CHAPTER I

BACKGROUND OF THE STUDY AND ITS SCOPE

Rationale

The path of being a dance choreographer is an exciting one, the person involve in

this can freely express his creativity to produce art with gestures and dance movements

and to please his audience in doing so. Choreographers play a vital role in the lives of

dancers; they can either help them to prosper or drag them to failure. This is how

influential choreographers are. They virtually transform every individual from solo

performer up to the group performers. A choreographer can make what his mind has

conceived into a tangible thing through gestures and movements. Added to his sensitive

eyes are sensitive ears in order for him to listen to music and be able to decipher the

feeling of the music. Furthermore, as choreographers, which serves as the backbone of

the performance, each should act as a leader in order for the group to dance towards

success. Without choreographers, dancers would have to do all the work to themselves

and the product would most likely to be in disarray.

Choreographers represent their ideas by applying a set of operations onto

choreographic objects. Throughout different creative phases choreographers compose by

shifting among various degrees of specificity and vary their focal points from dancers to

stage, to interaction, to the whole piece (Felice, 2016). In choreographing, there should be

a style used by the choreographers that should match their concept. Just like

choreographing a Sinulog dance, each choreographers has its own style, concept and

1
theme to match the concept given to make each performance grand.

Sinulog festival has always been part of a Cebuano tradition. This is one way of

preserving their culture and tradition through choreograph dances and chants.

Contingents during the dance competition offer their beautifully choreographed dance

accompanied with the beat of the drums, wearing bright colored costumes to the holy

child Senor Santo Nino. Sinulog dance competition has become the highlight of the event

where many spectators are looking to witness the different meticulously and well-

choreographed dances prepared and practice by the contingents for how many months.

Many contingents from different places join the different categories; the Sinulog based

category, the Sinulog free interpretation category and the special street dancing category

hoping to win the accompanying prizes of the said contest. Behind those successes are

the brilliant and wise Sinulog dance choreographers. They handle the job of managing big

numbers of participants, making dance routines and précised choreography which are

very eye candy to the spectators. They are the people who should take credit where credit

is due. They are the people who influenced and inspire the dancers to give their all in

every performance. On the other hand, Sinulog dance choreographers contribute to the

society by preserving its culture through teaching and inspiring the next generation

through their choreography, giving value to its practices and perdure the tradition and

religion all over the Cebu City. Although, they are seldom recognized by the society

because people tend to focus on the finished product which is the dancers and the

performances itself, leaving the choreographers behind the shadows of the curtains.

It is in this reason that the researcher came up with this study. It aims to get across

the lived experiences of the Cebu Sinulog Dance Festival Choreographers on what are

2
 their experiences, struggles, strengths, and achievements on being a choreographer. It

also intends to influence and inspire those aspiring choreographers to foster and thrive in

the upcoming years.

Edward Deci and

Seimans and Downes’
Alfred Bandura’s Social Richard Ryan’s Self-
determination Theory Theory of
Cognitive Theory (1986)
(1970) Connectivism (2005)

PHILIPPINE CONSTITUTION OF 1986

Article XIV, Section 14 and 15

The Lived Experiences of

Sinulog Choreographers

Lived
experiences in
terms of:

Challenges
Extrinsic and
Profile Common Best
Financial Intrinsic Influences
Practices
and Motivation
Resources

Success

Time

3
Influence and inspire the aspiring
choreographers
 Theoretical Framework

This study is on the “lived experiences of Cebu Sinulog Dance choreographers”

which is anchored on the theories of Alfred Bandura’s Social Cognitive Theory, Siemans

and Downes theory of connectivism, and Edward Deci and Richard Ryan’s Self-

determination Theory. These following theories will support the said research study

because this study dissects the experiences of the researchers’ cultural background,

influences, motivations, and profile.

This study is anchored with Alfred Bandura’s Social Cognitive Theory which states

that, behavior is changeable and redeemable quality over which the individual can

exercise great control, rather than as a predetermined and largely inalterable entity.

Differences in internal states in turn mean that the same observation may prompt rather

different responses and lessons for different persons - or for the same person at different

point’s time. Social cognitive theory is premised on the notion that humans learn by

observing and reflecting upon the behaviors of role models. In line with this study,

choreographers tend to observe first to recognize what he is going to do and to formulate

his techniques and strategies in choreographing a dance. As such, the person’s internal

mental state at the time of observation significantly shapes what is learned. What and

how much is learned depends on the degree to which the person is attentive to the events;

learning is likely to be more focused when the role model behaves in intriguing ways, or

when there is a novel aspect to what is being observed. Moreover, the mere fact that

4
something is learned does not necessarily mean that it will affect the person’s behavior. It

is one of the most influential theories of human learning and development. For the

person’s behavior to change, he or she must sufficiently be motivated to model the

learned behavior, and to practice that behavior to improve one’s own skills. Thus, social

cognitive theory provides a rather dynamic and multifaceted perspective on human

behavior and development.

This study is also anchored on the theory of Connectivism in which it is a learning

process that emphasizes the role of social and cultural context. Connectivism proposes to

see knowledge's structure as a network and learning as a process of pattern recognition.

The relationship between experience, learning, and knowledge, as expressed in the

concept of connectivity is central to connectivism, motivating the theory’s name. Its

primary focus is knowledge and attitudes be developed through interaction with digital

works. In agreement to this statement, choreographers has to learn the essence of dancing

or experience it firsthand and have enough knowledge to be able to share their learning to

others.

This study is also anchored on the theory of Edward Deci and Richard Ryan’s Self-

determination Theory, in which it is a theory of motivation and personality that addresses

three universal, innate and psychological needs: competence, autonomy, and

psychological relatedness. Competence is the ability to control the outcome of an activity

and experience mastery of the task. Relatedness is the universal need to be connected to

and experience caring for others. Autonomy is the desire to be independent agent in your

own life. As such, choreographers have intrinsic and extrinsic motivation in

choreographing.

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 This study is also supported with the following legal bases:

Article XIV, Sections 14 and 15 of the 1986 Philippine Constitution states that:

“The State shall foster the preservation, enrichment and dynamic evolution of a

Filipino national culture based on the principle of unity in diversity, a climate of

free artistic and intellectual expressions”

“Arts and letters shall enjoy the patronage of the State. The State shall conserve,

promote and popularize the nation’s historical and cultural heritage and resources,

as well as artistic creations.”

The schematic diagram shows that the study on “The Lived Experiences of

Sinulog Dance Choreographers” is anchored on three theories: Alfred Bandura’s Social

Cognitive Theory and Siemans, Downes’ theory of Connectivism, and Edward Deci and

Richard Ryan’s Self-determination Theory. It is also supported by a legal basis primarily,

through the Philippine Constitution of 1986, Article XIV, sections 14 and 15, the contents

of which are stated in the last page. The diagram shows the title of the study in its major

problems: influences and motivations, cultural background, and their profile. The bottom

part shows the major objective of the study, which is to influence and inspire aspiring

choreographers to flourish in their future career.

6
Statement of the Problem

This study aims to describe the lived experiences of the Sinulog Dance

choreographers. This study answers the following questions:

1. Profile

2. What are the lived Experience of Sinulog dance choreographers in terms of:

2.1 Challenges

2.2 Financial

2.3 Resources

2.4 Success

2.5 Time

3. What are the motivational factors and Influences in terms of

3.1 Extrinsic Motivation and Influences

3.2 Intrinsic Motivation and Influences

4 What are the common best practices in choreographing Sinulog dance in terms of:

4.1 Category

7
 4.1.1 Sinulog Based

4.1.2 Free Interpretation

4.2 Concept

4.3 Costumes

4.4 Dance Steps

4.5 Props

8
Significance of the Study

This study is geared on the shared lived experiences of Cebu Sinulog Dance

festival choreographers which play a vital role and the major indicator to procreate

variety of choreographed dances.

