Asia Pacific Journal of Multidisciplinary Research, Volume 8, No.

3, August 2020
_________________________________________________________________________________________________________________________
Asia Pacific Journal of
Negros Panaad Festival Dances: A Reflection Multidisciplinary Research
of Negrenses’ Cultural Identity Vol. 8 No.3, 13-24
August 2020 Part III
Randyll V. Villones P-ISSN 2350-7756
Philippine Normal University Visayas, Negros Occidental, Philippines E-ISSN 2350-8442
[email protected] www.apjmr.com
ASEAN Citation Index
Date Received: May 31, 2020; Date Revised: August 11, 2020

Abstract - Negrense cultural identity has been slowly eroded with the dynamics of virtual colonial
cultural influences through social media. This sad state prompted the creation and organization of some
cultural festival that will reawaken the cultural awareness and consciousness of every Negrense. This
study aimed to analyze Negros Panaad festival dances to unearth the embedded cultural contexts which
encapsulate the Negrenses’ Cultural Identity. The descriptive-narrative approach was employed to gather
different dance characteristics, including historical background/context, movement description, costumes,
accessories, props/dance implements, and music/rhythm. To examine the participants' understanding of
the dance, its relation to everyday life activities, and worldview, the focused group discussion, and direct
observation were conducted. Ten choreographers, ten dancers, five barangay officials, and five old-aged
key informants, with a total of 30, served as participants of the study coming from different local
government units joining the Panaad festival dances. Significant findings revealed that these dance
characteristics manifested from festival dances were solid shreds of evidence of the different cultural
contexts which rightfully mirrors the rootedness and the cultural undertone of Negrenses as a person in
general. This suggests that understanding different cultural contexts lead to an understanding of the
Negrenses’ Cultural Identity.
Keywords: Festival Dances, Dance Characteristics, Cultural Context, Cultural Identity

