REGINA CAELI, LAETARE, alleluia—O Queen of heaven, be joyful, alleluia! The Paschal Triduum is one of the many events in the liturgical calendar solemnly observed by many devout Catholics. It starts on the eve of Maundy Thursday and culminates on Easter Sunday, where the images of the Risen Christ and Mater Dolorosa finally meet, transforming Mary into Virgen Maria Alegria.  

The encounter between the Risen Christ and Mary has touched the lives of many devotees, so much so that it ultimately became a staple practice during the dawn of Easter. Chants are sung, children dress as angels, and the two holy images are prepared to realize a miracle unique to Philippine culture, Salubong.  

The Salubong tradition 

After the Easter Vigil early in the morning, and to some places at the stroke of midnight, an assembly of two processions occurs at the opposite ends of the Holy Church. Said tradition is called Salubong, otherwise known as Sugat in Cebuano and Hiligaynon.  

The two processions showcased the images of the Risen Christ and His mother, Mater Dolorosa, who is draped in a black veil to depict her bereavement before her son’s death. As Christ and Mater Dolorosa converge, the angel accompanying Mary takes off the veil, showing the end of her mourning while ultimately transforming her into Virgen Maria Alegria, the Virgin of Joy. Following this, in place of sadness and melancholy are the joyful cheers of every onlooker, the reunion of mother and son, and the ultimate triumph of life over death. 

After the annual Salubong, many places in the Philippines have their rendition of what is to become after the joyous welcome before the Risen Christ. As such, below are some of the celebrations held in the Philippines after the tradition.  

The Saboy—Las Piñas 

Unique to the city of Las Piñas, this feeling of festiveness is further elevated, as what comes after the Salubong is the Saboy, also known as the Sayaw ng Saboy.  

The performers comprise the Salubong Angel, adorned with wings and draped in a large veil; the Hosanna Angels, attired in white and carrying baskets of rose petals, who form the majority of the dances; the Tres Marias or the Three Marys, also holding baskets; and the Kapitana and Tinyentera, the former distinguished by a large banner while the latter carries incense. 

Young girls dance around the church and the city’s streets, accompanied by a marching band playing a harmonious tone of victory. From this point, everyone is ecstatic, dancers of the Saboy display lively movements, whose fluid motions intertwine with the upbeat music played by the band. 

Sayaw ng Pagbati—Batangas, Rizal and Parañaque  

The earliest records of the Sayaw ng Pagbati date back to 1870, when it was performed in Angono Rizal. A woman named Tandang Apang Gil developed the dance and shared it with the succeeding Kapitana, making the Kapitana a focal character in the performance. 

Noting the historical context, the Philippines was still under Spanish rule when the dance was conceived. Thus, Christianity had penetrated deep into the lives of Filipinos. As such, we can attribute the dance to a product of transculturation, with each piece and iconography symbolizing both cultures. Through its usage of the Bandera—with an inscription of their “Alleluia” or other religious symbols—it depicts the eventuality of Jesus’ resurrection and subsequent salvation; the various gestures littering the dance is a sign of joy for His return, and the Dicho, the aforementioned poem recited by the Kapitana, expresses the grief and ultimate happiness of the Virgin Mary. In the contemporary Philippines, the Sayaw ng Pagbati is typically held in the provinces of Southern Tagalog, such as Batangas, Laguna, Cavite, and Rizal, to name a few.  

The respective Sayaw ng Pagbati in Parañaque is the official cultural dance of the city.  After the mass has ended, devotees will immediately witness the elegant dances of the Bati-bati. Near the images of the Risen Christ and the Virgin Mary, where the Salubong procession has concluded, girls clad in colorful clothing and ribbons dance in front of St. Andrew Cathedral, wherein they will proceed to perform until noon, waving their wands in the air. 

In the province of Batangas, the municipality of Ibaan, their rendition of the Sayaw ng Pagbati consists of a lady who plays the Kapitana clothed in a frilled white costume and a straw hat whilst holding a bandera or white flag. Accompanying her were two male escorts who wear a set of Barong Tagalog and black trousers. The performance lasts for about ten minutes, displaying a combination of fine footwork and marching; all the while, the Kapitana is waving the white flag, joined by the local brass music. 

On the other hand, the municipalities of Rizal also partake in their renditions of the Bati-bati. In Angono, Rizal, the practice is composed of a Kapitana and Tenyenta performing a religious dance. The Tenyente is the first to perform to the tune of Gavotte, a French dance. The Kapitana then recites the traditional poem called Dicho to the Virgin Mary, which is a verse that expresses profound faith and reverence for the Virgin Mary. The dances in the other municipalities, namely Taytay and Cainta, are composed of an ensemble of dancers, each representing their respective barangays.  

Salubong stands for many things. It is the conjoining of the Spanish’s religious influence and the Filipino people’s vibrant culture. The festivities are an opportunity for the communal experience of participating and bonding. Dance is a medium of expression, and we have seen that different places in our country have their way of celebrating. To some, the celebration is a commemoration of our ancestors and the preservation of a tradition that is old and sacred. To us Catholics, it is a time to reflect on one’s spirituality and forge a closer connection with God. Ultimately, Salubong is all of these things, and this is perhaps Jesus’ greatest gift to us—our chance to create something unforgettable.