Nothing but LOVE for all of you who came out to support the 2nd Annual Dialogue on Philippine Arts & Culture in the Diaspora!

HUGE thanks to all of our moderators, panelists, performers, workshop instructors, honorees, volunteers, and everyone a part of the 2017 Dialogue Pamilya! Such beautiful conversation, company and great times!

Special shout out to our Toronto friends for their amazing performance & special thanks to DATU for sharing the photo above!

Also, salaamat to our Dialogue Social Media producer, our fabulous artist from Australia, Caroline for getting our Instagram going (@kulartspresents) check out the interactive activity she put on throughout the Dialogue! #kulartsdd2017

See you all at the next Dialogue!!


 

Kularts in partnership with the American Center of Philippine Arts present the:

2nd Annual Dialogue on Philippine Arts & Culture in the Diaspora
Sunday May 28 and Monday May 29, 2017
Bayanihan Community Center
1010 Mission Street, San Francisco CA 94124

PLEASE NOTE DIALOGUE WORKSHOP ORDER CHANGE

MONDAY MAY 29, 2017
• WORKSHOPS: 9AM – 1:30 PM

TICKETS AVAILABLE AT THE DOOR ~ $15 each

9:15-10:30 AM •Music workshop with ethnomusicologist Bernard Ellorin, PhD
10:35-11:50 AM •Dance workshop with Parangal Dance Company’s Eric Solano
12:15-1:30 PM •Dance workshop with Master Artist of Philippine Dance, Jay Loyola

For questions contact: info@kularts.org


 

SUNDAY MAY 28, 2017
• DISCUSSION PANELS: 9:30 AM – 4:45 PM

This year we’ve rounded up 20 community leaders, funder reps, and multidisciplinary artists in the Diaspora to share in panels, centralized on four essential areas:

Cultural Entry Points: What are the immersive cultural learning experiences in today’s digitally dominated world?

Contemporary/New Folk: How are contemporary artists deeply trained and/or experienced in traditional Philippine art forms defining the new folk genre?

Art Business & Civic Engagement: What are the essential business tools for a successful arts practice? How are the arts/artists essential to civic engagement and community building? How is civic engagement and community building essential to the arts/artists?

Diasporic Panel: How does Philippine dance, music and cultural practices inform the creations of diasporic western-trained artists?