INTRODUCTION beginnings, the drama of their lives as people, and the

The coming of technology in this millennial Filipino soul and identity. Philippine folk dances are
culture awakened the already threatened Filipino rituals in character. There is a good variety of
cultural identity. This is coupled with varied cultures occupational, courtship, festival, and war dances
and traditions introduced by the waves of colonial rule which add color to the rich Filipino culture [3].
that have reached the Philippine shores. Today as our cultural tradition continuously
De Leon [1] tackles these issues and challenges evolves alongside the dynamics of cultural-artistic
that Filipinos face in reckoning with their identity as a influences. Most of these folk dances are often
nation and offers penetrating perspectives on how to encapsulated among our local dance festivals during
overcome this. He further said that Filipinos should the fiestas. These fiestas captured huge audiences
undergo a healing process and an evolutionary quest for from among the community members and where most
self-identity through the arts. people could have access to watch the dances
Moreover, De leon [1] said art had served frequently and had been an integral part of the
humanity from time immemorial, presenting itself as a community celebration and way of life.
looking glass into a society's innermost core, touching Some present-day festival began as pagan or
society's way of being and consciousness and revealing animist rites of thanksgiving, fertility, or prayers for
its deep-seated cultural norms and values. For instance, rain. Eventually, secular sectors feature beauty
dance as art occupies an essential place in the social pageants, cockfights, cultural presentations, exhibits,
structure of all human cultures throughout history [2]. and street dancing. With the introduction of
It is perhaps the oldest of the arts, reflecting man's Christianity by the Spanish friars, elements of
desire to communicate; history, religion, and diverse Christian belief and ceremony were added. The people
cultural traditions and heritage. transferred the object of their worship to the saints,
The Philippines is predominantly rich in folk although they did not completely abandon their native
dances. These dances have become a strong medium impulses and styles. Christianity turned native to a
through which the Filipino expresses their cultural
13
P-ISSN 2350-7756 | E-ISSN 2350-8442
 Asia Pacific Journal of Multidisciplinary Research, Volume 8, No. 3, August 2020
_________________________________________________________________________________________________________________________
certain extent and became a vehicle to the Filipino dimensions of knowledge and perceptions over the
way of spiritual and communal expression [4]. time, and takes account of the relationship between
David [5] also added that a festival, commonly individual's or group experience and actual context
known as a "Fiesta," is part of Filipino culture. Each [8].
city or province has a local fiesta. In the Philippines, a
fiesta is celebrated with a patron saint as the center of Participants
the celebration. There is a fiesta going on at any time in In this study, a total of 30 participants composed
the Philippines. A fiesta is a special time with a of ten choreographers, ten dancers, five barangay
banquet for kin and friends. They are always colorful officials, and five old-aged key informants with a total
and unique. Like most Asian countries, the Philippines of 30 respondents coming five different festival dance
is rich in culture and tradition. groups of the local government units joining the
Similarly, the province of Negros Occidental has Panaad Festival Dances.
its local festival is that is held every third week of
April, the Panaad Festival. Dubbed as the festival of Instrument
all festivals in Negros, organized in 1993 to A non-structured interview guide, in-depth
showcases the best of Negros Occidental's colorful interview, focused group discussion, and even direct
festivals, the local trade and industry, tourism observation, were utilized during the study. This is to
potentials, its unique history, arts, and culture, tasteful ensure the spontaneous intellectual discourse with the
delicacies, major products, and its people. “Panaad" is participants and likewise to make certain that no
a Hiligaynon word, which means a "vow" or a pertinent questions and information should be left
promise, has all the perfect ingredients that are unanswered and unsettled.
genuinely Negrense [6].
The weeklong festival kicks-off with the Data Gathering Procedure
spectacular festival dances competition of different In the gathering of data, the following phases or
towns and cities all over the Negros Province. procedures were observed.
Colorful street dancing usually highlights the Panaad (1) Preparatory stage (Gadgets, documents, and
festival celebration, where most people enjoy dancing permits were secured, and proper coordination from
on the streets as part of the festival revelers. the authorities and participants were made);
The premise cited above foregrounded the idea of (2) Initial Data Gathering (Old video footages of the
conducting this academic investigation to ascertain the identified festivals was initially viewed and analyzed
Negrenses’ Identity, as reflected in the Panaad for the construction of unstructured interview guide
Festival Dances. and determination of other data needed); and
(3) Fieldwork and Actual Dance Documentation
METHODS (Dancers were requested to dance, and this follows
Research Design with an in-depth interview and a focus group
To determine the Negros Panaad Festival dances' discussion with all the research participants).
dance characteristics which include the historical
Ethical Considerations
background/context, peculiar dance movement
The ethical consideration was highly considered
patterns, costumes and accessories, props/dance
to meet the utmost confidential protection of the
implements, and music/rhythm, the researcher
informants by securing an approval letter and waiver