The major beneficiaries of this study are the dance choreographers or the dance

enthusiasts for they will guide the lovers of the dance to perform the appropriate basic

dance steps, music, costumes, props, and chants of the Sinulog. Likewise, this study

should encourage more dance researcher and enthusiasts to delve deeper into studying

Philippine dance festivals, which are integral part of our cultural heritage.

Also, are the Physical Education Teachers who will guide the educators in

effectively inculcating into the minds of their learners, the knowledge and appreciation of

the Sinulog as one of our cultural heritage. This would also somehow inspire and

challenge them to do related studies to help preserve the Cebuano cultural values and

through this knowledge other people from other places could understand better why

Cebuanos celebrates Sinulog.

The Physical Education Majors, as the future teachers of dances, it can add to

9
their knowledge about the current trends in physical education. They can be updated of

the local cultural development such as the Sinulog, especially that it is a vital part in the

physical education curriculum. So as the students, as recipients of the Physical Education

program this will give them the opportunity to know more about Sinulog dance and

choreographers. Moreover, this will also promote their awareness and love of Philippine

dance festivals, especially the Sinulog.

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Definition of Key Terms

For the purpose of clarity, the following terms are defined operationally.

Choreographers who are living in Cebu who teaches dance in groups and whose

main source of living is teaching dance of any genre.

Choreography is the art of creating and arranging dances. Also known as dance

notation.

Struggles are the experience of difficulty and make a great effort in order to do

something.

Success is the achievement of an action or completion of an objective or goal.

Financial is the finances or financial situation of an organization or individual.

Resources is the source of supply, support or aid, especially one that can be readily

drawn upon when needed.

Free Interpretation Category is one of the Sinulog Festival Competition Category

which is focused on fast dance steps and the storyline and theme varies from folkloric,

mythical and historical lines.

Sinulog-Based Category is one the Sinulog Festival Competetion Category which is

focused on the Sinulog ritual dance worship and the choreography is more formal, and

11
dance steps depicts the prayer dance which is the true identity of the Sinulog ritual dance.

Extrinsic Motivation refers to the behavior that is driven by external rewards such

as money, fame and praise.

Intrinsic Motivation refers to behavior that is driven by internal rewards. It is the

motivation to engage in a behavior arises from within the individual because it is

satisfying to you.

12
 CHAPTER TWO

REVIEW OF RELATED LITERATURE

This chapter presents the selected related literature and studies. These materials are

taken from readings in the library, textbooks, journals, websites articles are other related

materials that have bearing with the study.

According to Golovach (2016), the art of choreography involves the specification of

human movement and form in terms of space, shape, time and energy, typically within an

emotional or non-literal context.

In addition, Kyle Abraham (2013) once said, time is my enemy. There are so many

things that you have to do as a choreographer, director, son, boyfriend and all of that.

There’s not enough time to feel like you can do of all of those things well. That’s a

struggle for me. Especially when thinking about the intimate moments in making a work.

It’s hard to give those attention. If you have two hours of rehearsal, and you want to draw

out the smallest detail--even just the way you touch someone on the shoulder--making

time for those little moments is really hard.

Moreover, Francis Yeoh (2013) said, in this digitized era of rapid and widespread

dissemination choreographers are constantly reminded not only of the increased exposure

of their creative intellect but perhaps more significantly of maintaining the integrity.

13
 While American Association of community (2017) added, Choreographers design

and direct the dance stylized movement and musical productions, working closely with

the director and musical director. A choreographer works with dancers to interpret and

develop ideas and transform them into the finished performance.

Sanders (2011) added that some choreographers use improvisation more subtly-

perhaps giving the performers a degree of freedom to choose in performance from among

various composed phrases and movement or making it a vital part of the creative process.

Choreographers have begun to experiment with computer-generated imagery and

techniques live dancers with virtue ones.

Furthermore, Foster (2009), African-American choreographers such as Ailey and

McKayle, drawing on a heritage of virtuosity as a affirmation and celebration of

communal values, pursued the exceptional execution of diverse vocabularies.

On the other hand, Foster (2009) added, compositional as ideas for how to make

dances and subject matters for dances proliferated, the meaning of choreography began to

transform yet again. The choreographer, no longer the visionary originator of a dance, or

even its maker or director, became a person who assembled and presided over a

collaboration. Unlike the modern choreographer, dance artists no longer formed

companies, but instead worked from project to project, picking up a company of dancers

14
with whom to collaborate. Rather than focus on elaborating the singular artistic vision of

an individual, or on a rigorous methodology for inventing and sequencing movement,

these artists embarked on collaborations that were project driven. Generally, each project

required unique skills, and specific repertoires of movement. Presiding over these

projects the choreographers are identified as a facilitator of the work being made.

Choreographer as facilitators began to work with dancers in several new ways: they

ask dancers to invent some or all of the movement to propose its staging and

development over-time, to suggest costuming, and so forth. Additionally, choreographers

began working with dancers who brought distinctive set of skills to the project such as

juggling, gymnastics, and various forms of popular dance including break-dancing, salsa,

square dancing, etc. They work with untrained dancers and with dancers of vastly

different ages and training experiences. Inspired by a growing awareness of how disabled

bodies have been stigmatized and desiring to promote a non-hierarchical affirmation of

physical difference, they also work with dancer with different disabilities.

Choreographers not only collaborated with dancers but also began working more

intensively with artists from other mediums, exploring interdisciplinary moods of

performance between dance and theater, film and video, lightning design, new digital

media, and also working with set designers and sculptures. These collaborations took a

variety of forms, sometime juxtaposing performances in the different media, and

sometimes constructing new inter media genres in which neither form with exist without

15
the other. Modern choreographers had integrated base in the premise of an organic or

training regimen. Instead, each dance utilized a pastiche or amalgam of movement skills.

Moreover African-American (2009), choreographers such as Dunham, Primus and

Beatty among others persevered in exploring the parameters set forth by modern dance,

while at the same time challenging its epistemology. Their works subtly undermined thee

claimed separation between elite art and entertainment, between dance as the products of

an extra sensitive individual and the community that surrounded and supported the artist,

and between the innovative and traditional.

Supported by Sonaku (2017), a large part of a choreographer’s job is to make sure

that the routine is pleasurable not only for the audience and possibly judges, too.

Meanwhile Rubenzer (2015), Choreographers ow want men who are individual

artists as dancers and not just partnering bodies.

In fact, Cramer (2013) added, Choreographers speak artist to artist and dancer to

dancer in frank, simple, and consistently practical terms that dancers at any level of the

theater industry will find insightful and useful.

Cited by Duffy, quoted by Bishop (2012), Choreographers embraced the viewer’s

experience in innovative ways, inviting collective, process-based, experiential work that

blurs the times of ownership and performance.

According to Brooked (2014), the choreographers gets to choose exactly what the

audience sees because of how dance is framed when film.

16
 Therefore, the art of choreography involves specification of human movement and

form in terms of space, shape, time and energy, typically within an emotional or non-

literal context.

To further explain this concept, choreography is an act of designing a dance. It may

also refer to the design itself, which is sometimes exposed by means of dance notation. It

is a process which employs improvisation for the purpose of developing innovation

movement and ideas.

It is an elaboration of the evolution of choreography, about how choreographers start

to choreograph a dance from the basic movements up to the improvisation of movements

using their resources such as their dancers. Choreographers utilize different methods in

choreographing any dance not forgetting the only absolute rule stating that:

In choreography, it should impose order upon dance beyond the level of pure

improvisation and that it should shape dance in the three dimensions of space and the

fourth dimension of time, as well as according to the potential of the human body.