*As part of the Discussion Panel Ticket, enjoy a buffet-style lunch AND a special performance by Toronto’s DATU, special collabo with Jonathan Mercado!

~~~

• LEGACY KAMAYAN DINNER: 6:30 – 9 PM

Join us for a delicious spread, and special tribute presentations for four outstanding Pilipinos in our community: Evangeline “Vangie” Buell (Advocacy, Literature & Music), Allan Manalo (Theater and Performing Arts; Bindlestiff Studio) Bernadette Borja Sy (Community Leadership; FADF and Bayanihan Community Center), and Carlos Zialcita (Music; The San Francisco Filipino American Jazz Festival)

_____

MONDAY MAY 29, 2017
• WORKSHOPS: 9AM – 1:30 PM

9:15-10:30 AM •Music workshop with ethnomusicologist Bernard Ellorin, PhD
10:35-11:50 AM •Dance workshop with Parangal Dance Company’s Eric Solano
12:15-1:30 PM •Dance workshop with Master Artist of Philippine Dance, Jay Loyola


Dialogue Participants Signage

Cultural Entry Points Signage

What are the immersive cultural learning experiences in today’s digitally dominated world?


(Moderator) Lisa Juachon is a first generation Filipina-American raised in the San Francisco Bay Area, land of the Ohlone. Her parents are from Pangasinan and Nueva Ecija, Philippines. She is a co-founder and member of Sama Sama Cooperative a summer camp co-op for youth. With a BA in Third World Development, Lisa has worked at the intersection of immigrant rights, racial and environmental justice and community development. Lisa enjoys snow boarding with her eldest son, Basilio, swimming with her daughter, Anais and hiking with her beloved asawa, Drew. WEBSITE

P A N E L I S T S

Brian Batugo, Stockton educator and arts program director Brian Batugo has been with the Little Manila Foundation for the past five years. With the support from the Alliance for California Traditional Arts (ACTA) and apprenticeships with Bay Area master artists including the late Danny Kalanduyan and Parangal Artistic Director Eric Solano, he established the Little Manila Dance Collective in 2013 and Kulintang Academy in 2016 to teach traditional dance and music to local Stockton residents. Brian centers his practice with Parangal Dance Company (PDC) and has danced with them since 2012. In addition to his cultural work, Brian advocates for ethnic studies and culturally relevant arts education for students of color in Stockton Unified School District schools. WEBSITE

 

Herna (pronounced “Er-Na”) Cruz-Louie is the Executive Director and Co-Founder for the American Center of Philippine Arts (ACPA). Herna’s exposure to Philippine dance and music started at the age of 5, when she learned cultural dances to perform at local town fiestas. In 1995, she became a performer with PASACAT Philippine Performing Arts Company of San Diego, CA and eventually became an instructor for rondalla music by the age of 18. After moving to the San Francisco Bay Area in 2000, she performed with LIKHA-Pilipino Folk Ensemble as a musician and became Executive Director. For 22 years, Herna has performed and collaborated with many dance companies, organizations, schools and individual artists such as KulArts, Parangal Dance Company, Barangay Dance Company, AYPAL, Mga Kapatid of UC Davis, Kasamahan of USF, and more. Herna also has 17 years of experience working as an administrator for nonprofit organizations such as the YMCA, Coaching Corps, Asian & Pacific Islander Wellness Center, Kearny Street Workshop, The Leukemia & Lymphoma Society and the Oakland Asian Cultural Center. Herna is the co-founder of her own events management company called Events by Herna & Marissa, and is currently the Human Resources Talent & Operations Manager at the Girl Scouts of Northern California. She was awarded as one of Filipina Womens Network’s 100 Most Influential Filipinas in 2011, and was a featured Asian American Studies Alumna of San Francisco State University in 2014. Herna completed her M.S. in Human Resources Management from Golden Gate University in 2015. WEBSITE //WORK

 

Kim Requesto is a lead dancer of Parangal Dance Company and apprentice to Kalinga dance master artist Jenny Bawer Young. WEBSITE

 

Patricia Ong has performed in Alleluia Panis Dance Theater’s Heroes, Mutya, the Ifugao Music & Dance Ensemble of Banaue, and Incarcerated 6×9; as well as Jay Loyola’s Maség: Typhoon. She was an artist in residence at Galing Bata Afterschool Program and joined the 2011 Kularts’ Tribal Tour. She worked with Pearl Ubungen, Cynthia Alexander, Cece Carpio, Sean San Jose, Dan Wolf, Malia Connor, Veleda Roehl, and Parangal Dance Company. She is an educator and founding member of Sama Sama, a Tagalog language immersion and cultural arts summer camp cooperative for Pilipino American youth. She is the mother of Kawayan Perlarose, her greatest inspiration and favorite collaborator. WEBSITE 

 

