IT is not a secret that Catholicism is a product of Spaniard colonization in the Philippines. 

In elementary school, we are often taught that the Spanish conquistadors braved the seas in pursuit of the ‘three Gs’: God, Gold, and Glory. 

‘Gold’ refers to the Spanish goal of material gain through the acquisition of spices, slaves, and other natural resources from Asian, American, and African regions. 

‘Glory’ reflects their ambition to bring honor and prestige to their monarchs, particularly since the Spanish vied with other European nations, such as England and Portugal, in the race of exploration, conquest, and colonial expansion. 

Lastly, ‘God’ alludes to the militant crusading and missionary traditions of Catholicism. It is this last goal that is perceived by historians as the most influential and crucial of the three. 

The introduction of Christianity in the Philippines is not simply a mere discussion of historical narratives but an event that showcases how different cultures and ideologies interacted. It is easy to say that Catholicism is no more than a tool of oppression— an ideology weaponized against the natives to make them submit to the Spanish colonizers. 

But while there’s a truth in this line of thought, postcolonial studies have shown that ideologies brought by the colonizers rarely dissolve the native cultures entirely. 

Instead, what happens is an interesting merge of cultures, where the indigenous beliefs and practices would find their way in the crevices of the dominant cultures imposed by the foreign presence.   

We see this happen in the Philippines, particularly in the practice of Catholicism. Filipino Catholicism is not a mere replication of European Christianity but a hybrid that incorporates local rituals, values, and beliefs. 

What better way to explore this fusion of cultures than by diving into one of the most iconic Catholic traditions in the country— the Traslación?

The ‘Third Space’ Theory

Before diving into the discussion of Traslación and its depth, we must first be oriented with the lens that would guide us into interpreting the Filipino culture of Catholicism— the ‘Third Space’ Theory. 

The ‘Third Space’ Theory is a postcolonial concept introduced by Homi K. Bhabha, an Indian scholar and a literary critical theorist. 

Coming from a nation that also suffered greatly in the hands of European colonizers, Bhabha’s studies dealt with complexities of cultural identities, the effects of colonialism, and the interplay of different cultures in a postcolonial society.  

His ‘Third Space’ theory treads along the same vein. It theorizes the concept of a metaphorical third space, a place of cultural interaction where the distinct identities of the colonized and the colonizers merge to form a hybrid identity. 

But this identity is more than just a fusion of the two cultures— it is something new that cannot be categorized in a binary opposition. It is neither a culture of the colonizer or the colonized, but a totally new form of expression of identity. 

On top of that, Bhabha said that the third space allows for the subversion of the colonial power dynamics, where the oppressed, such as the colonized, could assert their agency in the narrative. 

Traslación as a Third Space

Traslación is one of the biggest religious events in the Philippines. It happens every January 9, where millions of devotees from different parts of the country (and sometimes, even the world) go to Manila to join the massive procession. 

The Traslación commemorates the transfer of the Black Nazarene statue, known as the ‘Itim na Nazareno’ or now simply Hesus Nazareno from the walls of Intramuros to Quiapo, Manila, in the mid-18th century. 

Every 9th of January, millions of barefooted men reenact the relocation of the figure. They parade in the streets of Quiapo, Manila in their ardent performance of their panata or solemn vow. 

They brave the sweltering heat, exhaustion, and the dense crowds on the streets, driven by a fervent hope to come closer to, or perhaps even touch, the ropes or the carriage carrying the 16th-century wooden statue of a suffering Christ. This statue and the pieces associated with it are believed to cause miracles for those who are seeking it. 

So, how does Traslación become a ‘Third Space’? Isn’t it merely a doctrine of the Catholic Church, imported from the steps of the Vatican church in Europe? 

The beliefs and doctrine that surround Traslación might have stemmed from the Catholic liturgy but the way it is practiced and the concepts associated with it have a touch of native values among them. 

In a study made by Associate Professor of Philosophy, Mark Joseph Calano, from Ateneo de Manila University, he said that Traslación— specifically the performance of panata,— “demonstrates an authentic religiosity that is manifested in materiality, and a modernity that is indigenous.” 

This means that the traditions and values performed during the mass procession can be considered as something that is specific to the Philippines. 

For example, Calano claimed that Filipino values such as ‘utang na loob’, which pertains to their sense of favor to return what is owed to someone who helped them, is an important dynamic in sustaining the Filipinos’ devotion to the Nazarene:

“However, because the útang-na-loób is never satisfied, the panatá is never separate from the ordeal and the interiorizing never stops. It is, in a way, insatiable and, as such, is infinite in depth; this justifies why panatá is inherited and passed on (and better understood in the context of the Filipino value of útang-na-loób).”

Another indigenous concept that can be observed during Traslación is the belief in ‘loob’ (a person’s innerself), affecting one’s experience with ‘hirap’ (difficulty) and ‘ginhawa’ (relief). 

“Ginhawa is an indigenous soteriological concept that can only be brought about by kagandahang-loób,” wrote Calano. 

This belief echoes the fatalistic attitude of Filipinos, which originate from the pre-colonial belief that depends on ‘fate’. It is an attitude that was carried over and incorporated into our practice of Catholicism, particularly of the Traslación. Many devotees believe that the existence of  kagandahang-loob or one’s inner goodness would dictate whether they experience difficulties or relief from their problems. 

But ‘Third Space’ is not only limited to metaphorical concepts and abstract values. The parade of the Jesus Nazarene in the ‘kalyes’ (street) of Quiapo, where it becomes accessible to the touch of common people, provides us a concrete glimpse of ‘Third Space’ in real time. 

“…kalye becomes a place not only to encounter the other, but also God…” Calano said. 
By bringing the image of the Nazarene out of the confines of the Catholic church and into the kalye, we see the convergence of the Catholic culture and the native one. The people who resonate with the sufferings of Nazarene as he parades in the streets bearing the huge cross on his shoulder, get to execute their agency in an otherwise narrative dominated by the colonial force.

Traslación as a form of resistance

That is how ‘‘Third Space’ comes into play in Traslación. 

The external forces such as the Catholic doctrines might have obviously influenced the tradition, but the values, practices, and beliefs that surround it— that dictate how it is to be performed— also have subtle but powerful influences from Filipino indigeneity. These convergence in cultures create a totally unique identity that is specific to the Filipino experience. 

But ‘Third Play’ is more than just syncretism or the blend of cultures to create a new and complex identity. It is also an evidence of resistance by the colonized culture against its colonizers. 

Such is the case of Filipino Catholicism. It is a piece of history, a reflection of how we pushed back against our foreign oppressors. 

Rather than accepting the colonial structures passively, our ‘Third Space’ in the form of Traslación offered an alternative way that is neither wholly traditional nor fully colonial. It is an evidence of our resistance yet openness for the potential of transformation.