Julie Anne San Jose Criticized for Church Performance of “Dancing Queen” and Viral Outfit
Julie Anne San Jose Criticized for Church Performance of “Dancing Queen” and Viral Outfit
Julie Anne San Jose’s Church Performance Sparks Online Debate
A video of Julie Anne San Jose performing ABBA’s “Dancing Queen” in front of the altar during a benefit concert has gone viral—and not everyone is singing her praises.
Held on October 6 at the Nuestra Señora Del Pilar Shrine in Mamburao, Occidental Mindoro, the event titled “Heavenly Harmony in Concert (Harana para kay Maria)” featured multiple performers, including the Kapuso singer-actress. While Julie Anne's vocals were undeniably powerful, it was her song choice and outfit that sparked backlash from netizens.
“Dancing Queen” at the Altar? Reactions Pour In
The main point of contention? Julie Anne performed a globally beloved—but secular—song inside a sacred space. Another video that went viral on TikTok showed her performing Lady Gaga’s “The Edge of Glory” while interacting with the audience.
Clips posted by GMA Sparkle on TikTok were meant to highlight her incredible vocals, but instead opened the floodgates to criticism about appropriateness, modesty, and respect for sacred settings.
Here’s a sample of viral controversies in local entertainment that netizens compared this to:
“SERIOUSLY? AT THE ALTAR? DO U EVEN KNOW NA BAWAL KUMANTA, SUMAYAW/GUMAWA NG WORLDLY SONGS/DANCE SA HARAP NG ALTAR?”
“Ginawang ASAP ‘yung simbahan.”
“Tapos ang naka-backless and sexy ng suot and nasa altar nag perform wow ha!”
Some commenters questioned the event organizers, asking if there were any prior guidelines given about song selection or attire. Others took issue with the performance being labeled a “harana” when it felt more like a pop concert.
Netizens Divided Over Performance and OOTD
Much of the online backlash wasn't just about the song—it also revolved around Julie Anne’s OOTD (outfit of the day). A backless dress worn during the performance was viewed by some as inappropriate for a church setting, even if worn during a concert and not a religious mass.
While fans defended her saying it was a benefit concert and not an actual worship service, critics maintained that the symbolism of the altar required stricter respect.
GMA Sparkle Responds: “We Take Full Responsibility”
In response to the online backlash, Sparkle GMA Artist Center released a statement:
“Sparkle would like to officially address the current issue regarding Julie Anne San Jose's performance at the Nuestra Señora Del Pilar Parish.
Sparkle GMA Artist Center takes full responsibility for Julie Anne’s attendance at this event. It is our job to coordinate and clear details with the organizers and relay the instructions to our artist.
Julie Anne only fulfilled her duties and commitment as a true professional. She is a devout Catholic and had no intention of disrespecting the Church or its members.
We are truly sorry to those we have offended. We hope that this puts the issue to rest. We apologize to Julie Anne as well.
Moving forward, we will be more vigilant in our coordination efforts to ensure such incidents do not happen again.”
The apology appears to shift the burden to the organizers, with Sparkle acknowledging a gap in communication. However, the statement also reiterates Julie Anne’s professionalism and intentions.
The Bigger Issue: Celebrities and Church Performances
This controversy echoes ongoing debates surrounding the use of sacred spaces for secular performances. While many churches open their doors for fundraising events, the boundaries between performance and reverence remain sensitive.
In this case, the performance has raised eyebrows over what’s acceptable inside a religious venue—even during a non-liturgical event.
Read more about celebrities and church performances and how public perception continues to shape the balance between culture, faith, and fame.
Final Thoughts
Julie Anne San Jose continues to be a talented and celebrated artist, but this latest performance has stirred necessary discussions about respect for sacred spaces, cultural expectations, and event management accountability.
As the conversation grows, this incident will likely serve as a case study in how Filipino audiences—and institutions—negotiate the line between art and appropriateness.
