the celebration of different forms of popular piety 
across the country. It is evident in the gestures and language of the ritual acts that 
engage a Filipino Christian.

6.1 Gestures
The gestural characteristic of popular piety in the Philippines is distinguished by the 
presence of extravagant and exaggerated bodily motions, which extend beyond the 
mere acts of kissing or caressing religious images and objects, serving as symbolic 
actions as reflected in DPPL, 15:

Popular piety is characterized by a great variety and richness of bodily, gestural, and 
symbolic expressions: kissing or touching images, places, relics, and sacred objects; 
pilgrimages, processions; going bare-footed or on one’s knees; kneeling and prostrating; 
wearing medals and badges ... These and similar expressions, handed down from father 
to son, are direct and simple ways of giving external expression to the heart and to one’s 
commitment to live the Christian life. Without this interior aspect, symbolic gesture runs 
the risk of degenerating into empty customs or mere superstitions, in the worst cases.



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The rich cultural diversity of the Philippines has contributed to the emergence of 
various symbolic gestures within the context of Christian liturgy. The gestural acts 
performed during the Lenten season in the country, like the actual crucifixion in 
Cutud, Pampanga, walking pilgrimages going to Antipolo Cathedral (Our Lady of 
Peace and Good Voyage), and flagellation as a form of penance are identities of Filipino 
religiosity. It is crucial to recognize the beauty and charism of popular piety while 
appreciating its anthropological and cultural aspects. However, it is important to use 
moderation in these displays of Filipino devotion to ensure they align with sound 
theological principles and can feasibly harmonize with the liturgical celebration.

Furthermore, gestures are not only limited to actions but are evident in dance. The 
music of the people “is instinctively linked with hand-clapping, rhythmic corporeal 
movements, and even dance. Such are external forms of interior sentiment and are 
part of popular traditions, especially on occasions such as patronal feasts” (DPPL, 17). 
The surrounding environment undeniably influences the manifestation of an individ-
ual’s emotions through dance. In the country, a known dance ritual for fertility is cele-
brated in Obando, Bulacan, under the Patronage of St Paschal of Baylon, St Claire and 
Our Lady of Salambao. In addition, street dances are performed in different parts 
of the country during the celebration of Santo Niño, particularly in Cebu and Tondo. 
From this, we can understand that the language of the body is the language of piety.

However, can we consider dancing a meaningful form and expression of Christian 
faith because the liturgy, in its strict sense, does not have provision for dancing during 
liturgical celebrations? In biblical times, we can see dancing as a form of worship: 
“Wearing a linen ephod, David was dancing before the Lord with all his might, while 
he and all Israel were bringing up the ark of the Lord with shouts and the sound of 
trumpets” (2 Sam. 6.14-22).

In this biblical text, we can see the encounter of faith and local culture. The conver-
gence of beautiful, pleasing bodily movements, coupled with the supplications and 
devotions of individuals, presents an intriguing manifestation of faith that fosters a 
profound connection with the divine. Dancing processions are a distinctive embodi-
ment of the convergence between evangelization and cultural expressions.

Historical and cultural factors naturally mark popular piety. For this reason, it needs 
to be considered in assimilating the Christian faith in language and gestures. It is vital 
to acknowledge that the process of inculturation places significance on preserving 
fundamental aspects of a particular cultural viewpoint, especially how Filipinos 
understand Christianity as influenced by “personal and national historical experi-
ences of pain and struggle, of victory and celebration” (CFC, 31).



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6.2 Language
It is imperative for the Church to embody the essence of Christ in all linguistic contexts 
because the theological principles of the Christian faith are conveyed through 
language that is influenced by cultural perspectives. The prayer used in popular piety 
incorporates the notions of “pamilya” (pertaining to family), “kahirapan” (referring to 
poverty), “pagsamo” (signifying supplication), “pangako” (representing promise) and 
“pagmamahal” (indicating love) (all translations by the author).