Stephanie Herrera, Kariktan Dance Company’s Choreographer was literally born into Filipino folk dance.  A veteran of several Ethnic Dance Festivals as well as various cultural events both in the bay area as well as out of state, Stephanie started dancing at age 14 and never stopped. She’s been a principal dancer and assistant choreographer for many years. She has also served as vocalist and instrumentalist for the company. Apart from Filipino folk dance, Stephanie is trained in modern jazz and tap dance.  She also has American musical theater experience with Stars 2000 and the Diablo Light Opera Company in Pleasant Hill.  Since the birth of Kariktan, Stephanie has served as it’s Cultural Director and Dance Mistress. WEBSITE

 

Contemporary, New Folk Signage

How are contemporary artists deeply trained and/or experienced in traditional Philippine art forms defining the new folk genre?

(Moderator) Lydia Neff: Performing artist with projects with Dancing Earth, Parangal Dance Company, Kularts and Fusion Dance Project. Founder of OPM Republic. Practicing Kulintang and rediscovering Indigenous Pilipino Culture. WEBSITE

 

P A N E L I S T S

Eric Solano, Founder of the Parangal Dance Company. Before Parangal, he was a dancer and musician of another Philippine folk dance troupe, the Barangay Dance Company of San Francisco, for over 15 years. He was a Dance Master in Barangay from 1995-2001, and then became its Artistic Director for 3 years before starting Parangal. He has trained with Bayanihan, the Philippine national folk dance company, renowned folk dance authority, Ramon Obusan, Philippine Normal University’s Kislap Sining Dance Troupe, and Maguindanaoan and Ifugao experts. Eric’s aspiring goal for Parangal is to be one of the leaders advancing Philippine culture in mainstream America; preserving and promoting Philippine culture and arts along with our brothers and sisters, partners, and supporters. WEBSITE 

 

Loyola Headshot

 

Jay Loyola, Master Artist of Philippine Dance has created over 50 Pilipino folk dance works performed in Asia, Europe, and the United States. Loyola traveled the world as a principal dancer for the prestigious Bayanihan Philippine National Folk Dance Company; a protégé of Philippine National Artist in Dance Lucrecia Reyes-Urtula. Loyola has received grant awards from the Hewlett Foundation, Zellerbach Family Foundation, San Francisco Arts Foundation, Creative Work Fund and the National Endowment for the Arts. Loyola is a professor of Philippine Dance and Culture at University of San Francisco and the founding Artistic Director of the American Center of Philippine Arts. WEBSITE

 

Jenny Bawer Young is recognized as a Culture Bearer of Kalinga traditional arts particularly laga (backstrap loom weaving), music, chants, and dances. Since immigrating to California in 2006, she has been a valuable resource to the Filipino-American community, performing/ consulting with several dance groups such as Likha and Parangal and offering workshops and public demos. she has performed twice at the annual SF Ethnic Dance Festival and recently at Merrie Monarch in Hawai’i. As co-founder and Master Weaver of Kalingafornia Laga (a women’s weaving circle) she is currently leading a community collaboration creating the first-ever Kalinga tapestry, an innovation on laga depicting the struggles for domain and place in the homeland and in the diaspora. She is deeply committed to continuing her family’s legacy to preserve, promote and propagate indigenous Kalinga culture.

 

Kristian Kabuay was born in the Philippines and raised in the San Francisco Bay Area. He spent his college years in the Philippines where he honed his knowledge about the native ancient writing system, Baybayin. Kristian is a self-taught artist influenced by calligraphy, graffiti, abstract art, indigenous culture, technology and Asian writing systems. WEBSITE // WORK

 

