CEBUANO FOLK DANCES

In today's interconnected world, where access to other continents and countries is just a click away via the internet and cable television, we find ourselves increasingly exposed to a dominant global culture. This exposure often leads to the unconscious erosion of our own cultural identities as we are inundated with influences from afar. It saddens me to witness how our traditional music and dances, for instance, are sometimes ridiculed or overlooked.

Amidst this cultural homogenization, I find solace in initiatives like the radio FM stations that dedicate Sunday mornings in Cebu to airing Golden Visayan Songs. As a proud Cebuano, deeply rooted in this heritage passed down from my parents, I appreciate these efforts as they play a crucial role in preserving our identity as Cebuanos and Visayans at large.

These songs are more than mere music; they represent a rich tapestry of our cultural tradition, painstakingly crafted by our artistic predecessors. It's through such artistic expressions that we can celebrate and honor our roots, ensuring that future generations can also take pride in their heritage.

As someone who cherishes their Visayan heritage, I am grateful for these opportunities to reconnect with our traditions, reminding us of the importance of preserving and celebrating what makes us unique in a rapidly globalizing world.

On the global stage, the Bayanihan Dance Company has achieved a remarkable feat by clinching the top honors at the 22nd World Folk Dance Festival in Spain, emerging as the Grand Champion. This victory stands as a testament to the richness and vitality of our Filipino culture, a source of immense pride for every Filipino. Competing against 50 other delegations from Africa, Asia, Europe, and the Americas, their achievement is truly extraordinary.

This triumph not only highlights the exceptional talent and dedication of the Bayanihan Dance Company but also underscores the depth of our cultural heritage. It beckons us to delve deeper into our past, particularly in regions like Visayas and Cebu, where treasures from our ancestors await rediscovery. These legacies, often overlooked, hold precious insights into our identity and traditions.

The success of the Bayanihan Dance Company serves as an inspiration and a challenge to enthusiasts of Cebuano and Visayan culture. It sparks hope that one day, a Visayan Dance Company will emerge, dedicated to revitalizing and showcasing our indigenous folk dances. Such endeavors would not only resurrect forgotten art forms but also highlight our unique cultural prowess and grace on the world stage.

As we celebrate this milestone, let us embrace the opportunity to rediscover and preserve our cultural heritage, ensuring that future generations can continue to take pride in our distinct traditions and contributions to global cultural diversity.

Today, it's rare for the younger generations, and even some older ones, to appreciate our rich Cebuano and Visayan heritage through traditional folk dances. Many recognize the catchy tune of Max Surban's "Kuradang," but few truly understand the dance it accompanies. Surprisingly, I've never come across any Cebuano who has endeavored to artistically revive such a significant part of our tradition, not even among National Artists or Cultural Groups.

Reflecting on my youth, I recall stumbling upon a somewhat weathered photograph in my late grandmother's old album. It depicted a man and woman in traditional attire performing a dance called the Kuradang, much to the delight of foreign guests. Curious, I asked my grandmother about it, and she shared that it was a cherished cultural dance. However, as I grew older, the significance of the Kuradang faded from my awareness.

Recently, through my own research, I've rediscovered not only the Kuradang but also a myriad of other captivating traditional dances that we, as Visayans or Cebuanos, have unfortunately neglected to preserve. It's a reminder of the cultural treasures we possess and should take pride in.

In my modest way, I aim to shed light on these forgotten dances and showcase their beauty and significance. It's a small effort to revive interest in our cultural heritage, hoping to inspire others to appreciate and preserve these invaluable traditions for future generations.

SINULOG

Sinulog Dance

The Sinulog stands as one of the most renowned and enduring cultural celebrations today. Originating from a Cebuano word meaning "being carried along with the current," it has become synonymous with Cebu itself. Historically, it is believed to have its roots in a ritual dance dedicated to a pagan deity once fished from the sea. When the Spaniards introduced the image of the Sto. Niño, the dance evolved into a form of worship adopted by locals.