employed the descriptive-narrative approach
and consent of the persons involved in the process
alongside with fieldwork as tools of research to gather
before the scheduled fieldwork dance documentation.
information from the participants to be recorded and
analyzed. This approach is designed to reveal a Data Analysis
target audiences' range of perceptions that directed The process of data analysis in qualitative
responses with reference to specific problems or research involves making sense of the collected
issues. The researcher elicited stories of experiences information by (a) preparing the data for analysis, (b)
and events from people to gain access to their feeling conducting different analyses (c) moving deeper into
s and thoughts and how they make sense and interpret an understanding of the phenomenon (d) representing
their experiences [7]. The narrative inquiry which is the data, and (f) interpreting the findings [9].
the umbrella term that captures personal and human Specifically, narrative analysis was applied, which
14
P-ISSN 2350-7756 | E-ISSN 2350-8442
Asia Pacific Journal of Multidisciplinary Research, Vol. 8, No. 3, August 2020 (Part III)
 Asia Pacific Journal of Multidisciplinary Research, Volume 8, No. 3, August 2020
_________________________________________________________________________________________________________________________
extends the idea of analyzing written text to viewing oracles, folklore, epics, poems, and trivia. He keeps,
narrations as text, whether in naturally occurring makes, and performs the community's rituals from
conversations or in interviews [10,11]. And finally, planting to harvest, birth to death, and others.
also utilized was the thematic analysis of the festival Babaylan was found to be one of the most exciting
dances, its meaning, relationship to everyday life pieces of evidence that speaks so much of the culture
activities, and people's worldview for the extraction of of Bagonhon [13].
the cultural contexts of all festival dances which are The Dinagsa Festival is a yearly thanksgiving
reflective of the Negrenses’ cultural identity. celebration of the people of Cadiz in Honor of Senior
Sto. Niño every fourth Sunday of January. The
RESULTS AND DISCUSSION festival highlights the cultural beginnings of the
The Negros Panaad Festival Dances formerly known Ati-atihan festival of the city. With
There were five different festival dances
the desire of the community's cultural sector to
showcased in the Negros Occidental Panaad Festival.
establish a unique and distinctive identity for the City
These festival dances are distinctively unique from
of Cadiz, the name Dinagsa was born .“Dinagsa" is a
each other in terms of Historical Background/Context,
Hiligaynon term, which means "coming together of"
Movement Patterns Peculiar to the Dance, Costumes
or "proliferation of" can be construed to several
and Accessories, Props and Dance Implements, Music
meanings and understandings, like the multitude of
and Rhythm.
believers to Sto. Niño. Numerous huge sperm whales
that beached the shoreline of the city were also found
Historical Background/ Context
on the coastline. The growing numbers of "Buriring (a
The origin or historical background of the dance
unique specie of fish commonly found in the city of
provides the true nature and characteristics of the
Cadiz)" and the abundance of the different variety of
dance. It also answers pertinent questions about dance,
fishes and the popular dried fish are the few things
such as; where it originated? How and when was it
that Cadiznon should be grateful of; these blessings
started? Who initiated it? and why was it celebrated
were believed to be provided by the good Sto. Niño.
that way? These pieces of information provide a
Out of the people’s search for cultural identity,
deeper understanding as to how each dance was
the Pintaflores festival was conceived in 1992. The
contextually framed.
streets of San Carlos city explode with Pintaflores
The Masskara festival is an annual tourist
th dancers every fifth day of November. The Pintaflores
attraction in the city of Bacolod held every 19 of
is coined from the words “pintados” the concept
October. In the '80s, Bacolod suffers from economic
behind the Nabingkalan Tattoo Festival, and "Flores,"
turmoil, which includes the worst sea tragedy. M.V.
the Spanish word for flowers that dominated the
Don Juan sank, which lost almost hundreds of lives of
theme of the dances of flowers [14].
people who are mostly Bacolodnon, the sudden drop
Kansilay Festival is a drama and a dance put into
in the price of sugar in the world market, and the
one characterized the Kansilay Festival of Silay City,
insurgency problem that threatened the lives of the
which was initiated in 1995 through the efforts of the
whole community. The Bacolodnon refused to be
culturally inclined individuals of the city. The
fazed by such fate. They wanted to show that they can
unique festival displays the colorful life of a beautiful
manage themselves and remain happy despite these
princess Kansilay, from whom the city got its name.
trials. Thus, the idea of the Masskara Festival was
The street is filled with thousands of people every
conceived. Since then, Bacolod was known to be the
second week of June in time with City’s Charter day
"city of smiles." The word "mass" meaning the crowd
celebration [15].
and the Spanish word for "kara" for the face. The
smiling mask reflects the positive outlook in the life of Peculiar Dance Movements Patterns
the Bacolodnon [12]. Peculiar dance steps found in each dance are
The Babaylan festival started in 1998 and distinctly unique from each festival. It is also
celebrated every 19th of February. The story of exclusively and innately found in a particular festival.
Babaylan is anchored on the legend of Mount At some point, it may have a semblance of some
Kanlaon, historical facts and myths, and the recent similar steps with the other, but it is entirely different
events that continually make up the city's history. in terms of meaning or idea that the festival is trying
Babaylan is the Village historian and keeper of to convey.