Ron Quesada (KULINTRONICA) is a musician on a mission to make the “kulintang” a household name by fusing this ancient Filipino gong instrument with modern electronic dance music. As a product of San Francisco’s eclectic multi-cultural and multi-disciplinary art scene, Kulintronica was once a guitar and bass player in various groups. An invitation to perform at a Philippine Culture Night after participating in a Rondalla workshop ended up being a life changing experience. This experience awakened something within the young musician and he found himself unable to turn away from the music of his Filipino ancestors. Under master kulintang artist Danongan “Danny” Kalanduyan’s tutelage, Ron learned of the traditional art of Maguindanaoan kulintang playing, and the potential of kulintang music to reach people on a deep level.  He also had his own ideas to combat the threat that kulintang music might cease to grow. Having armed himself with an intergenerational wealth of musical methods and compositions, Ron put all of his gathered tools and experiences together to synthesize a new kulintang music for the new generation, and it is called Kulintronica. WEBSITE

 

Arts Engagement Signage

What are the essential business tools for a successful arts practice? How are the arts/artists essential to civic engagement and community building? How is civic engagement and community building essential to the arts/artists?

 

Olivia MT

Photo Credit: Ann Borja

(Moderator) Olivia Malabuyo Tablante is currently The Wallace Alexander Gerbode Foundation’s Administrative Manager and the Program Director of the Special Awards in the Arts Program. The Special Awards Program has funded arts Bay Area presenting organizations to commission the works of individual artists since 1989. Prior to joining the Gerbode Foundation in 2006, Olivia served as Los Cenzontles Mexican Arts Center’s Administrative Manager as well as Post Production Manager and Production Manager for Los Cenzontles’s PBS-series Cultures of Mexico in California from 2004-06. Olivia has served as Bindlestiff Studio’s Managing Director and Project Manager for the construction of the new blackbox theater from 2002-2004.

 

 

P A N E L I S T S

Ada Chan has spent the past 20 years working on and thinking about culture, space, race and place. As a community development practitioner working with immigrant communities and neighborhoods in Oakland and in San Francisco, she has approached the work from many angles: job training, small business financing, asset building and homeownership, affordable housing development, land use and planning, business improvement districts and policy development. She currently works with the Association of Bay Area Governments as a regional planner with an emphasis on land use and housing policy. Wherever she is, it is her practice to observe how people spaces are used and to develop an understanding of what engages the spirit.

 

Andrea Porras, is an Arts Programs Specialist for the California Arts Council. Andrea holds a B.A. from California State University-Sacramento (CSUS) in Theatre Arts with a special focus in ethnic studies and a minor in cultural anthropology. Her research, performance and community service travels have taken her to China, Africa, Mexico and Cuba as well as Hawaii and the American Southwest. While at CSUS, Andrea and Nicole C. Limón-Steward founded “Movimiento Molcajete,” that later became a community arts multi-disciplinary training vehicle and platform for arts education in community based learning. The program provides creative opportunities for women and youth in projects that include live teatro, ritual, poetry, music, photography and art. Andrea’s experiences are garnered from a variety of community based training with collectives and projects like the Royal Chicano Air Force, Chicano/Latino Youth Conference, Washington Neighborhood Center, Sacramento Black Art of Dance, Ebo Oko Kan, and the United Farm Workers. Andrea served the Yolo County area as Art Space Manager for the UC Davis Chican@ Studies community service center, Taller del Nuevo Amanecer. She also served as an artist in residence for Poetry Out Loud and Trucha Palabra at the Yolo County Juvenile Detention Center. WEBSITE

 

Anthem Salgado provides valuable guidance through one-to-one coaching as well as workshop facilitation. He has helped people successfully change careers, launch businesses, promote their work, and generate new revenue. He has a particular knack for marketing strategy, helping maximize on audience development, referral building, and income generation opportunities. His experience spans 20 years across industries that include arts, education, nonprofit, micro-enterprise, cultural and community work, and more. ART OF HUSTLE® provides a suite of training tools and services: online publication, podcast show, seminar series, and coaching. It aims expressly to end the cycle of burnout and redundancy so common in individuals and organizations, and to create a new culture of success. WEBSITE

 