All articles mentioned above point out to the fact that choreographers is an act of

designing a dance involving non-verbal communication to express inner feelings. It also

points out that choreographing is the art of creating and arranging dances in a creative

way. These studies relate about the present study because it implies to dissect the dance

festivals specifically, Sinulog dance festival and their importance to the Cebu dance

choreographers. These studies will serve as guide for the accomplishment of the

objectives of the present study

17
 CHAPTER 3

METHODOLOGY

This study presents the methodology that was used, the research method, the

research respondents, research instruments, ethical consideration, and procedures that

helped obtain the speedy results and the necessary data.

Research Design

The researchers utilized the qualitative approach specifically the phenomenological

approach. Phenomenological approach is the psychological subjective experience. It is an

approach to psychological subject matter that has its roots in the philosophical work of

Edmund Hussert.

This study examined the Cebu Sinulog Choreographers’ Lived Experiences.

Qualitative method is best when creating understanding of an occurrence through the

interpretation of others. The intent of this study was to examine personal experiences,

which require data that can be obtained through the lenses of the participant.

The phenomenological approach and qualitative design were approach for this

study in that they highlighted the perceptions of multiple individuals rather than reporting

on a life history or a single subject matter.

Research Informants

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 The primary source of data for this study are five (5) selected Cebu Sinulog

Choreographers that are currently residing in Cebu City. This figure is enough to

establish a justified study. The criteria in choosing the respondents are the following:

1. At least 2 consecutive years of experience as Sinulog Choreographers

2. Currently residing in Cebu

The primary source of data for this study are five (5) selected Cebu Sinulog

Choreographers. This figure is enough to establish a justified study. The first respondent

was from Mandaue City. He has been choregraphing since 1998. The second respondent

was from Cogon, Ramos and currently teaching in Apas National High School. The third

respondent was from Pasil, Cebu City and he has been choreographing since 1999. The

fourth respondent was from Canduman, Mandaue City Cebu. He has been

choreographing since he was in high school. The fifth respondent is from is currently in

Abellana National High school and he has been choreographing since 1998.

Research Locale

This study was conducted within Cebu, since the Sinulog Festival is celebrated in

Cebu.

Research Instrument

The researchers conducted an interview with the use of the guide questions to gather

the needed data for this study.

Research Procedure

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 In this study, the researchers used Purposive Snowball Sampling Method. It is a

recruitment technique in which research participants will choose one respondent that the

participants know and passed the criteria. The research participants was asked permission

to conduct interview to the respondent. If the respondents will grant the interview, data

gathering will start. After the interview, the researchers will ask if the respondent have

someone to recommend that qualifies the criteria.

Ethical Consideration

The main ethical principles that were considered in conducting this research

study were cultural sensitivity, passion, and creativity.

20
 CHAPTER IV

PRESENTATION, ANALYSIS AND INTERPRETATION OF DATA

This chapter presented the analysis of data. This research presents the data

gathered using interviews and observations. After saturation of data was reached,

thematic analysis was utilized to interpret the data collected using coding.

The following are the themes of the study.

Theme 1 Genesis

Theme 2 The Nemesis

Theme 3 People Behind the Success

Theme 4 The Fruit of Hard work

Theme 5 The Tick of Clock

Theme 6 Exterior Factor

Theme 7 Comes from within

Theme 8 Aspects to Consider

Theme 9 The Tactics

21
 Theme 10 The Cause

Theme 1: Genesis

The first theme of the study is “Genesis”. As expressed by the respondents, a

choreographer must undergo series of steps to choreograph a dance.

“When I was in high school, dancer ko sa Abellana dance troupe then dinha ko

nagsugod og sayaw og Sinulog. “ (respondent 4, lines 104-105)

Another respondent expressed on his experience on how he became a

choreographer.

“Sa dance troupe pako, nangadto mi ug Laoag City, gipaperform mi sa ilang

centennial sa panah0n ni Marcos. Naay murag padung nami ma crash, nagsakay mi sa

Philippine Air Force, free raman to. Kanang sa cargo ba, tipon mi didto. Nya napawng

ang aircon nya imagine nimo mubuto na ang eroplano, ana bitaw. Nya nakakita nami sa

bukid duol na kaayo. Baguio City. Nya ako man nag gunit sa Sto. Nino, nagpray jud ko

nga “Lord basta mabuhi pako, tagaan pako nimo ug kinabuhi, mo continue jud ko ug

serve nimo sa sinul0g. Di mo matter kung naay kwarta o wala,” Kanang murag nako ug

na devotee niya bitaw. Katong naputlan ko ug tiil, 2 years ko naa sa hospital, nya diha

man ko makadungog ko ug Sinulog, maghilak jud ko nga “Lord, unsa diay imong plano

nako wa pa lagi ko nimo ayuha? Mao to nga nakakuan nako, kato nga time.” (respondent

5, lines 88-102)

22
 On the other hand, a respondent also recalled his experience on becoming a

choreographer.

“Actually, I started dancing during high school. I am a member of Bantawang

Kabataan in University of Cebu and I was chosen as a dance master. First dance master

in the University of Cebu.” (respondent 1, lines 134-137)

Furthermore, a respondent also shared a piece of advice on how to become a

choreographer.

“to be a dancer, you also have to choreograph because as a dancer, how will

you apply all the learnings that you have if you will not teach dance, a particular dance?

So, of course, we exist.” (respondent 2, lines 77-79)

All informants shared their experiences on becoming a choreographer. Some of

the respondents said that it was fate that lead them to choreograph Sinulog dance, as one

respondent stated that: “I am not the one to choose this kind of genre maybe Sr. Sto Niño

himself. Kay ngano man? Gipangayu jud ko ni Sr. Sto Niño sa akong mama ay during sa

time nga nagmabdus akong mama, nag ampo siyang Sr, Sto. Niño.sige siyag luhod luhod

didto. Paggawas jud kuno nako, mura jud kog si Sr. Sto. Niño. Kulot kaayo kog buhok

nga perti Nakong ituma. So siguro, wala nako siya gichoose para nako ninggawas ra jud

siya kanang naturally nga murag siyag thanksgiving nako nga gitagaan akong mama

ani.” They may have had different starting lines in their chosen professions that clearly

states that you need to undergo certain steps in order for you to choreograph Sinulog

dance.

23
Theme 2: The Nemesis

The second the second theme of the study is the nemesis. As stated by one of the

respondents, as a choreographer you need to face certain challenges and find ways on

how to surpass them.

“Katong complete pa akong tiil, naay challenges. Nya karon nga putol na akong tiil,

mas daghan challenges. Pero karon, akong execution. Kanang muhatag ko ug figures,

kay part baya na sa choreography ang figures, lisod nga di jud coming nako. Nga di jud

ako ang mo execute ba. So magkinahanglan pa ko ug somebody nga mo demonstrate

para nako. Para ma realize unsa akong gusto. Unya sad, di man na marealize kay di

man mo magtakdo ug utok, I will go nalang sa pinakaduol. Mao gyud na sya, nya

sometimes, para ma achieve jud nako akong gusto mahitabo, naa mi mass dancing. Kay

ngadto man gud makit-an nako nga ay kani ay mas nindot ni nga figure, makakita ko ug

mas bagay nga figures. Mao na akong technique gikan sa akong mga challenges.”

(respondent 5, lines 2-14)

Another respondent narrated that as a choreographer you need to sort out the best

dancers in the group.