15
P-ISSN 2350-7756 | E-ISSN 2350-8442
Asia Pacific Journal of Multidisciplinary Research, Vol. 8, No. 3, August 2020 (Part III)
 Asia Pacific Journal of Multidisciplinary Research, Volume 8, No. 3, August 2020
_________________________________________________________________________________________________________________________
Masskara movements are mostly bouncing walk geographic area or a period in history. It can also
while holding the hands and alternate raising of the indicate social, marital, or religious status. If the
arms up and down, tilting of the head, series of a costume is used to represent a specific ethnic group’s
kickball change and pivot turn. These movements can culture or identity, it is usually known as an ethnic
be generally interpreted and described as a celebration costume. Such costumes often come in two forms: one
of life, depicting the multi-faceted and colorful for everyday occasions, the other for traditional
lifestyle of Bacolodnon [16] festivals and formal wear [21].
Babaylan's movements show the traditional Masskara basic costumes for both boys and girls
rituals beliefs of a typical farmworker. Dancers were in tight-fitting long pants and long sleeves.
wished that their prayers will be heard and granted Attached to the hips of the girls are an improvised
through the help of their intercessor. Several praising overskirt and long wide belt for boys. Costumes are
movements like the vowing of the heads showing so mostly adorned with glittered sequins-cloth and
much respect and raising of both arms upward as if feathers. Well-crafted and decorated mask made of
entrusting nor surrendering it up to their gods and the fiberglass is the focal point of the overall Masskara
Babaylan, at times they shake their arms begging for costumes [16].
help while looking up the skies as if waiting for a The Babaylan’s basic costumes for boys they
miracle to happen[17]. wore an earth color long pants match with a long
The Dinagsa movements were mostly imitations sleeves cotton shirt. In contrast, girls wore patadyong
of a typical black and kinky haired Ati in his quest for (a locally handwoven checkered tube skirt usually
food and survival. Dinagsa festival dancing is a way made in Panay Island) and short sleeves shirt or
of thanksgiving for the graces received from Sto. blouse for girls and a piece of cloth covering the
Niño. Thus, movements found are anchored on dancers' head called putong [17].
praising by raising an open arm while looking up Dinagsa costume uses the black latex paint for a
above, followed by kneeling and bowing gestures. black skin effect, Type fitting stretchable shirt for the
Most peculiar among the movements is the cross's upper garment but mostly bare or top-less, and this is
sign with their hands, like what most Catholics are paired with a bahag (G-string) for the lower garment.
doing [18]. A headdress mostly made of rubber materials and
Pintaflores movements are full of the shoulder adorned with different chicken feathers are usually
raising, series of running steps, and foot stamping. worn with their costume [22].
Frequent bowing of heads and extending an open arm Pintaflores dancers wore tight-fitting clothing all
are innately embedded movements as they over the body. They called "jumpsuit" Together with
traditionally welcome their visitors with thanksgiving different body parts, these are fully-painted with
in the form of street dancing [.19] flower designs. They are also using headdress made of
Kansilay movements often display holding of the soft rubber mats decorated with different varieties and
hands, lifting of the girls, and a mock sword fighting. colors of flowers [19].
These movements are said to be a reflection of a Kansilay Festival costumes for boys are made of
bloody battle against Lunok in her quest for justice an improvised huge-collar dress and a gartered short.
and freedom. A couple of dances between Kansilay A piece of cloth is tied around their head. Whereas,
and Lawaan is also often found as they exchange their the girls wear a tube as an upper garment with
romantic gestures of caress and love [20]. separate gartered sleeves and stylized panty skirt
covering the white stocking inside. The four major
Costumes and Accessories characters, namely: Lunok, Lawaan, Diwata, and
Attire or clothing is also referred to as a dance Kansilay had distinctive costumes. Kansilay, like a
costume worn by a dancer when performing before a princess, wore a long gown and decorated mostly with
big crowd. The dance costume is patterned after the purple-pink flowers. Both Lunok and Lawaan, like a
traditional and typical attire used by the natives while prince, wore a vest and string pants [23].
working in the field. Moreover, a costume may portray
or relate to some characteristic, mood, or theme of the Props and Dance Implements
dance. The use of multiple properties and dance
Additionally, a folk costume expresses an implements could add more colors and complexities,
identity through costume, usually associated with a which is a variation to one's choreography. To
16
P-ISSN 2350-7756 | E-ISSN 2350-8442
Asia Pacific Journal of Multidisciplinary Research, Vol. 8, No. 3, August 2020 (Part III)
 Asia Pacific Journal of Multidisciplinary Research, Volume 8, No. 3, August 2020
_________________________________________________________________________________________________________________________
maximize the use of these implements, the dancers/ meaning, relationship to everyday life activities, the
choreographers should know the rationale of such use worldview of the Negrenses, and the emerging theme.
in the dance. Proficiency in the correct execution of These cultural contexts were instruments through
movements with implements is essential in the dance which the configurations of the distinctive cultural
[24]. character traits of Negrenses were identified. See
Many forms of dance do require special tables 1,2,3,4, and 5 of five different festivals in
equipment or apparel. In some cases, dance equipment APPENDIX, were contextually framed and analyzed.
and apparel only help create the mood, like the spiky The discussions mentioned above of different
high heels worn for Latin and ballroom dancing. In dance descriptions of dance festivals are a clear
other cases, a unique pair of shoes is necessary for manifestation of peoples' different stories from all
dancing a full-length ballet [25]. walks of life. The various contexts may have
Masskara Festival usually used huge panel different perspectives: may it be animistic in form,
boards and colorful masks with headdresses, imitative or show colonial influence, contemporary or
multi-colored cloths, umbrellas, and makeshift new, native or purely Filipino in style. All of these are
butterfly wings [16]. Babaylan festival uses bolo, products of dissimilar expressions and perceptions of
sugarcane stalks and leaves, and coconut leaves as any Negrense that constitute the dance's cultural
props and dance implementations [17]. And Dinagsa contexts.
Festival utilized a meter-long thin bamboo pole or
small wood trunks as an improvised arrow used for The Negrenses’ Cultural Identity
hunting fish [21]. Moreover, Pintaflores Festival Cultural identity forms part of the characteristic
would use an array of props ranges from a bunch of traits derived from the various Negros Panaad
flowers with a scarf attached to it, small flags, Festival Dances' cultural contexts as reflected from the
long-neck native baskets, and umbrellas also painted different dance characteristics (historical background/
with flowers [19] and finally, Kansilay Festival uses a context, peculiar dance movements, costume and
makeshift sword as an implement [22]. accessories, props /dance implements, and
music/rhythm). These are identifiable as purely and
Music and Rhythm truly Negrense.
Some of our popular folk songs accompany most
1. Optimistic – Negrenses in general never says no
of our folk dances. An analysis of the message found
or surrender. They do not immediately lose hope.
in the folk song can help you understand and provide
In particular, Bacolodnon, the people behind the
more insights on how to connect the dance steps with
Masskara Festival, is believed to be optimistic in
music. At times, the music's mood and tempo also
life's adversities. They remain steadfast and
suggest possible expressions that can be used in
untarnished despite trials. They are fun-loving,
dancing. However, there are also festival dances that
full of enthusiasm and energy, and, above all,
only make use of their unique rhythmic beats [3].
have a very colorful and exciting lifestyle.
Masskara Festival is usually accompanied by
2. Believer of traditional beliefs – Some Negrenses
popular Hiligaynon songs arranged in a samba beat
is still untouched by the recent changes in this
canned music. Babaylan Festival is using an
new age of technology. A lot of their people still
indigenous instrument made of bamboos as an
practiced and recognized the help of their
accompaniment. The sounds are somewhat mystical
intercessors. Bagonhon, as a Negrense, still
and enchanted. Dinagsa Festival convoyed with a
engaged in the traditional way of living. These
tribal beat making use of varied percussive
are manifested in their Babaylan Festival. The
instruments like drums. Pintaflores Festival, make use
festival features the ritual performed by its people
of live drums, lyre, and even trumpets. And lastly,
before the actual planting is done. The natives
Kansilay festival, an original Hiligaynon composition
seek the intercession of the Babaylan in
about the legend of Kansilay was recorded and used as
anticipation of the rain and a bountiful harvest.
the official canned music for the dance.
3. Religious – Negrense's religiosity is very much
Cultural Context of the Different Negros Panaad evident. Most festivals are celebrated as a form
Festival Dances of thanksgiving to the Divine Providence. Image
The cultural context of the dances may be of Saints is adorned, placed at the pedestal, and
gleaned on their identified dance characteristics, considered the center of the celebration.
17
P-ISSN 2350-7756 | E-ISSN 2350-8442
Asia Pacific Journal of Multidisciplinary Research, Vol. 8, No. 3, August 2020 (Part III)
 Asia Pacific Journal of Multidisciplinary Research, Volume 8, No. 3, August 2020
_________________________________________________________________________________________________________________________

