A remarkable Good Friday ritual unfolded as a Filipino farmer was crucified for the 35th time, symbolizing Jesus Christ’s suffering.
Ruben Enaje, a 63-year-old carpenter and sign painter, took centre stage in this annual ritual, drawing over a hundred spectators to witness the spectacle in Pampanga province.
Despite a hiatus due to the COVID-19 pandemic, the tradition resumed, cementing Enaje’s status as a local celebrity for his portrayal of Christ in the reenactment of the Way of the Cross.
Enaje expressed contemplation about discontinuing the tradition due to his advancing age but felt compelled to fulfil requests from villagers seeking prayers for various afflictions.
Against a backdrop of global conflicts, Enaje emphasized the urgent need for prayers, particularly for regions embroiled in wars like Ukraine, Gaza, and the South China Sea.
Enaje highlighted the ripple effects of distant conflicts on everyday life, citing rising prices of essentials like oil, gas, and food, exacerbating the challenges for the impoverished.
The territorial tensions between China and the Philippines in the South China Sea added to local anxieties, with Enaje expressing concerns over the lopsided nature of the dispute.
Enaje’s prayers extended beyond geopolitical conflicts to encompass natural disasters, such as flooding and earthquakes, affecting communities in southern Philippine provinces.
Enaje’s dedication stems from personal events, such as surviving a fall from a three-story building, which he saw as a miracle, driving his annual penitence.
Every year, Enaje and other followers carry heavy crosses in the sweltering sun as part of a tiring procession that ends with them being nailed on wooden crosses.
The presence of tourists like Maciej Kruszewski from Poland reflects the international curiosity surrounding this unique Easter tradition.
Apart from crucifixions, other penitents engage in acts of self-flagellation and barefoot walks, underscoring the emotional religious practices intertwined with Filipino Catholicism.
The tradition’s macabre nature has drawn criticism from some church leaders, advocating alternative expressions of faith, such as charitable deeds.
Despite such disapproval, the enduring tradition persists, reflecting Philippine culture’s deeply ingrained fusion of religious traditions and folk beliefs.
For many participants, the crucifixions serve as acts of atonement, supplication for the sick, and expressions of gratitude for perceived miracles.
A dramatic reminder of the Philippines’ distinct religious landscape—which combines severe Catholic rituals with native superstitions—is provided by the spectacle.
As Enaje contemplates the future of his annual sacrifice, the tradition’s endurance underscores its significance as a cultural and spiritual phenomenon in the Philippines.