BMumby headshotBarbara Mumby Huerta was born and raised in California’s Central Valley, where her family’s Native American heritage and work as migrant farmers greatly influenced her passion for social justice issues. As the Senior Program Officer at the San Francisco Arts Commission, Barbara is responsible for ensuring equity through the organizations grant making. Prior to joining SFAC, Barbara designed and implemented large-scale early childhood education initiatives and grant programs in both Alameda and Merced County through their respective First 5 organizations. Barbara obtained her undergraduate degrees in Native American Studies and Studio Arts from UC Berkeley and her Master’s degrees in Museum Studies and Business Administration, focusing on the international repatriation of Native American cultural property within her research, from John F Kennedy University. Barbara’s artistic exploration includes working in oil and pastel as well as sculptural pieces in wood and metal. She has exhibited her work throughout California and has been highly influenced by the figurative, historical work of Hung Lui and the abstract mixed media works of Jaune Quick-to-See. Like these two painters, Barbara seeks to use her art as a way to connect cross-culturally, to surpass the label of ‘ethnic’ art, and to speak to current issues that bridge divides from disparate communities. WEBSITE

 

GinaMarikoRosales

Gina Mariko Rosales is an events enthusiast, efficiency nerd, dancer, and nonprofit advocate. She is the Founder of Make it Mariko, a San Francisco event production company focused on creating magical, meaningful moments through weddings, nonprofit, and community arts events. As an “entrepinay” born and raised in the Bay Area, Gina is passionate about connecting people, creating art, and building community. She was the former Executive Director of the award-winning nonprofit dance company, Funkanometry SF, has been dancing for over 13 years, and also spent five years working in the nonprofit sector teaching youth after-school dance programs and doing outreach for local arts education nonprofits. In her spare time, Gina can be found whacking to disco music, walking her dog Mochi, singing karaoke, and working as a crisis chat volunteer for the Trevor Project. WEBSITE // WORK

 

WestonTeruyaWeston Teruya is a visual artist and arts administrator who works with sculpture, community projects, and has worked in civic grantmaking and arts policy. His paper sculptural installations that examine the social dynamics, textures, and histories of specific sites and communities have been exhibited at Mills College Art Museum in Oakland, Yerba Buena Center for the Arts in San Francisco, Longhouse Projects & the NYC Fire Museum in New York, and the Atlanta Contemporary Art Center, among other spaces. He has received grants from Creative Work Fund, Artadia, and the Center for Cultural Innovation and been an artist-in-residence at Montalvo Arts Center, Mills College, Recology SF, Ox-Bow, and Kala Art Institute. His current collaborative work with Kimberley Arteche and Kearny Street Workshop, Means of Exchange (South of Market), is centered on creative projects with SOMA small businesses. WEBSITE

 

Diasporic Signage

How does Philippine dance, music and cultural practices inform the creations of diasporic western-trained artists?

(Moderator) Kim Arteche was born in Silver Spring, Maryland, and grew up in the DC metro area. Kim received her BFA in Visual Arts/Photography from the University of Maryland, Baltimore County, and her MFA in Fine Art/Photography at San Francisco State University. As a young Pinay growing up in the suburbs of DC, very far away from her family in Batangas, she realized that her relationship with her heritage has always been mediated by the internet. She is interested in globalism and the way that technology has brought us closer and further away from our diasporic roots. Through the lens of diaspora, Arteche’s work revolves around epistemology, acting as an interlocutor between traditional research, oral history, and Internet searches. She works in photography, installation, and social practice. She was awarded the Murphy and Cadogan Contemporary Art Awards by the San Francisco Foundation in 2014, showed in Root Division’s 2015 MFA Now, and was Kearny Street Workshop’s 2015 APAture Featured Visual Artist. She completed her MFA in May of 2016 as San Francisco State University School of Art’s Distinguished Graduate. Kim is currently teaching at Leadership High School and is Root Division’s 2016-2017 Blau-Gold Teaching Fellow, teaching with San Francisco’s Filipino Education Center. WEBSITE

 