Diagram 2. Shows the Negrenses’ Cultural Identity from the Five Negros Panaad Festival Dances

"Utang na Loob" (Debt of Gratitude) is an innate spare life for the welfare of the majority.
attitude of the Negrense, most notably the Silaynon, as a Negrense, noted to be a seeker of
Cadiznon. Dinagsa Festival is a manifestation of peace, justice, and freedom. Their love for art
thanksgiving and in bringing back the glory to the and culture is well reflected in the adornment for
Almighty. Peoples’ devotion and religiosity are their costume and the dances showcased in
reflected in the dances. Kansilay Festival. Silaynon is best remembered
4. Luxurious, extravagant, and hospital - for their one of a kind Kansilay Street-Dance
Negrenses have elaborate and ornate celebrations Drama Festival, which features a fearless but
in almost all occasions in life. One typical loving princess who selflessly offered her life for
occasion is that of giving a warm welcome to peace, justice, and freedom.
guests or visitors. San Carloseños, being a
Negrense, is also popularly known for its CONCLUSION
extravagant and luxurious lifestyle. The display of The dance characteristics of five Panaad festival
various forms of flowers as an adornment during dances portrayed the unique attributes of the
the festival, coupled with tattoos of different Negrenses. The intricacies of the festivals can be
shapes, forms, and colors of beautiful flowers that attributed to the complexities of the Negrenses' lives
are intricately designed and painted in various and their artistic influences. However, such
parts of the body, are valid evidence of people's observations cannot be generalized though it could be
love for art and beauty. on a certain aspect but not entirely conclusive. This
5. Seeker of peace, justice, and freedom – study has certain limitations and parameters since it is
Negrenses are peace-loving, always willing to only grounded in five dance festivals. Today, there is
18
P-ISSN 2350-7756 | E-ISSN 2350-8442
Asia Pacific Journal of Multidisciplinary Research, Vol. 8, No. 3, August 2020 (Part III)
 Asia Pacific Journal of Multidisciplinary Research, Volume 8, No. 3, August 2020
_________________________________________________________________________________________________________________________
an emerging festival representing the outermost part [9] Creswell, J.W. ( 2009, January). Research Design:
of the Negros Island, which might reveal nor divulge Qualitative, Quantitative, & Mixed Method
unique and different characteristics not mention in the Approaches.( 3rd ed.) SAGE Publication Inc.
current study, which is worth studying in the future. [10] Gleasne, C. (2011). Becoming Quantitative
Researchers: An Introduction ( 4th ed.)Boston, MA:
Having identified such limitations, yet these
Pearson
dance characteristics (movements descriptions, [11] Silverman, D. (2016). Doing Qualitative Research (4th
costumes, accessories, props/dance implements, ed. ). London: SAGE Publication Inc.
music, and rhythm, including the historical [12] Orosa, R. L. (2014, October 7). A History of Bacolod
background/context) were substantial evidence found Festival. Retrieved from Philstar.com:
in the cultural context of each dance festival which philstar.com/lifestyle/traveland
these dances emanated. tourism/2014/10/07/1377476/history-bacolods-festival-
It is inferred that in-depth understanding of the smiles
Nergros Panaad festival dances cultural context leads [13] Piccio, B. (2014, January 30). Babaylan Festival of
to the knowledge of the Negrenses’ Cultural Identity. Bago City. Retrieved from ChoosePhilippines.com:
Choosephilippines.com/do/festival/1062/babaylan-festi
Along this line, the dance community, local
val-bago
government units, Panaad organizers, and tourism [14] Dee, E. (2013, June 21). Pintaflores Festival and the
sectors are encouraged to conduct similar researches Tale of Princess Nabingkalan. Choose Philippines,
and support some research initiatives that will further www.choosephilippines.com/do/festivals/292/pintaflor
enrich the Negrense’s cultural awareness and es-/
understanding. [15] Piccio, B. (2012, October 29). National Unity Party.
Retrieved from nup.org.ph:
REFERENCES: nup.org.ph/lifestyle/cat/guide/article/49
[1] De Leon, F. M. (2018, June 1). The Philippines: quest [16] Cabalcar, S. J. (2015, October 10). Masskara Festival.
for national Identity - Words in the bucket. Retrieved (R. Villones, Interviewer)
from Words in the bucket: [17] De la Cruz, B. N. (2015, February 10). Babaylan
htpps://medium.com/@wordsinthebucket.com/the-phili Festival. (R. Villones, Interviewer)
ppines-quest-for-national-identity-1aa198b39bf [18] Montaño, M. D. (2017, January 20). Dinagsa Festival.
[2] Pusnik, M. (2010, March). (R. Villones, Interviewer)
Anthropoligical_Notebooks_XVI_3_Pusnik.pdf. [19] Villaceran, I. (2017, July 7). Pintaflores Festival. (R.
Retrieved from Introduction: Dance as Social Life and Villones, Interviewer)
Cultural Practice: [20] Acot, T. (2010, November 13). Kansilay Festival. (R.
drustvo-antropologov.si/AN/PDF/2010_3/Anthropogic Villones, Interviewer)
al_Notebooks_XVI_Pusnik.pdf [21] Estonica.org- Folk Costume. (n.d.). Retrieved from
[3] Gabao, L. (2015, May 20). Nuances of Folk Dance. (R. estonica.org.com:
Villones, Interviewer) estonica.org/en/culture/traditional-folk-culture/Folk-Co
[4] (1994). In CCP Encyclopedia of the Philippine Art (p. stume
Volume 5). Manila: Cultural Center of the Philippines. [22] Vargas, R. (2010, December 5). Dinagsa Festival. (R.
[5] David, C. (2017, April 19). Colorful Festival of the Villones, Interviewer)
Philippines/Datacolor. Retrieved from datacolor.com: [23] Aguilar, O. (2015, May 7). Kansilay Festival. (R.
datacolor.com/photography-design/blog-photography-d Villones, Interviewer)
esign/colorful-festival-philippines/ [24] Santos, A. E. (2017, May 15). Nuances of Folk Dance.
[6] Caparas, K. (2012, May 23). Panaad Festival: The (R. Villones, Interviewer)
Mother of all Festivals in Negros Occidental. Retrieved [25] Dance Equipment/Love to Know. (2018, September
from Vigattintourism.com: 13). Retrieved from dance.lovetoknow.com:
igattintourism.com/tourism/articles/panaad-festival-Th https://dance.lovetoknow.com/Category:Dance_Equip
e-Mother-of-all-Festivals-in-Negros-Occidental ment
[7] Jones, I., Brown,L., & Holloway,L. (2013). Qualitative
research in sport and physical activity . Thousand COPYRIGHTS
Oaks, California: Sage Copyright of this article is retained by the author/s,
[8] Domingo, J.P. ( 2014). Profile and teaching styles of with first publication rights granted to APJMR. This is an
dance educators in the Philippines. open-access article distributed under the terms and
UGONG,7(1),97-120. conditions of the Creative Commons Attribution license
(http://creative commons.org/licenses/by/4).