The perfect example is the novena prayer to Our Lady of Perpetual Help enshrined 
in Baclaran Church:

We, too, have our crosses and trials.
Sometimes they almost crush us to the ground.
Dearest Mother,
share with us your abundant faith and confidence in God.
Make us aware that God never ceases to love us;
that he answers all our prayers
in the way that is best for us.
Strengthen our hearts to carry the cross
in the footsteps of your divine Son.
Help us to realize
that he who shares the cross of Christ
will certainly share his resurrection.
(Congregation of the Most Holy Redeemer
Baclaran, Metro Manila, Philippines, May 1994)

The prayers associated with popular piety have a socio-political dimension and are 
connected to societal problems: poverty, health, education and food in the Philip-
pines are indicative of several concepts that hold significance in the daily lives of its 
populace. In this context, “we have a fact of fundamental theological and pastoral 
significance: it is the poor, the object of God’s special love, who understand best” 
(Instruction on Christian Freedom and Liberation, 22).

However, because the prayers are from the cultural perspective of a particular 
community, they may lose their inspiration from “Sacred Scripture, the Liturgy, the 
Fathers of the Church and the Magisterium, and concord with the Church’s faith” 
(DPPL, 16).

The theological aspect of popular piety is made apparent by including scriptural 
readings. Paul VI emphasizes the significance of incorporating biblical elements into 



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popular piety, stating, “today it is recognized as a general need of Christian piety that 
every form of worship should have a biblical imprint” (Marialis Cultus, 30). The cele-
bration of popular piety must be accompanied by scriptural text because “sacred 
theology rests on the written word of God, together with sacred tradition, as its 
primary and perpetual foundation” (Dei Verbum, 24). It is noteworthy to observe 
that the Constitution on the Sacred Liturgy includes a provision for conducting a 
Bible service prior to the commencement of the liturgical celebration given that the 
solemnities and festivities are widely observed in the archipelago:

Bible services should be encouraged, especially on the vigils of the more solemn feasts, 
on some weekdays in Advent and Lent, and on Sundays and feast days. They are 
particularly to be commended in places where no priest is available; when this is so, a 
deacon or some other person authorized by the bishop should preside over the cele-
bration. (SC, 35)

The conscience of the people “is gradually formed through Scripture and the Church’s 
living Tradition” (CFC, 99). Given that the Word of God is the bedrock of our Catholic 
faith, “it encourages popular piety to discover the harmony between the Old and 
New Testaments and to interpret one in the light of the other … in choosing biblical 
texts, it is always desirable to take short texts that are easily memorized, incisive, 
and easily understood, even if difficult to actualize” (DPPL, 89). Through this, the 
Church commemorates the manifestation of redemption in the present day through 
the proclamation of the Word of God and the observance of ritual practices. Hence, 
popular piety supplements the thirst for biblical text.

Moreover, the aesthetic appeal of language extends beyond its usage in religious 
prayers, encompassing the lyrical compositions found within sacred music as well. 
The music of the Philippine Catholic Church has a distinct characteristic: it is festive 
and romantic. In fact, it has been explicitly explained that “Filipinos are kundiman-ori-
ented. The kundiman is a sad Filipino song about wounded love. Filipinos are naturally 
attracted to heroes sacrificing everything for love. They are patient and forgiving to 
a fault” (CFC, 39). The devotional, religious and even liturgical songs in the country 
acquire a kundiman dimension. For example, here is an excerpt of the Marian song 
“Stella Maris” by Bukas Palad Music Ministry in 1997:

Maria sa puso ninuman (Mary in the heart of all)
Ika’y tala ng kalangitan. (You shine brighter like a star in the sky.)
Ningning mo ay walang pagmamaliw (There are no words to describe your light)
Inang sinta inang ginigiliw (My dear beloved Mother)
(translation by the author)



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The Filipino terms “Sinta” (Dear) and “Ginigiliw” (Beloved) could serve as expressions 
that capture the deep-seated Marian devotion observed among the Filipino popu-
lace. It is not surprising that Marian devotions hold significant popularity within the 
archipelago. Kroeger (2015) states that the role of Filipino popular religiosity, particu-
larly its devotion to the Virgin Mary, has been acknowledged for its substantial impact 
on the preservation and advancement of the spiritual lives of local Christians. Pope 
John Paul II’s remarks on Filipino devotion to Mary as a pueblo amante de Maria, a 
people with a special love and devotion to Mary, indeed reinforced this assertion.