At the heart of the Sinulog is the tindera sinulog, performed by elder Cebuana women known as candle peddlers in the Basilica Minore del Sto. Niño Church. These dancers embody the prayers and petitions of devotees who purchase candles from them. The dance begins with an upright stance and a raised candle towards the image of Sr. Santo Niño, accompanied by recited prayers. With restrained yet pious movements originating from the torso, these motions flow gradually into wave-like gestures, concluding with another prayer.

Another interpretation of the Sinulog is the troupe sinulog, characterized by a more robust and energetic display. This version features vigorous movements such as jumping, hopping, and dynamic arm gestures, reminiscent of a spirited performance. Often seen during the grand mardi-gras parade and presentations of the Cebu Sinulog every January, this iteration is typically accompanied by drum and bugle corps, creating a unified rhythmic pulse.

However, variations in the Sinulog's traditional dance and beat are also embraced, particularly in the free interpretation category. Here, performers have the liberty to explore creative expressions while still paying homage to the festival's rich cultural origins.

The Sinulog remains not just a celebration, but a testament to Cebu's vibrant cultural heritage and its enduring spirit of devotion and festivity.

ITIK-ITIK

Itik-itik Dance

The Itik-Itik remains a beloved classic due to its charming simplicity. In Cebuano, "itik" translates to duck, and true to its name, this dance mimics the movements of a duck. Dancers artfully replicate the waddling gait and energetic flapping of wings, capturing the essence of these feathered creatures.

GAPNOD

Gapnod Dance

Gapnod, or "flotsam" in Cebuano, commemorates a significant event in the town of Sibulan, Negros Oriental—the discovery of the image of St. Anthony de Padua by a fisherman. This worship dance is cherished among the locals, depicting scenes of rejoicing and culminating in a fluvial procession along the coast.

SURTIDO CEBUANO

Surtido Cebuano

Originating from Bantayan, Cebu, Surtido Cebuano is a square dance that blends Spanish, Mexican, and French influences with indigenous elements. Traditionally performed by multiple pairs of dancers, with "cabeceras" leading and "costados" guiding, it features varied quadrille formations set to beautiful Visayan folk airs. While historically a dance of extended duration performed by large groups, modern renditions are more lively and suited for smaller gatherings.

LA BERDE

La Berde

La Berde, or "green," originates from a mountain settlement in Talamban, Cebu, and is a lively courtship dance. In a spirited series of quick steps and changes, the dance celebrates the lushness and vibrancy of life. Notably performed by two girls and a boy—a departure from the usual paired dancers—La Berde is often accompanied by another Visayan folk dance, Miligoy de Cebu.

MANANAGAT

Mananagat Dance

The Mananagat, meaning "fisherman" in Cebuano, is a mimetic dance that vividly portrays the life of fishermen at sea. Dancers, arranged in long-line formations, emulate women scooping water from canoes with bamboo shells and men skillfully maneuvering wooden paddles.

MANANGUETE

Mananguete Dance

In contrast, the Mananguete dance, dedicated to the coconut wine tapper, intricately depicts the process of making tuba (coconut wine). The performance begins with dancers mimicking the sharpening of the sanggot (scythe), followed by the meticulous cleaning of the kawit (bamboo container), climbing of the coconut tree, extracting of the sap, and culminating in the tasting of the freshly made tuba.

OHONG-OHONG

Ohong-Ohong, named after the Cebuano word for "mushroom," showcases women adorned in long, billowy skirts with layers of petticoats that visually represent mushrooms. This mimetic dance celebrates the arrival of rains and the abundance of harvests with rapid twirling movements, evoking the lively spirit of the occasion.

KURADANG

The Kuradang Dance

Lastly, Kuradang, also known as curacha, is a festive wedding dance originating from Bohol. Accompanied by a rondalla, an ensemble of string instruments, the dance unfolds in three distinct parts. It begins with a graceful ballroom waltz performed by the couple. The rhythm then quickens for the "chasing" scene, where the male dancer pursues the female across the dance floor. The tempo intensifies further in the final part, culminating in a flirtatiously energetic sequence. Here, the male dancer portrays a flamboyant bird in a captivating display symbolizing courtship and union.

These dances not only preserve cultural traditions but also offer a vibrant glimpse into the rich tapestry of Philippine folklore, celebrating everyday life and significant milestones with grace, creativity, and joy.

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