“Actually, daghan kaayu ug challenges as a choreographer, kailangan ta makameet

ug dancer nga maayu of course then kailangan pod nimo nga maklaro pod ang

budgeting kay di makahimo ug production or ka choreograph nga nindot kung walay

budget dba? Then, di pod ka kahimo ug nindot nga choreography kung ang imong mga

24
dancers kay di pod kamao.” (respondent 4, lines 2-7)

In addition, a respondent added that the less functional mind at work is considered a

hindrance in choreographing Sinulog dance.

“First thing is of course, the challenges as a choreographer I think all of the

choreographers starts from the planning itself of the dance. And everything will follow

after the concept and it will follow the number of dancers, props, and the routine of the

dance and etc. Those are one of the challenges of being a choreographer to me the best

concept of the dance.” (respondent 2, lines 2-7)

Moreover, a respondent stated that money matters as a choreographer.

“Number 1 is kung unsa ang reason nganung niapil ka, for win or just for

participation. If you perform the for the sake of compliance you prepare a formula nga

dili pang-win but if you are joining because you wanted to win like what we had saunang

panahon is winning man so number 1 ana nga problem is “How much is your budget”.

In my experience, we always said to my dancers nga we will do our best, we give the

Santo Nino because this is for him, we give the best of best that we have so that kung

dunggon niya ang inyung gipangayu ang ihatag niya ang winning nga title.” (respondent

3, lines 2-11)

All the informants shared their challenges as a choreographer and ways on how they

dealt with these hindrances.

Theme 3: People Behind the Scenes

25
 The third theme of this study is the people behind the scenes. As stated by the

respondents, a choreographer must have enough resources to turn their ideas into tangible

things.

“we have the Generika in Apas we have the food sponsors coming from the KFC,

Parkn’Go and Anitas but the major sponsor is the Generika, private companies. The

barangay would give some assistance, financial assistance but it would not really give us

the full needs in the Sinulog but of course we are happy and we appreciate for giving

them the assistance.” (respondent 2, lines 72-75)

Another respondent stated that, as a choreographer you need to have linkages to

other people.

“Akoy mangita. Pabaga sa nawng. Kay tungod daghan naman kaayu kog

experience gud nya daghan nasad kog friends, nga mga tubig tubigan sila, mao akong

duolon. Kay moingon ka nga school ra ang saligan,magsakit imong dughan kay sabutan

pa kunu, nya hapit na ang competition nya mananghid pa sa PTA, unsa na PTCA. Nya

ako man gud nang taw nga di ko ganahan anang amot amotan, as much as possible,

kung passion jud, love man nako, bisag wala pa na sya, basta passion nimo, maka-move

rajud ka.” (respondent 5, 60-68)

In agreement, a respondent narrated that as a choreographer you need to know the

people around your company.

“Actually, if it is a big competition so the agencies involved are of course our

Dep. Ed our agencies the Dep Ed and of course we will link it to the LGU the Local

Government Unit. And of course, with the help also of our private sectors. So you need to

26
have ahm.. unsay tawag ana? Kanang a skills in mobilizing your command your of

course kanang mangitakag mga stakeholders. So, mao na sya.” (respondent 1, lines 10-

16)

In line with this, one of the respondents also share that funds and sponsorships are

essential for winning.

“Actually, ang school na siyay gamay nga pondo, culturally fees. Pero di kaayo

siya ingon ana kadako, usahay naay sponsors nga manganhi diri, mga companies na

manganhi dinhi. Kahibaw naman na sila na ang Apas kay winning contingent so sila na

mismo ang muanhi diri para muoffer sila sa ilang mga sponsorship pero di pud ingon ka

dako as long as naa silay matugon, dako na kaayo nang tabang namo then ang barangay

naa man pud silay gamay nga tabang pud so amo na silang gitigom tigom tanan hangtod

muabot pud. Especially pud na ang mga teachers unya si Sir Espa mukuot jud siya sa

iyang kaugalingong kwarta mao nay nakanindot ni Sir Espa di siya magmind pila

iyahang magasto basta lang kay manindot ang presentation ang Sinulog.” (respondent 4,

lines 68-79)

Furthermore, a respondent claimed that as a choreographer you need to be willing

to sacrifice.

“The school or sometimes my own pocket, para mapanindot sa usa ka contingent,

although ako ranang e-replenish kung naa nay mo-refund.” (respondent 3, lines 74-76)

All the informants shared how they gather up the funds needed for their

performances through external and internal linkages.

27
Theme 4: The Fruit of Hard Work

The fourth theme in this study is the fruit of hard work. As narrated by the

respondents, a choreographer’s most prized possession is taking pride of his own

achievements.

“Actually, ang pagtudlo lang daan ug Sinulog kay para nako is one of my biggest

achievements. Sa mudaog ka or dili, sa ngalan nga naka share ka sa imong talent ba,

then passion jud sa nako ang pagtudlo ug dance. So para nako best achievement na siya

siguro bonus na nako kanang madaog ta. Unya happy ka sa imong gibuhat. Syempre di

man na malikayan nga badlungon kaayu ang mga bata pero imo gyud nang agwantahon.

Love man na nimo sya nga field, so, mga badlungon na sila, dawaton na nato sila. Ana

lang.” (respondent 4, lines 22-30)

Another respondent also stated that as a choreographer the experience itself is

already an honor.

“So far, I haven’t ah.. I don’t any like kanang econsider gyud nga kanang most

gyud kay for me, every year that I’m going to participate is… I will consider that that is

the same experience so para nako walay kanang most kaayo nga experience kay lain lain

man siya.” (respondent 1, lines 76-80)

In addition, a respondent stated that as a choreographer winning is a bonus

already.

“Rewarding for myself? To be the winner in the sinulog. And of course, not only

28
to be the winner but to present all the dancers on the stage with a good performance. It’s

rewarding even if you would not win, even if you would not receive awards during the

competition as long as the dancers perform well and give the best performance, you give

a good mark to the people and it’s also a rewarding.” (respondent 2, lines 18-24)

All the informants shared that as a choreographer, being able to perform the best

performance is the most rewarding of all and being declared as the winner serves as a

bonus for their hard work.

Theme 5: Tick of the Clock

The fifth theme of the study is the tick of the clock. It indicates that Sinulog takes

time to prepare, organize and create the over-all production. During the course of the

interview, the respondents shared what they did to manage their time

As respondent 5 said, “Times management lang jud. Dapat kahibaw jud ka mo

budget sa imong time. Kailangan naa jud kay plano. Be strict with time jud” (lines 54-

56)

Likewise, respondent 2 stated how to balance his profession and choreographing

Sinulog dance “I have to make sure that the students also would have a quality time

inside the classroom so I could give them the activity but most of the time I am inside of

the classroom I give them the activity and then if my presence need to the practice, I

would go down and that’s the time that I would continue practicing. It’s a matter of time

management so Sinulog and classes, I should go to the class first.” (lines 59-64)

29
 “.to refresh, to recharge nuh and to give variation of my work. So ani ko, sa left

side sa akong work. So, in ana ko magwork and right after, we still have to follow our

schedules. So far, October we have Saturday and Sunday. That’s the months October. By

the month of November, we will add at least four days like Monday, Wednesday, Friday,

Saturday. And December is everyday already until January. But of course the

participants should also having this very.. very… ah.. logistic schedule bah. Dili pwede

nga gamitn nia ilang time sa school. So they have like also a schedule which is right after

the school hours.” (respondet 1, lines 59-69)

Another respondent also shared ways on how to manage the time, in

choreographing the Sinulog dance, “. after Christmas vacation, we have special

arrangement with the school in which we are given a whole day practice” (Respondent 3,

lines 69-71)

Futhermore, respondent 3 expressed “. every Sinulog mu leave or mu resign ko

sa akong trabaho kay ganahan man ko magfocus sa akong gusto na magchoreograph,

dili nako siya. Actually, mas priority nako ang pagtudlo, so siguro kung mas dako pa kog

madawat sa akong sweldo, passion man nako ang dancing, so ari jud ko sa dancing, so

muresign kung asa ko nagwork kanang pagmake up nako, sideline na nako. Wa na nako

biyae so anytime akong mga rehearsal siguro labing dugay three hours a day then ari na

sa Saturday, Sunday mag whole day so time management ra jud siya” (lines 58-66)

All in all, it’s just a matter of time management. How to balance time, set

priorities and plan schedules that will not create conflicts in other jobs.