The integration of music in popular piety is an inherent and essential aspect since 
it facilitates “the conservation of the received corpus of traditional songs … linked 
with a biblical and ecclesial spirit which is open to the possibility, where necessary, 
of their revision or to the composition of new songs” (DPPL, 17). This experience 
can be perceived as a preliminary encounter with liturgical practices. The ethos of 
the Vatican II emphasizes the necessity of active participation and an understanding 
of the musical content. The purpose of sacred music is to evoke a profound sense 
of connection and communion with the divine. During singing, the faithful connect 
profoundly with the Trinitarian God, Mary, and the Saints. Kroeger (2015) concurred 
that these are the circumstances in which popular piety is suitable due to its assur-
ance of veracity and authenticity. Popular piety serves to deepen the faith and 
strengthen the bond of the People of God. However, it does not escape from misuse, 
abuse and misinterpretation.

The issue of syncretism has been subject of discussion for the longest time, although 
some theologians seem to view this terminology in a very positive manner and an 
inevitable stage of inculturation. Hence, since any evangelization will be incarnated 
in a specific culture, Pope Paul VI emphasizes that popular piety ‘is subject to penetra-
tion by many distortions of religion and superstition and might endanger the eccle-
sial community’ (Evangelii Nuntiandii, 48). Syncretism is the process of amalgamating 
one or more religious systems to form a novel system by incorporating beliefs and 
unconnected traditions. Religious syncretism is prominently observed, as seen by the 
presence of many religious symbols, such as the image of Santo Niño, Buddha, and 
lucky charms, which are commonly displayed in commercial establishments. Further-
more, the practices of baptism, weddings, and funerals are often accompanied by the 
incorporation of superstitious beliefs. In this context, numerous misunder standings 
regarding Christian concepts may emerge, distorting the teachings and principles 
that are upheld. In light of the proselytizing nature of prevalent religious practices, 
it is imperative to delineate the boundaries that separate the incorporation of faith, 
culture, and individual inclinations inside our spiritual beliefs so that “it may never 
incorporate rites permeated by magic, superstition, animism, vendettas or sexual 
connotations” (Varietates Legitimae, 48)



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7 Reflection
Popular piety enriches the liturgical celebration. It must maintain a discernible iden-
tity while aligning harmoniously with the liturgy because “the spiritual life, however, 
is not limited solely to participation in the liturgy” (SC, 12). However, popular piety 
must find its culmination in the liturgical celebration. Given its significance in the 
lives of the faithful, it is imperative that it remains intact and not be eliminated. It is 
the very mind of the Constitution when it states:

Popular devotions of the Christian people are to be highly commended, provided they 
accord with the laws and norms of the Church, above all when they are ordered by the 
Apostolic See. But these devotions should be so drawn up that they harmonize with the 
liturgical seasons, accord with the sacred liturgy, are in some fashion derived from it, 
and lead the people to it, since, in fact, the liturgy by its very nature far surpasses any 
of them. (SC, 13)

What is said of the “Christian liturgy is also true of popular piety” (DPPL, 12). Hence, 
it is suggestive that the prayers of popular piety exhibit a trinitarian dimension in the 
sense that “faithful require instruction on the character of Christian prayer, which is 
directed to the Father, through the mediation of the Son, in the power of the Holy 
Spirit” (DPPL, 80). Its celebration assumes a centrality on the Paschal mystery of 
Christ while duly recognizing the integral role played by the Holy Spirit in guiding the 
faithful throughout worship, and the observance must foster an ecclesial dimension. 
In the pursuit of achieving harmony, “it is important that the question of the rela-
tionship between popular piety and the liturgy not be posed in terms of contradic-
tion, equality, or, indeed, of substitution” (DPPL, 50). Since popular piety arises from 
the faith of the people, it must be taken care of with profound respect and mutual 
understanding. The harmonization must radiate the principle of sound tradition and 
legitimate progress.

The DPPL provided a framework for assessing and revitalizing popular piety that 
can be adopted in the Philippine setting. It serves as a foundation for developing 
pastoral suggestions and local principles and guidelines for the renewal of popular 
piety in the country. The harmonization of popular piety is governed by several key 
principles, namely the “biblical, liturgical, ecumenical, and anthropological spirit” 
(DPPL, 12).