P A N E L I S T SProcessed with VSCO with b5 preset

Alexander Punzalan – Alexander Junior is a producer, singer, composer, multi-winning musician. Growing up in Toronto, Alexander was surrounded by a community of people that came up in the scene and created what is now much of Toronto music culture. From starting Styrofoam Ones (Big Band/Punk) & Times Neue Roman (HipHop) and Broad Way Sleep (R&B/Hip Hop Band: Top 3 Winner of 2011 Billboard Worldwide Song Contest and Winner of 2010 International Songwriting Competition Award). Alex Jr is a co-founder of DATU, where he pioneers the sound of gongs infused with modern day electronic music. His music has appeared on CSI: NY, CSI: Las Vegas, Death Valley and Rookie Blue as well as on EA Sports games such as Fight Night 4, SSX and NHL2K11. WORK

 

AAHeadshotAureen Almario is an educator and artist based in San Francisco. She is currently the artistic director at Bindlestiff Studio. She is an actress, writer, writer, and shadow artist. Her past performances include Hermia in “Pinoy Midsummer” (dir. Lorna Velasco), and Theresa in Ray Pamatmat’s “Thunder Above Deep Below” (dir. Alan Quismorio). Aureen has performed on stage with FOB Troupe, Revival Arts Production, the Movement, and Pinays Maintaining Sisterhood Through Arts (PMSTA) and directed for Bakla Show productions. She leads sketch comedy writing workshops for Granny Cart Gangstas, an all female sketch comedy troupe that she has co-founded. She is currently in an international production for “Feathers of Fire” by Hamid Rahmanian, in collaboration with Larry Reed’s Shadowlight Productions, a live shadow puppetry and projected animation performance based on the Persian epic, Shanameh. WORK

 

cgarcia_headshot_hiresCaroline Garcia (Sydney, NSW) is a culturally promiscuous, performance maker. She works across live performance and video through a hybridised aesthetic of cross-cultural dance, ritual practice, new media, and the sampling of popular culture and colonial imagery. Caroline’s practice is shaped by alterity, echoing notions of cultural ambiguity and displacement by adopting the role of shape shifter – sliding into the gaps between cultures, experiences of otherness, and timeless clichés of exotic femininity. She takes an intersectional approach to contemporary dance (read: twerking), the politics of cultural identity and the diasporic body. She is concerned with forgotten choreographies, mimetic movement, alternate ways of viewing images of the past that eschew classical myths, and the cultural make up of the Filipina. WEBSITE // WORK

 

Michael Arcega is an interdisciplinary artist working primarily in sculpture and installation. His research-based work revolves largely around language and sociopolitical dynamics. Directly informed by Historic narratives, material significance, and geography, his subject matter deals with circumstances where power relations are unbalanced. Michael has a BFA from the San Francisco Art Institute and an MFA from Stanford University. His work has been exhibited at venues including the Asian Art Museum, Museum of Contemporary Art in San Diego, the de Young Museum in San Francisco, Yerba Buena Center for the Arts, the Orange County Museum of Art, The Contemporary Museum in Honolulu, the Museum of Fine Arts in Houston, Cue Arts Foundation, and the Asia Society in NY among many others. He is a recipient of an Artadia grant, Joan Mitchell MFA Award, Murphy Cadogan Fine Arts Fellowship, among others. He has been an Artist in Residence at the 18th Street Art Center, Montalvo Arts Center, Headlands Center for the Arts, the Fountainhead Residency, Artadia Residency at ISCP, Bemis Center for Contemporary Art, Al Riwak Art Space in Bahrain, and the Recology Artist Residency Program. He was awarded a 2012 Guggenheim Fellowship in Fine Arts. Michael was born in Manila, Philippines, and migrated to the Los Angeles area at ten years of age. He relocated to San Francisco to attend college. He currently lives and works in San Francisco, California where he is an Assistant Professor at San Francisco State University. WEBSITE

 