30
Theme 6: Exterior Factor

The sixth theme is the extrinsic influence which refers to behavior that is driven by

eternal rewards such as money, fame, grades and praise. The respondents shared what is

their extrinsic motivation during the interview.

According to our respondent no. 5, “Tungod sa kawad-on maong naningkamot ko

nga masud ko ana. Nya tungod ni Sir Nimor, nya nakakita ko sa atong culture unsa ka

nindot. Kanang makakita ka sa tinuod. Makasabot nga nga daghan diay klaseng sayaw

sa Pilipinas di ra kay usa ra.” (Line 76-79)

Respondent no.1 also said that “Of course my mentor. During my dancing career.”

He also shared that his career started because of his mentor who inspired him so much.”

(Line 134-135)

Respondent no.4 shared how he started with his love for Sinulog. He said “Actually,

kadtong 3 years pa ko, naa mi tindahan sa colon. Colon street then kanang Colon Street

mao nay the oldest Street then diha na jud na nagsugod nga muagi ang Sinulog parade

then naa man ko permi sa tindahan kay naninda mag comiks ang akong mama ug papa

before kanang mga magazines. Makakita ko sa parade, then naa man juy bata nga kung

makadungog ug drums dili baya sila ganahan nga saba or mahadlok, ako sauna

makadungog ug drums ganahan ko nga magkiay-kiay ko unya pagkahuman butungan

kog newspaper sa akong papa sa gawas dapit sa tindahan ba diha ra ko magligid-ligid

bisag di sinulog magsige lang kog shagit ug Pit Senyor! Viva Senyor! Magsige kog kiay-

kiay mao to nga ing-ana akong papa “magsige na man siyag sayaw ug Sinulog oy!”

hangtod nga nagdako ko nga mga edad nga 5 years old, 6 years old nga dili akong

31
Sinulog ba then every January gyud elementary ko muadto jud ko sa dan bahalag wa koy

kaon kay mustay jud ko sa parade bahalag dugay ang parade kay happy jud kong

makakita.” (Line 81-98)

Theme 7: Comes from within

The seventh theme of the study talks about the intrinsic influences. As expressed by the

respondents, a choreographer is a product of different influences specifically, intrinsic

influences.

“The devotion itself. Kay devotee man jud ko ni Santo Nino.” (Respondent 3 (lines

79-80)

Another respondent expressed their own influences on why they came up to

choreographing a dance.

“So, I’m a dancer since elementary up to this time so it is already my passion, all

the dance genre if I could really have the time to choreograph I would choreograph

especially Sinulog.” (Respondent 2, lines 81-84)

Furthermore, another respondent shared that he was influenced when he had

witnessed the Grand Sinulog parade during his childhood years.

“Actually, kadtong 3 years pa ko, naa mi tindahan sa colon. Colon street then kanang

Colon Street mao nay the oldest Street then diha na jud na nagsugod nga muagi ang

Sinulog parade then naa man ko permi sa tindahan kay naninda mag comiks ang akong

32
mama ug papa before kanang mga magazines. Makakita ko sa parade, then naa man juy

bata nga kung makadungog ug drums dili baya sila ganahan nga saba or mahadlok, ako

sauna makadungog ug drums ganahan ko nga magkiay-kiay ko unya pagkahuman

butungan kog newspaper sa akong papa sa gawas dapit sa tindahan ba diha ra ko

magligid-ligid bisag di sinulog magsige lang kog shagit ug Pit Senyor! Viva Senyor!

Magsige kog kiay-kiay mao to nga ing-ana akong papa “magsige na man siyag sayaw ug

Sinulog oy!” hangtod nga nagdako ko nga mga edad nga 5 years old, 6 years old nga

dili akong Sinulog ba then every January gyud elementary ko muadto jud ko sa dan

bahalag wa koy kaon kay mustay jud ko sa parade bahalag dugay ang parade kay happy

jud kong makakita sa Sinulog pero wala ko nag-expect naa maabot ko diri nga field.”

(respondent 4, lines 83-100)

Moreover, one repondent said that because of the miracle that happened to him,

he pursue the field of choreography.

“..Sa dance troupe pako, nangadto mi ug Laoag City, gipaperform mi sa ilang

centennial sa panahon ni Marcos. Naay murag padung nami ma crash, nagsakay mi sa

Philippine Air Force, free raman to. Kanang sa cargo ba, tipon mi didto. Nya napawng

ang aircon nya imagine nimo mubuto na ang eroplano, ana bitaw. Nya nakakita nami sa

bukid duol na kaayo. Baguio City. Nya ako man nag gunit sa Sto. Nino, nagpray jud ko

nga “Lord basta mabuhi pako, tagaan pako nimo ug kinabuhi, mo continue jud ko ug

serve nimo sa Sinulog. Di mo matter kung naay kwarta o wala,” Kanang murag nako ug

na devotee niya bitaw. Katong naputlan ko ug tiil, 2 years ko naa sa hospital, nya diha

man ko makadungog ko ug Sinulog, maghilak jud ko nga “Lord, unsa diay imong plano

nako wa pa lagi ko nimo ayuha? Mao to nga nakakuan nako, kato nga time.” (Respondet

33
5, lines 88-102)

All interviewees shared their influences in choreographing a Sinulog Dance just

like the respondent who perceives that choreographing a dance is one way in showing

their devotion to Sr. Sto. Niño. He stated, I have the faith and trust to Sr. Sto. Niño

through my service in choreographing a dance. (Respondent 2, 89-90). These influences

mold them to totally become a choreographer and at the same time pursue their chosen

careers.

Theme 8: Aspects to Consider

In every Sinulog competition, it is really important to convey a message through

dancing. This is one of the best things choreographers could create. On the interview that

the researchers conducted with them, they have shared their different ideas on the concept

they usually make for their production.

According to Respondent No. 1, “My concept is more on family because I am a

product of kuan bitaw, family oriented jud kaayo nga I always give importance to my

members of my family. Mao jud na ang akoang message sa akoang Sinulog. So, it’s all

about family.” (Line 206-209)

But Respondent No. 2 has a different concept. He said “Mostly it’s more on the

Christianity, the historical time in Spanish time.” (Line 97-98)

Respondent No. 3 added, he said “Christianization, like the baptism, the arrival

of Magellan, conflicts of man against nature. Sometimes tragedy”. (Line 89-90)

Respondent no. 4 has also a different way of making his production. He said

34
“Actually diri sa Apas wala jud mi lain diri nga getarget gyud nako permi kun dili ang

Cebu, mga old nato nga Cebuano Heritage so wala jud mi ming adapt ug laing mga

concept, nay mga relevant sa Cebu jud siya tanan naka concept ko ug Miligoy de Cebu

then Cathicism last nakong Sinulog then Christianity, Cebuano values.” (Line 138-143)

Respondent No. 5 added “Usually pattern jud sa atong culture, among costume

mo depict jud sa culture. Minos ko anang pareha sa ubang choreographer nga murag

fantasy. Ang akoa kay atong culture jud.” (Line 113-116)

However, when it comes to the props and costumes, on how they come up with it,

Respondent 1 shared “, a good choreographer actually for designer dili na siya andam.