However, it is interesting to note that the principle for renewal of popular piety is 
only enshrined in DPPL 12, with a vague description and subject for interpretation. 
There is no specific mention of whether the four criteria must be met or how they 
should be applied in a specific context. In this regard, there are aspects that need 



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consultation and discussion of local theologians. For example, several manifesta-
tions of popular piety have no biblical basis. One instance is the widely known Easter 
procession, Encuentro or Salubong, which occurs at dawn after the Easter Vigil Mass. 
Salubong is a procession that portrays the encounter between Jesus and Mary, his 
mother following his resurrection. Curiously, there is no biblical evidence to support 
this practice, but the Filipino people firmly believe that Jesus initially appeared to his 
mother. This obstacle hinders the process of renewing and aligning different expres-
sions of popular piety with the liturgy. It will present a dilemma since one of the prin-
ciples presented by the DPPL is for popular piety to be guided by a biblical spirit. It is 
now the task of theologians and liturgists to establish the biblical foundation of the 
respected popular piety in their place.

Perhaps the Salubong is the world in front of the text for the faithful. This faith is 
grounded in the resurrection account amplified by the matristic culture of Filipinos.

In this sense, perhaps it is best to look at the case of the Sabuaga festival. Cunanan 
(2021) examines the relationship between liturgy and popular piety in the context 
of the Sabuaga Festival, an Easter Sunday celebration in Sto Tomas, Pampanga, 
Philippines. The article discusses how harmony between liturgy and popular piety is 
achieved in the Sabuaga festival.

The author examined how the festival integrates the personal experiences and 
cultural traditions of the locals with the Paschal mystery of Christ through the cere-
monies of Santa Misa and Misa Concelebranda. In the Philippines, the Holy Week cele-
bration culminates on Easter Sunday and is regarded as a weeklong vacation. This 
is the period when Catholic individuals studying and working in the capital return to 
their provinces to reunite with their families and celebrate the Holy Eucharist collec-
tively. The anthropological aspect of Filipino culture, characterized by its familial 
orientation, is exemplified in the liturgical celebration. Since culture has a vital 
role in the faith of the people, it is essential to discern its connection with the reli-
gious dimension of these practices while giving importance to their anthropological 
aspects. Bevans (2018) affirms this assertion, citing that it is crucial for the church to 
communicate the gospel and educate effectively and in an attractive manner, and 
failing to include the cultural and contextual aspects of faith would be a betrayal of 
the Church’s purpose.

Interestingly, the celebration also became a centre for tourism because of its 
numerous activities:



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As the Thomasians pray and worship the Risen Christ in the celebration of the Holy 
Eucharist, they unite their lives and history as a people to the mystery of Christ’s 
resurrection. This is evident in the cultural events, which encourage participants 
to creatively portray the Paschal Mysteries. For example, in the free-interpretation 
dances, some participants portray the Stabat Mater, wherein the Blessed Mother 
stood at the foot of the cross in sorrow over her beloved Son’s suffering and death. 
Moreover, the street dancing festivities reenact the believer’s courageous anticipation 
of Christ’s resurrection, which they believe is the source of their own future resurrection. 
(Cunanan 2021: 75)

As these activities are orchestrated by the parish church and the local government 
unit, they attract tourists, including Catholics and non-Catholics, providing an excel-
lent opportunity for a dialogue and evangelization that is ecumenical by nature. 
Since a multitude of devout people gather in these religious events, united within 
purpose and prayers while manifesting their beliefs, such practices serve as a “locus 
theologicus which demands our attention, especially at a time when we are looking 
to the new evangelization” (Directory of Catechesis, 338; henceforth DC). The church 
is an inclusive place because “her nature is a dialogical reality” (DC, 334). It endeav-
ours to facilitate popular piety as a valid form of Christian worship for the contem-
porary human person, particularly those who have limited religious education and 
catechetical formation.