19
P-ISSN 2350-7756 | E-ISSN 2350-8442
Asia Pacific Journal of Multidisciplinary Research, Vol. 8, No. 3, August 2020 (Part III)
 Asia Pacific Journal of Multidisciplinary Research, Volume 8, No. 3, August 2020
_________________________________________________________________________________________________________________________
Table 1. Masskara Festival of Bacolod City, Negros Occidental
Dance Description and Meaning Relationship to Everyday Emerging Theme
Characteristics life Activities & People’s
Worldview
Historical Masskara Festival was The colors of Masskara The gloomy past of
Background/ conceived due to the are reflections of their Masskara Festival, as
Context economic turmoil that day-to-day living that is described in its background,
beseeched the province. The always full of challenges to the transition of its iconic
word "mass" meaning the and surprises. Different costumes and mask,
crowd and the Spanish word smiling masks used, also to matched with extravagant
for "kara" for the face. show the diversity of people costumes and accessories
The festival is a from all walks of life. and nonetheless,
reflection of the positive Masskara is accompanied by
outlook in the life of the perceived as a celebration hearth-popping samba
Bacolodnon. of life, a showcase of the music. Masskara Festival
Bacolodnon’s talents and emerged as the mere
Peculiar Dance The iconic tilting of ingenuity. reflections of the
Movements heads with masks and The festival is their Bacolodnon’ and
holding of hands display the way of expressing their Negrenses' optimism amidst
Bacolodnons' positivity and great desire to survive and the struggles and
unity despite the problem. succeed despite the crises. challenges. Its peoples'
resilience was once tested
Costume and The colors, volumes, when Don Juan sea tragedy
Accessories huge sizes, and intricate happens, which caused
designs of costumes, hundreds of lives, vis-a-vis,
Props /Dance accessories, and props with sugarcane economic
Implements represented Bacolodnons' drop in the world market
diversity, exciting life, big and continuous disarray
hopes, and dreams. Smiling brought about by the
faces are also an expression insurgency that disrupted
of peoples' love for fun and the growth of Negros
happiness. economic gain. This social
and economic turbulence,
Music/Rhythm Catchy samba beats did not waiver and shake
showcased Bacolodnons as the very foundation of
light-hearted and jolly people's faith and hope to
persons. the Divine Providence.
They all remain positive
and still look for the beauty
of life that God gave them.