Mugawas ra jud na siya kay mao man na siyay nindut nga mugawas” (lines 225-227)

But it’s different to Respondent 2, he said that in choosing the props and

costumes, it is a trial and error process.

“..it’s about contrasting the garments and the tela and also with the colors…we cannot

really say it if how to design because it’s a matter of trial and error like if you draw

something you would ask also something from the other person if its really good, like the

color, the design. From the moment it will be finalized and give all the feedbacks from

other people then we will make one sample then if the result is good, that’s it. “ (lines

101-107)

Respondent 3 also has different way of choosing the props and the costume,

“Because I’m into socio-cultural studies, I’m more on minimalism, I like to see to it that

all things we see are relevant in concept. I go on earth colors.”

35
Theme 9: The Tactics

The ninth theme of the study is the tactics. As stated by the respondents, a choreographer

should set styles or techniques to come up with a great performance. Per the statement of

respondent 2, it can be viewed that one of the set techniques of a choreographer is to

focused on the execution of the dance figures.

“ I start from the basic, I will really give all the basic details all from head to toe,

the character, the expression and then I would give them also a short of routine to

continue the process of the steps as soon as they can memorize then I would continue

starting from the routine until the end.” (lines 123-127)

Another respondent stated that a choreographer should be consistent in implementing

the rules and regulations of the group.

“ I started my choreography I have some rules and regulations for them to follow.

Lahi man ang teacher og kilid-kilid. Plus also your personal appearance will also

matters. Okay? Dili man sa ingun nga kahadlokan kay kung unsa imong mga gisulti

mahitabo diha, makaingun gyud sila nga hala di gyud ta pwede ani. Consistent yes.

Kung unsa imung gisulti, buhaton jud nimo. If some of them were late, di nimu paapilun,

ayaw paapila. For example, sir sakit akong tiyan. Unsa makaya? Di. Okay pajuway

diha?” (Respondent 1, lines 264-273)

Moreover, respondent 4 shared the techniques he used in choreographing Sinulog

dance, “Actually, my techniques as a choreographer is siguro taasan na nako ang

patience mao ra gyud na ang akong technique then tagaan nakog chance ang mga bata

36
para gyud, para makapagawas jud sila sa ilang mga talents kay naa man guy uban nga

mga choreographer na tungod sa competitive na kaayo ang competiton ilang gihuna-

huna nga makadaog jud ta. Ako kay kuan man ko as long as makaparticipate lang mi

ani, bahala ug ang mga akong mga bata di kaayo sila kahibaw manayaw, as long as

dawat sa mga bata kung giunsa nako sila pagtudlo, ug unsa pud akong weakness at the

same time mangayo pud ko mga suggestions kung makaya ba ni nila or dili dapat open

sa usag-usa acceptance of course para di pud nato pugson ang mga bata kay kung dili

nila kaya, di nako pugson. Love your dancers from head to foot imo silang agakon kay

kun dili nimo sila leadan kay wala, diha ra sila kutob.” (lines 170-184)

Then respondent 3 and respondent 5 shared the same techniques in choreographing a

Sinulog dance, they said that discipline should strictly imposed during the dance practice.

“...I think of it as a classroom being a teacher naa jud na ang desiplina.” (respondent 3,

line 103-104)

“..Disiplina. Pirmero imo jud kuhaon ilang heart. Naa koy rules, pero mga bata

man gud na. Dagko na ug lawas pero elementary ug utok. Kung di ka kahibaw

magbinata, aw wa ka. Jam jud ka nila dapat. Heart rajud nya mo follow ra jud sa rules.

Pero muingon jud ka nga dapat basta naa na ta sa practice, sunda ko. Paminawa ko.

Kung manita ko, mananghid man ko daan. Muingon ko nga kung di mo ganahan

maglagot ko, ayaw ko i-provoke. Basta makasab-an mo, wa nakoy sa ana. Kay nisulti

naman ko. Muhatag ko ug warning before jud ko mangasaba.” (Respondent 5, lines 134-

143)

From the techniques shared by all respondents, the researcher therefore views the

job of a choreographer as not an ordinary job. You need to be strict with your imposed

37
rules and regulation to achieve a grandiose performance.

Theme 10: The Cause

There are different genres of dance. But why do these choreographers choose to

choreography Sinulog Dance?

“Actually, I am not the one to choose this kind of genre maybe Sr. Sto Niño himself.

Gipangayu jud ko ni Sr. Sto Niño sa akong mama ay during sa time nga nagmabdus

akong mama, nag ampo siyang Sr, Sto. Niño.sige siyag luhod luhod didto. Paggawas jud

kuno nako, mura jud kog si Sr. Sto. Niño. Kulot kaayo kog buhok nga perti Nakong

ituma. So siguro, wala nako siya gichoose para nako ninggawas ra jud siya kanang

naturally nga murag siyag thanksgiving nako nga gitagaan akong mama ani. Maong ako

syang hatagan og makainspire og tawo through this kind of talent. Diha Nakao

nakarealize diba have you seen the globe sa Sr. Sto Niño? Diba naa siyay globe? For me

ang globe nagrepresent jud na siayg lain laing countries so mao na every year mutravel

jud ko. So diha na nako nakit.an tungod sa globe. Mutravel ko for free. dili akoy mugasto

ths coming November 11 adto na sad kog New York for International Convention for

Educators.i am representing the Mandaue City. So wala na nako giapplyan. Wala tanan.

Nisud ra jud na siya.” (Responder 1, lines 174-191)

Responder No. 2 also has a different story. He said “Because we offer this one to

Sr. Sto. Niño. We all know that we have something to offer, we have something also to

ask to Sr. Sto. Niño. I have the faith and trust to Sr. Sto. NIño through my service in

choreographing a dance. I think I give him a service, I render him the service and I think

38
Sr. Sto. NIño would give me also what is the assistance that I ask. It’s a matter that if you

give, it would also give you folded many times of blessing.” (lines 85-91)

While the reason why Responder no. 3 is choreographing Sinulog is because

“Because that was the call of time. Tadhana gyud cya.” (lines 81-82)

Furthermore, Responder No. 4 said “Di ka gamay pa ko, mao gyud akong namat-

an, nakit-an para nako Sinulog is dancing, namat-an nako nga ang Sinulog, wala koy

laing nakita nga sayaw, chachacha, modern, wa koy laing nabaw-an nga sayaw, Sinulog

ra jud. Hangtod nga ningsud kog dance troupe, pagcollege diha nako nakat-on, diha

nakat-on nga mga modern, pop jazz pero ang Sinulog is my favorite mao na siya ang

pinakalove nako. Mamatay nalang siguro ko, di na mawala sa akoa.” (lines 122-129)

And lastly, the reason why Responder No. 5 choose Sinulog dance is because of

his memorable experience. He said, “Sa dance troupe pako, nangadto mi ug Laoag City,

gipaperform mi sa ilang centennial sa panahon ni Marcos. Naay murag padung nami ma

crash, nagsakay mi sa Philippine Air Force, free raman to. Kanang sa cargo ba, tipon mi

didto. Nya napawng ang aircon nya imagine nimo mubuto na ang eroplano, ana bitaw.

Nya nakakita nami sa bukid duol na kaayo. Baguio City. Nya ako man nag gunit sa Sto.