Sammay Dizon is a choreographer/producer and interdisciplinary performing artist of Kapampangan, Ilokano, and Bikol descent who envisions a future in which our indigenous traditions co-exist with(in) our urban landscapes. 14138152_10157454030015061_2972926903111143266_oShe invokes performance ritual as a chosen intersection of space and time in which the body is activated as a vessel for intercession. Whether planned or spontaneous – imbued with media or immersed in nature – she believes this to be the most powerful medium for investigating lineage, intergenerational trauma, and intersectionality. Founding Artistic Director of URBAN x INDIGENOUS – SAMMAY has been featured through Dance Mission Theater’s D.I.R.T. – Dance In Revolt(ing) Times Festival, Blessed Unrest: Arts and Social Justice Festival, Red Poppy Art House, and A/P/A Institute at NYU among others. She recently returned from an inter-island tour through Hawai’i with intercultural contemporary artist collective, I Moving Lab, and a solo immersion tour through her ancestral land, the Philippines. SAMMAY is a three-time recipient of the “Presented by APICC” Artist award, APAture 2016: Performing Arts – Featured Artist, and Performing Diaspora 2016 Artist-in-Residence at CounterPulse. WEBSITE // WORK

 

Workshop Instructors Signage

PLEASE NOTE WORKSHOP ORDER CHANGE, THANK YOU!

Workshop #1 with Bernard Ellorin, PhD in Ethnomusicology
9:15 am – 10:30 am

This comprehensive workshop on the tagunggu gong ensemble music of the Sama, Bajau, and Tausg ethnic groups from the Sulu archipelago, Philippines intends to provide a general overview of the interconnectedness of tagunggu music and the igal/pangalay performing arts genres. Participants will have a deeper understanding of the melodic and rhythmic patterns found in their traditional repertoire through hands-on participation and exposure to ethnographic research with traditional native practitioners.

Bernard Ellorin received his PhD in Ethnomusicology from the University of Hawai‘i at Manoa. Ellorin has been educating both Filipino American and non-Filipino American communities in Los Angeles, San Jose, San Diego, California and Honolulu, Hawaii about Philippine music for various institutions and community-based non-profit organizations. Since the age of 10 Ellorin has been involved with the San Diego-based Samahan Filipino American Performing Arts & Education Center as a rondalla string band and kulintang gong chime ensemble musician. Ellorin has studied with various master artists of kulintang(an) music from Mindanao and the Sulu Archipelago, Philippines. His teachers range from master artists based in the Philippines and the United States. These artists include the following native practitioners: Maguindanaon kulintang artist and National Heritage Awardee Danongan Sibay Kalanduyan; Maranao ethnomusicologist Usopay Cadar; and Sulu archipelago kulintangan musicians Taalao Manandao, Timallay Gilasti, and Salmeno Elang. WEBSITE // WORK

 

Workshop #2 with Eric Solano of Parangal Dance Company
10:35 am – 11:50 am

The workshop is an introduction to Binanog – a dance inspired from or mimics that of the flight of the eagle.  It was learned in 2016 from Caballero family, Panay Bukidnon culture bearers and masters indigenous group of Barangay Garangan, Calinog Iloilo Visayas. Participants will learn the importance of the dance various dance movements and terms. 

Thank you Eric for sharing some extra notes with us: 

Binanog
Traditionally it is performed by the following

Tigbabayi ​female only
Tiglalaki ​female and male (courtship)
Lupit ​two females, one male (courtship)

The ensemble encourages each other to do dance more, be more lively and aggressive by doing the Ta-ta  a form of singing “ha lay tey” or “ha la ka tey” while the others play rhythmic sounds on the floor. At the end portrays batibot when female is ready to capture the male using panyo or handkerchief

Dance Movements:
​▪​Reposo – one basic rule before a dance begins, the pair must pass each other three times

​▪​Sumbali – alternating hands
​▪​Sambalod – hands raised together up and down
​▪​Esduyung – traveling in place, in circle
​​▪​Sadsad – foot work

 

Workshop #3 with Jay Loyola, Master Artist of Philippine Dance
12:15 pm – 1:30 pm

Loyola Dance vocabulary is figures derived from interlocking two or more regional folkloric dance movements into one single phrase. Celebrating a diversity of influences, a distinct Philippine dance style in one entire structure of movements derived from all three major islands: Luzon, Visayas, and Mindanao. Philippine dance interpreted as one style. Loyola Dance style expresses the Filipino soul, breaking boundaries of regionalism, historicism, and temporality.

 

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