20
P-ISSN 2350-7756 | E-ISSN 2350-8442
Asia Pacific Journal of Multidisciplinary Research, Vol. 8, No. 3, August 2020 (Part III)
 Asia Pacific Journal of Multidisciplinary Research, Volume 8, No. 3, August 2020
_________________________________________________________________________________________________________________________
Table 2. Babaylan Festival of Bago City, Negros Occidental
Dance Description and Meaning Relationship to Everyday Emerging Theme
Characteristics life Activities & People’s
Worldview
Historical The history tells that People's lives had "Local beliefs and tradition
Background/ Negrense was once and up to been relegated to the field. live on," particularly to the
Context now, particularly in the village They used to clean, locals of the City of Bago,
has that part of their historical cultivate the soil, plow the located on the outskirts of
beginnings that is still field, plant, irrigate, and the city. These people
grounded on superficial beliefs wait for the harvest time. would seldom go to the
and beings. The residents población (town proper)
believed that the Babaylan perhaps once a month and
Peculiar Dance Babaylan's movements always intercedes any hardly reach the signals and
Movements manifest the warding-off of the activity they had in lifelike frequencies of the internet
evil spirit and while doing planting. Likewise, they and television. This is why
some rituals of praising, like assured that their plea the resident's life out there
talking to the spirit and asking would be granted. that is so simple and pure.
their gods for some favors. The people believed Traces of the past could
This is also an act of being and experienced the feeling vividly be seen in almost all
thankful for granting their of appeasement and facets of their lives; may in
wishes. satisfaction upon the health, education, and other
intercession of the social functions; these
Costume and Costumes of the babaylans Babaylan. practices are
Accessories are typical to a commoner or a well-preserved, particularly
people residing in a small by the elders. Today, the
village. ritual is still mimicked on
any occasion, like if there is
Props /Dance Bolo, sugarcane stalks and a newly opened business
Implements leaves, and coconut leaves establishment in the city.
represent all the implements This is done with the belief
used in the farm. that they drive- away the
evil spirit for the business
Music/Rhythm Indigenous instruments to prosper. Visibly, it could
made of bamboos were used as also be observed when they
accompaniment. The sounds welcome their visitors and
are somewhat mystical and dignitaries in the city and
enchanted. The music gives an other related social
impression of another functions. Bagonhon is still
dimension and the world of the grounded with this "living
unknown. tradition" and "old-aged
traditional beliefs."

21
P-ISSN 2350-7756 | E-ISSN 2350-8442
Asia Pacific Journal of Multidisciplinary Research, Vol. 8, No. 3, August 2020 (Part III)
 Asia Pacific Journal of Multidisciplinary Research, Volume 8, No. 3, August 2020
_________________________________________________________________________________________________________________________
Table 3. Dinagsa Festival of Cadiz City, Negros Occidental
Dance Description and Meaning Relationship to Everyday Emerging Theme
Characteristics life Activities & People’s
Worldview
Historical The Dinagsa Festival Nowadays, fishing is From a typical black
Background/ is a thanksgiving still considered as the main “ Ati" concept as a tribes'
Context celebration, proliferation of source of living of the protector and a warrior,
faith, and believers to Senior Cadiznon. One of the they simulate the role and
Santo Niño. reasons they are thankful. work of child Jesus
The focal point of the "Santo Nino" to the faithful
Peculiar Dance Rhythmic gestures of celebration is attributed to local parishioners. Such
Movements catching fishes dominate the Sto. Niño, this further faith and religiosity are
dance. This is attributed to strengthens their faith and deeply rooted in the
their act of thanksgiving to religiosity. Cadiznon culture and
St. Niño due to a good catch. Dinagsa is believed become an epitome of hope
Most peculiar among to be physiologically and salvation for every
the movements is the cross's therapeutic celebrations, individual. Today, this
sign with their hands while which can make people feel dominating black colored
praising and kneeling, like unloaded of their problems “ati” turned-out to be
what most Catholics are every time they join the intertwined with a
doing. festival. kaleidoscope of colors.
Such an emerging event,
Costume and The costume is a captured the interest of
Accessories reflection of a typical "Ati" thousands of people to
matched with headdress throng the city streets “To
serve as headcover or Dagsa". This, in turn,
protection against their people were amazed by the
hostile environment in the overwhelming success and
forest. attention it gets. These
beautiful works were all
Props /Dance An improvised arrow is attributed as blessings from
Implements used as dance implement for "Santo Nino" by the
self- protection and in search residents. Moreover, this
of food. religious event is looked
forward to each year not
Music/Rhythm The tribal beat only by the residents of
produced with a drum serves Cadiz but also by nearby
as accompaniment for towns and cities. These
dance. eventualities, further
people's faith, and
religiosity.