Nino, nagpray jud ko nga “Lord basta mabuhi pako, tagaan pako nimo ug kinabuhi, mo

continue jud ko ug serve nimo sa Sinulog. Di mo matter kung naay kwarta o wala,”

Kanang murag nako ug na devotee niya bitaw. Katong naputlan ko ug tiil, 2 years ko naa

sa hospital, nya diha man ko makadungog ko ug Sinulog, maghilak jud ko nga “Lord,

unsa diay imong plano nako wa pa lagi ko nimo ayuha? Mao to nga nakakuan nako, kato

nga time.” (lines 86-99)

39
Results and Discussion

Sinulog has always been a dance sanctuary for choreographers who have

dedicated their lives preparing, analyzing, organizing and creating the dance production.

Sonaku (2017) said that a large part of a choreographer’s job is to make sure that the

routine is pleasurable not only for the audience and possibly judges, too.

Dance is an important trait of a country’s culture and other cultures throughout

the world. A beautiful example is the Sinulog, which encompasses all the dance forms

that have been used by Cebuanos throughout the centuries to express themselves. The

Sinulog as an expression in a form of dance festival has been existing for twenty-seven

years already, so that one may consider it as a production.

As stated by the American Association of Community (2017), choreographers

design and direct the dance stylized movement and musical productions, working closely

with the director and musical director. They must consider not just the dance but the

whole production. It should start with simple forms or compositions such as the steps,

40
music, choreographic patterns, costumes, rituals or nature of the dance or purpose, props,

music accompaniments and chants (Bojos, 2008). The result of the study yielded that

each participant has different approaches on how they choreograph a Sinulog dance.

“I start from the basic, I will really give all the basic details all from

head to toe, the character, the expression and then I would give them also a short

of routine to continue the process of the steps as soon as they can memorize then I

would continue starting from the routine until the end.“ (respondent 2)

“my style is more on contemporary folk. Meaning improvisations so I

always like experiment movements through that, of course basic idea for example,

ari ka sa Sinulog base, ang Sinulog base is more on Christian movements,

delicate movements. Dili ka pwede magpataka diha so I improvise it to make it

very creative. For example, muperform ka og lateral, eimprovise nimu siya, so

naa siyay additional nga giti-giti. Okay.” (Respondent 1)

“My techniques as a choreographer is siguro taasan na nako ang patience

mao ra gyud na ang akong technique then tagaan nakog chance ang mga bata

para gyud, para makapagawas jud sila sa ilang mga talents kay naa man guy

uban nga mga choreographer na tungod sa competitive na kaayo ang competiton

ilang gihuna-huna nga makadaog jud ta. Ako kay kuan man ko as long as

makaparticipate lang mi ani, bahala ug ang mga akong mga bata di kaayo sila

kahibaw manayaw, as long as dawat sa mga bata kung giunsa nako sila pagtudlo,

ug unsa pud akong weakness at the same time mangayo pud ko mga suggestions

kung makaya ba ni nila or dili dapat open sa usag-usa acceptance of course para

di pud nato pugson ang mga bata kay kung dili nila kaya, di nako pugson. Love

41
 your dancers from head to foot imo silang agakon kay kun dili nimo sila leadan

kay wala, diha ra sila kutob.” (Respondent 4)

From the answers of the respondents, the researcher perceives that although

Sinulog dance choreographers may have different approaches in choreographing a dance

thus, at the end of the process, they all produce the same product which is the whole

dance itself, with their own themes provided with their costumes, props and other aspects

in the overall production of a dance as what Foster (2009) stated that the choreographer,

no longer the visionary originator of a dance, or even its maker or director, became a

person who assembled and presided over a collaboration. Unlike the modern

choreographer, dance artists no longer formed companies, but instead worked from

project to project, picking up a company of dancers with whom to collaborate. Rather

than focus on elaborating the singular artistic vision of an individual, or on a rigorous

methodology for inventing and sequencing movement, these artists embarked on

collaborations that were project driven. Generally, each project required unique skills,

and specific repertoires of movement. Presiding over these projects the choreographers

are identified as a facilitator of the work being made.

“The works of the choreographers is quite tough enough, you are

dealing with different types of personalities. You are not just teaching the

movements but you are teaching the attitude as well. As a choreographer,

I always instill the significance of being a good dancer both aesthetic

movements and character because things will go smoothly during

rehearsals and trainings if they possess these traits. Rewards and

42
 achievements are the best motivational tools to each one of us, we may

face different trials and circumstances along our journey but able to stand

and teach them the rhythm of life. We dance to express not to impress.”

(respondent 3)

These choreographers are a product of different experiences. Before they became

a choreographer of Sinulog dance, they’re once a dancer of the dance. In addition, dance

is an art and another vehicle to communicate to people. For them they choreograph

because of their passion to dance and willing to express through aesthetic movements.

When they say aesthetic movements, those are the dance moves that are creative yet

clean and organized when executed by the dancers. The dance appears to be attractive to

the eyes of the viewers and was entertaining which was their main goal why they

choreograph.

Amidst their hardships and struggles, these choreographers continue to teach

Sinulog dances because of their dedication and passion in dancing and faith to the holy

child Sr. Sto. Nino.

“My experiences in choreographing is bittersweet. Every time I

choreograph any dance, I will first study the background of the dance.

The moment I already have some information, that’s the time that I will

teach a dance through my learnings and imagination. So, every time I

start to choreograph, I literally get crazy. I’m stressed, I can’t sleep at

night thinking what figure will I teach the next day. All of those are just

some of the stressors I go through. For me, that’s really the process if you

teach a dance and I’m used to it. But all those tiring experiences were

43
 replaced by happiness and fulfillment if you complete a whole dance

especially if you get awarded. But the most important thing is that I could

share my service and offer the dance to the holy child Sr. Sto. Nino.”

(respondent 5)

“The challenges number one is the budget because you cannot

move without the budget. Especially if it is a competition. So you need

first to plan out of what are those ahm.. materials, costumes and

everything in relation to the budgeting. So, if you are going to compete,

you need to have a very good budget. That’s the big challenge.”

(respondent 1)

According to Brooked (2014), the choreographers gets to choose exactly what

the audience sees because of how dance is framed when film.

These choreographers are products of the Cebuano culture. Cebuanos in nature,

are known to be religious and these choreographers embodies these cultures in

choreographing the said dance.

“It’s my faith to the holy child, Sr. Sto, Nino. I offer always a service to

the holy child by dancing or by choreographing ever since I was in college.”

(respondent 4)

“I was the one holding the image of Sto. Niño when the cargo plane that

we were riding in order for us to reach Laog almost crashed. We were nearly at

ground level as I uttered a prayer saying, ‘Lord if you let me survive this moment,

44
 I will serve you forever.’ Instantly, we were safe so that’s why I’m offering my

talent to Sr. Sto. Niño as a pledge.” (respondent 5)

From the respondents’ answers, it is clearly viewed that dance and religion is

always connected to each other. Dance is a form of art that reflects the Filipinos spirit-

his love for merriment, his religiosity, his superstitions, his fatalism, his love for

ceremony, his joy of living and his love for showing off. In spite of his carefree spirit and

his love for the humorous, the value he treasures most is seriously manifested in his

dance.

“Sinulog is actually a religious activity… di jud ka pwede mu teach ug

Sinulog without touching religious aspects…. Praising… festivals and

everything… that is religious. Di ka pwede na baya nang kuan, ang Sinulog….

Proper costuming, proper basic execution sa Sinulog. Di ka pwede musayaw nga

bugal-bugal. Magbutang ka ug di ug kiyod-kiyod…. Badlungon mo…. Mao na

siyay… other dance form (respondent 5)”

Choreographers are once dancers. They’ve gain knowledge about

choreographing because of their skills in dancing. They just developed and enhance their

talent in aesthetic movements through various experiences. It is just right that they came

to choreographing because they already acquired the right knowledge of different dances

and therefore they should be the right people to teach dances .