Finally, the custom of Sagalas involves the scattering of flower petals and the perfor-
mance of Stabat Mater Dolorosa, which is derived from the scriptural verse in Luke 
2.35. This practice suggests that the scriptural basis of Salubong is not centred on 
the encounter between Jesus and Mary, but rather on the Resurrection of Christ and 
an appreciation on the role of the Blessed Mother in the economy of redemption. It 
lies within the genius of local theologians and liturgists to establish the biblical foun-
dation in renewing popular piety in accordance to the principle of biblical spirit. The 
author also establishes the biblical roots of the procession by giving evidence from 
biblical occurrences, such as the Crossing of the Red Sea and the Procession of Death 
at Golgotha. This contains a concise yet impactful depiction of biblical verse and 
stories that is easily memorized by the faithful.

The Sabuaga festival exemplifies the real integration of Catholic faith into indigenous 
customs. The incorporation of indigenous symbolism, music and dance displays 
profound reverence for heritage while preserving a distinct Catholic doctrine. It 
demonstrates a model that satisfies the four key principles of DPPL and also empha-
sizes its role in directing believers toward the appropriate practice of popular 
piety, resulting in a more profound sense of liturgical worship. It is an expression 



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14

of Christian faith in the culture, and Christians may explore its profound spiritual 
aspects in its expression as a “joyous encounter of the work of evangelization and 
culture” (Pope John Paul II 1979).

The liturgy serves as a formal and institutionalized framework for worship, but 
popular piety enriches the experience with fervent manifestations of faith that arise 
from the sincere devotion of faithful. The connection between popular piety and the 
liturgy can establish a dynamic and harmonious relationship that enhances the lived 
experiences of the People of God. The participation of the faithful in these forms 
of popular piety enriches their spirituality and finds its culmination in the liturgical 
celebration.

8 Conclusion
This study has examined the complex connection between popular piety and the 
liturgy, highlighting the significance of adapting these practices to the local culture to 
promote a more profound comprehension and active participation. It demonstrates 
that popular piety not only enhances the spiritual lives of Filipino Catholics but 
also acts as a crucial manifestation of their cultural identity and communal history. 
Through a careful examination of the reception of Vatican II’s DPPL, it is clear that 
popular piety represents genuine worship and a direct encounter with the divine, 
effectively connecting personal experiences of faith with the communal aspect of 
the liturgical celebration.

Although popular piety has a significant role in the lives of the faithful, the possible 
risks of misinterpretations, syncretism and departures from orthodoxy provide 
barriers to the smooth integration of popular piety into the liturgical. Hence, any 
endeavour towards harmonization should exhibit reverence towards the authentic 
manifestations of popular piety while firmly rooted in the theological tenets of 
the Catholic Church. The results of this research affirm the idea that popular piety 
should not be seen only as a departure or hindrance to liturgical norms but rather 
as a productive means for evangelization and a catalyst for more profound involve-
ment in the faith.

The renewed interest in popular piety necessitates thoughtful contemplation, 
assessment and rejuvenation in alignment with the directives established by the 
DPPL, guaranteeing that these practices consistently guide the faithful toward the 
core of Catholic worship – the commemoration of the Paschal mystery. The presence 
of popular piety in Filipino culture offers the Church a distinct chance to embrace 
diversity and foster unity in religion.



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15

In the future, it is essential that pastoral initiatives give priority to theological educa-
tion that clarify misunderstandings about popular piety and emphasizes their proper 
role within the liturgy. This study supports the idea that popular piety should be 
recognized as a legitimate form of worship. This would lead to a lively and inclusive 
Church that respects the cultural practices of its members while staying dedicated 
to the fundamental Catholic teachings.

About the Author
Kevin Maicom is a faculty member of De La Salle University, Manila, Philippines. 
Over the years he has nurtured the faith and understanding of students in different 
academic institutions. His passion for Christian Living Education extends beyond 
the classroom. He actively contributes to the field as a Developmental Editor and 
Content and Language Editor for Christian Living and Values Education Books at Rex 
Bookstore. This experience allows him to ensure the quality and accessibility of reli-
gious education materials. Driven by a deep curiosity in the intersection of faith and 
culture, his research interest lies in Liturgy, Inculturation, and Theological Anthro-
pology. This focus on the lived experience of faith informs both his teaching and his 
editorial work. Contact: kevin.maicom@dlsu.edu.ph

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mailto:kevin.maicom@dlsu.edu.ph


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