22
P-ISSN 2350-7756 | E-ISSN 2350-8442
Asia Pacific Journal of Multidisciplinary Research, Vol. 8, No. 3, August 2020 (Part III)
 Asia Pacific Journal of Multidisciplinary Research, Volume 8, No. 3, August 2020
_________________________________________________________________________________________________________________________

Table 4. Pintaflores Festival of San Carlos City, Negros Occidental

Dance Description and Meaning Relationship to Everyday Emerging Theme
Characteristics life Activities & People’s
Worldview
Historical The Pintaflores is coined For the people of Each year as the
Background/ from the words “pintados” the San Carlos, their lavish way Pintaflores is celebrated, the
Context concept behind the of welcoming their visitors local themes that usually
Nabingkalan Tattoo Festival, and guests in their festivals dominate the presentation
and “Flores”, the Spanish is not done simply as a are the portrayal of the
word for flowers. gesture of being hospitable "good and the evil. The plot
for their guests alone. It is of the story would start
Peculiar Dance Frequent bowing of also their way of thanking where the "evil" at first
Movements heads and extending an open God for the blessings, they succeeded in its
arm are expressions of varied received. wrongdoings, but ultimately
emotions and excitements for Tattoo printing is towards the end, the "good"
guests and visitors. evidenced by their talents, would always end up
crafts, and love for art and triumphant over evil deeds.
Costume and The tight-fitting clothing beauty, where several forms Another one peculiar dance
Accessories fully-painted with flower and designs of flowers are formation that is dominating
designs and headdresses printed on their skin. in the presentation is the
depicts their love for body flower formation. This also
painting and flowers, which signifies the importance and
they use as adornment in beauty of oneness and
houses, churches, and in cooperation among its
welcoming their visitors. people in their fight and
struggles against the
Props /Dance Extremely colorful and countless of life's
Implements vibrant baskets of flowers, adversities. But despite all
scarfs, and umbrellas used to of these, San Carloseños,
fascinate the coming visitors are still grateful for they
and guests. surpassed all of these. Such
an act is very much visible
Music/Rhythm Drums, lyre, and in their traditional
trumpets add more color, hospitable, luxurious and
texture, and melody to extravagant ways of
pintaflores rhythmic beat. welcoming its guest
continues. Parade
participants garb themselves
with beautiful glittered
costumes and multiple
flowers printed on their
skins and body in various
sizes and shapes.

23
P-ISSN 2350-7756 | E-ISSN 2350-8442
Asia Pacific Journal of Multidisciplinary Research, Vol. 8, No. 3, August 2020 (Part III)
 Asia Pacific Journal of Multidisciplinary Research, Volume 8, No. 3, August 2020
_________________________________________________________________________________________________________________________
Table 5. Kansilay Festival of Silay City, Negros Occidental
Dance Description and Meaning Relationship to Everyday Emerging Theme
Characteristics life Activities & People’s
Worldview
Historical The festival retells the The festival dance is The story of Silay City
Background/ story of Kansilay struggles in legend-based, but the main is not only as old as the
Context a legend against an evil ruler idea of the movements can legend of kansilay.
during her time. Kansilay’s be closely associated with However, its historical past
death serves as a moral lesson the day-to-day struggle of is well-preserved with the
among Silaynon’s to fight for every Silaynon to survive mere presence of a
is right and just. for a living. On the one reasonable number of
hand, they also have their Spanish houses built and
Peculiar Dance These movements are a battles, that they also want standing sturdy at Silay
Movements reflection of a bloody battle to seek justice and be población, witnessing as the
between Kansilay and Lunok finally free from the story of Silay unfolded over
in her quest for justice and bondage of a burdensome several decades ago.
freedom. Couple dance of and worrisome kind of life. These structures have been
Lawaan and Kansilay For the Silaynons, they witnessed of the opulence
exchange their romantic love to seek, justice, and way of life, Silaynons have
gestures of caress and love for freedom from all things that before. Silay then was
each other. are unjustly happening. known as the “Paris de
. Negros”, because of its
Costume and Generally, the costume is semblance of the historic
Accessories a reflection of a warrior. The Paris in France. Be as it
four major characters, namely: may, Silaynons' glorious
Lunok, Lawaan, Diwata, and life, but it also has its
Kansilay had their distinctive darkest days in the history
costumes, which signify their as the famous legend of
vital roles in a story. Kansilay narrated. It also
had fair-share of history to
Props /Dance A makeshift sword is a tell how its people fought,
Implements symbol of courage. then from the harness of life
as it is today. Kansilay,
Music/Rhythm Original Hiligaynon being a strong woman in the
composition about the legend story, is often being
is used as the official canned associated with several
music. The music has women of Silay, who are
different dynamics, which can empowered and equally
be closely correlated with the given opportunities with
dynamism of Kansilay. that of her opposite sex. A
woman who knows her
fundamental right and raises
voice, once being negated
or offended, is a seeker of
peace, justice, and freedom.

24
P-ISSN 2350-7756 | E-ISSN 2350-8442
Asia Pacific Journal of Multidisciplinary Research, Vol. 8, No. 3, August 2020 (Part III)