“It started when I became a dancer in college. In college, joining dance

group is a trend. Being a member of a dance group will give you many

opportunities. I was exposed to different dance genres like; social dances, folk

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 dances, contemporary dances and many more. I was able to perform all those

dances. Our group is not just exclusive in our school. We get invited to different

events like in SHANGRI-LA to perform and that’s where I gain more experience.

Annually, we’re invited to dance in the opening and closing ceremony in Sinulog

Festival celebration. Every time we practice, I got to see those dancers from

different places. I was curious how these choreographers come up with these

concepts and how they deal big numbers of dancers. It’s just so amazing

(respondent 5)”

“When I was in high school, dancer ko sa Abellana dance troupe then

diha ko nagsugod og sayaw og Sinulog under sa among maestro. (respondent 4)”

Bojos (2008) supported that it is right and proper that every Filipino must learn

and be acquainted with his own dances. Having knowledge with these dances especially

in the Sinulog means learning not only for the sake of art and entertainment, but how the

dance choreographers planned and preserved the value and culture.

Choreographers are one of the people who preserves not just the originality of

the dance but they also inculcate the culture of Cebuanos to the youths today. Whenever

they look for dancers for their group, they always look for the child’s willingness to

dance.

“Number one, ang interest sa bata ug love… ug unsay iyang purpose in

joining the Sinulog. Kung muingon siya’g ang iyang purpose kuan ra, just for fun.

Ayaw nalang ug apil… Kung siya mu offer sad siya for Sto. Nińo, because

Sinulog is a prayer in a dance form, so adto jud ka magsugod. If you believe in

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 Sto Nińo, then join. If you interested to offer then join, if not… do not join the

Sinulog (respondent 5)”

As Datoc (2001) said, inculcating the love of the folkdance to our school children

can only be made possible by an effective teacher who would be willing to go beyond the

realm of the movement structure of the folkdance and explain history, cultural

significance and the values we derive from them.

Dance is a representation of a people and their cultural relationship with their

environment. Furthermore, it presents a correlation between the purpose and the roots of

human existence. Choreographers are the representatives of the preservers of Cebuano

culture. They embody the passion and dedication. They also have their work ethics of a

true Filipino which is being hardworking. Even in the difficult nature of their job, they

always look to it that they’ve given justice to the purpose of the dance and that they were

able to instill the importance of learning the dance that is, the significance of the dance in

the lives of their dancers. They best describe the word optimistism after all the struggles

and challenges they’ve encountered in the process of choreographing dances like Sinulog.

“Yes, passion and at the same time profession kay lahi man god kung musod

siya sa imong huna-huna nga apil siya sa imong trabaho because it’s part of your

work. Meaning it’s part of your system already. Kay kung muingon jod ka og

passion pwede’g dili pwede’g naa, di ba? Depende lang but I made my passion my

profession. Mao nang wala ko unya di ko mag-think niya. Suddenly imong ma-

realize ‘Oy, nahitabo diay ni?’. (respondent 1)”

“Namat-an nako na ang Sinulog, wala koy laing nakit-an nga sayaw Sinulog ra

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 gyod. Hangtod nga nisud kog dance troupe, pag-college diha nako nakat-on na ang

mga modern, pop jazz, pero ang Sinulog is my favorite. Mao na siyang mamatay

nalang siguro ko di na mawala sa akoa. (respondent 4)”

Cramer (2013) added, Choreographers speak artist to artist and dancer to dancer

in frank, simple, and consistently practical terms that dancers at any level of the theater

industry will find insightful and useful. As a choreographer, one must possess authority at

the same time keeping his temper to a professional level.

“You should have proper orientation, you should have rules and regulations coz

mura ra gud nag muskwela nya nagklase ka kung wa kay objective, wa kay epresent

nga objective wa jud na silay kahibaw unsay mahitabo but if you present your

objective what is your goal for this, makarealize na sila naa man toy gitawag og

unison way kung asa ta padung and also don’t forget to inspire them always.

Magyawyaw ko pero paulian na nako after, paulian gyud nimu. Di nimu papauliun

nga naa siyay mga questions sa mind niya. Maghikog na patay ka.” (respondent 1)

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 CHAPTER 5

SUMMARY OF FINDINGS, CONCLUSIONS AND RECOMMENDATIONS

This chapter presents the summary of findings, conclusions and recommendations.

SUMMARY OF FINDINGS

This research aimed to determine the Lived Experiences of Sinulog Dance

Choreographers.

Specifically, this study aimed to answer the following questions:

1. Profile

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2. What are the lived Experience of Sinulog dance choreographers in terms of:

2.1 Challenges

2.2 Financial

2.3 Resources

2.4 Success

2.5 Time

4. What are the motivational factors and Influences in terms of

3.1 Extrinsic Motivation and Influences

3.2 Intrinsic Motivation and Influences

4 What are the common best practices in choreographing Sinulog dance in terms of

4.1 Category

4.1.1 Sinulog Based

4.1.2 Free Interpretation

4.2 Concept

4.3 Costumes

4.4 Dance Steps

4.5 Props

Sinulog Dance choreographers has encountered different challenges. The most

common challenge that they have faced is the budget needed for the preparation and

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the entire performance. All of them said that they need not just thousands, but they

need millions. But they always look for ways and people to go to for financial

support. They always go to. Most of them said that they need three (3) months for the

preparation. And the most rewarding part of being a choreographer is seeing the

dance you choreograph win in the competition. Despite the fact that they are not full-

time choreographers, they were still able to manage their time with their other work

with choreography. These choreographers don’t choreograph just because of money,

but because of their passion, their faith to the child Jesus and they consider it their

destiny-that they are destined to be a Sinulog Dance Choreographer. The common

category that they usually join is Sinulog-base although some joins the Free

Interpretation Category too. Their concepts are usually based with Christianity. They

choose their props and costumes depending on the concept that they make and they

usually choose earth colors. They always use the fundamental steps in their dances.

And during practices, they always implement rules and regulations for their practice

to go on smoothly.

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CONCLUSION

The researchers conclude that Choreographers experience many hardships and

obstacles during choreographing a Sinulog dance. They sacrifice time and effort just

to finish the whole dance. In fact, they sometimes used money from their own pocket

just to finish the dance for they don’t have enough sponsors. The money needed for

the entire performance deals with millions. But they managed to contact people and

ask for help to provide beautiful and amazing performance. Personally,

choreographing a dance serves as a devotion and offering to patron Sr. Sto Nino. It is

the product of choreographers’ passion, dedication and a way to express praises

through aesthetic movements. Other than that, choreographing a dance is also their

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 source of income that helps them to survive in daily living. Professionally, these

choreographers promote awareness and preservation of Cebuano historical, cultural

and social heritage. As they choreograph, they not just teach the dance but they also

inculcate in the minds of the youths the importance why Cebuanos still practice

Sinulog dance at this very moment. Amidst the difficult nature of their job as a

choreographer, they continue to choreograph because choreographing as a work gives

them not just opportunities but more importantly develop them as a person and as a

choreographer.

Recommendations

With the above findings and conclusions, the researchers offer the following

recommendations.

1. Choreographers should teach the dancers proper execution of movements to

emphasize what they are trying to portray.

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2. Have enough funds been allocated to finance the choreographers’ plans to

concretized their ideas like props, costumes, allowance of the dancers and etc.

3. Choreographers should set ample time for the preparation of the dancers like their

training or practices to be specific.

4. The government should provide ample budget to conduct a seminar to the aspirant

choreographers about the techniques and proper ways in choreographing Sinulog

dance.

5. Schools and other local institutions should help choreographers like them in

preserving our own Cebuano cultural heritage.

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