International Journal of Research in Humanities and Social Studies Volume 6, Issue 10, 2019, PP 1-12 ISSN 2394-6288 (Print) & ISSN 2394-6296 (Online)

Contextualizing Local Dance Festival on the Lifestyle of Negrense Sugarcane Plantation Workers

Randyll V. Villones* Faculty Teacher Development-Philippine Normal University , Cadiz City Occidental, *Corresponding Author: Randyll V. Villones, Faculty Teacher Development-Philippine Normal University Visayas, Cadiz City , Philippines. Email: [email protected]

ABSTRACT The proliferation of several local dance festivals in is very obvious and such existence is not spontaneous with time and event. This bandwagon has prompted other nearby cities and municipalities to create their version of a local dance festival. This study aims to develop a contextualized local dance festival patterned after the traditional and interesting lifestyle of the Negrense sugarcane plantation workers locally known as Mamumugon. A descriptive – narrative approach was employed by the researcher to gather information on the Mamumugons way of life in a vast sugarcane plantation from 30 participants using the open-ended questionnaire, a focus group discussion and direct observation. Thematic analysis was used by the researcher to determine themes from the participants. Findings show that most choreographers and dance teachers simply create the movement patterns including attire/costumes, accessories, and music/rhythm and dance implements based on what they see without an in-depth understanding of what they had observed. Whereas, if these interpretations are closely compared to what the typical Mamumugon is, there was indeed a big gap or difference. Moreover, most of these festivals were meager duplication of other popular dance festivals celebrated for several decades now. Such alarming scenario has caught the attention among dance professionals. Festival dances are community dances which are reflective of one’s cultural identity and tradition. Thus, this study concludes that festival dances should be contextually framed and grounded. This paper therefore critically analyzes the lifestyle of Negrense sugarcane plantation workers which serve as bases for a contextualized local dance festival. Keywords: Negrense Lifestyle, Sugarcane Plantation Workers, Contextualization, Dance Festivals

INTRODUCTION are mainly called . As of 2015, Negros’ total population is 4,414,131 The Philippines is the ninth-largest sugar inhabitants. From May 29, 2015 to August 9, producer in the world and the second-largest 2018, the whole Negros was governed as an sugar producer among the Association of administrative region, which was officially Southeast Asian Nations (ASEAN) countries, named the that comprised after Thailand (Food and Agricultural the highly urbanized city of and the Organization of the United Nations, 2013). At provinces of Negros Occidental and Negros least seventeen provinces of the Philippines Oriental, along with their corresponding have grown sugarcane, of which the two on outlying islands and islets within a total regional Negros Island Region account for half of the area of 13,350.74 kilometers (Negros Island nation’s total production. Majority of the sugar 2017). Negros is the Philippines’ major sugar mills are located in Negros, where six of which producer, contributing over half of the country’s is in , and another four mills on and total production. Some fifty-four percent of its three mills in and also three in agricultural land is sugarcane-based, and raw is (Sugar Regulatory Administration, its leading traditional export product (Negros 2013). First! Economic Development, 2018).The Negros is the fourth island of the Philippines, endless sprawl of sugarcane blanketing the with a land area of 13,309.60 km. Negros is one Island of Negros has marked a niche for the of the many islands that comprise the Visayas, country’s sweetest crop of the land. Known for which forms the central division of the nation. many as tubo, sugarcane (Saccharum The predominant inhabitants of the island region officinarum) is not far different from the wild

International Journal of Research in Humanities and Social Studies V6 ● I10 ● 2019 1 Contextualizing Local Dance Festival on the Lifestyle of Negrense Sugarcane Plantation Workers talahib (Saccharum spontaneum) lining many the sugarcane can also be grown to all types of fields. This is just grass for some, but it has soil, it could manage to survive and grow, from changed the world economy (Yan 2018). sandy to clay loams and from acidic volcanic soils to calcareous sedimentary deposits. Indeed, Sugar is central to the evolution of the Negrense the mamumugons have made an impact on the culture. The affluence and the prosperity that the history of plantation life and the culture of the industry brought to the province nourished a Negrenses. charming, genteel, sometimes lavish spirit that sets the Negrense apart from his Ilonggo Today, most towns and cities local festivals in kinsman. They are also regarded as the province or Negros Island in general, never affectionate, generous, fun-loving people who forget to unfold this very interesting part of enjoy the finer things in life. As a labor force, Negrenses' local history by highlighting the however, Negrenses are highly motivated, mamumugons’ way of life as a local motif or educated, skilled, trainable and entrepreneurial theme of their dance presentations even on the individuals (About Negros Occidental, 2017). streets. But it is also sad to note that manner how these dance festivals presented the Negros Island is also tagged as the "Sugar mamumugons’ way of life, it did not reflect Capital of the Philippines" has indeed played an much nor capture some important and important role in the dynamic culture of the interesting details of typical sugarcane workers Negrense lifestyle. The province is also known should be. Thus, correct costumes, dance for well-preserved ancestral homes to serve as implements and movement patterns were not reminders of the sugar barons and hacienderos truthfully encapsulated in a presentation but who employed people for manual labour or the rather it was overly done artistically and at some sugarcane plantation workers locally known as point, it is too good to be true which become mamumugon. misleading to the audience. Mamumugons’ means of living are mostly Mindful of the past that sooner or later we could dependent on the vast lands of these wealthy no longer see the huge sugarcane plantations in owners whom we refer as the hacienderos. the Island, for now, is a different scenario, as Moreover, mamumugons used to dwell on these more lands, as the time goes by, are converted lands for free in exchange for their loyalty and into industrial and commercial uses, as big lifetime services to the hacienderos. Such a players suddenly change businesses and leave situation would leave them no choice but forced behind those who work and depend on the sugar to work in the sugarcane plantation as industry (Bayog 2017). The once monocrop mamumugon to the rest of their lives. To the economy of the Negrenses, it has evolved and mamumugons, working on the soil of their has started to introduce to its people other crops “amo” (male boss) or “ama” (female boss) or which could alleviate the dying economic life of superiors is the only available work for them. its people and its land. Such, rapid changes in Thus, such a situation framed the idea that their the landscape of Negros Occidental which is geared only way to survive against the harsh and great towards diversification, the mamumugons’ great daily demands of life is to be contribution to the economic life of a Negrense may amamumugonsakampo. also be forgotten. Thus, as a Negrense, the Among the younger folks, mamumugon are author finds obligated to do something, such as fondly called kartaps; a corrupted action word for documenting this beautiful and fascinating karga (loading) and tapas (harvesting). Negrense culture may be considered as of the Mamumugon means a worker in the vast best way of preserving and protecting the of sugarcane plantation whose life is Negrense culture intact. This written document extremely difficult. A hard-working mamumugon may serve as proof and a testament of this long has to tilt the land, plant and fertilize the field, cuts decade of mamumugons’ life struggles which the sugarcane and load onto the truck to be captivated every inquisitive mind to deepen transported to the sugar mill. Despite the one’s understanding about every facet of hardships of the mamumugon, they have mamumugons’ way of life. Additionally, managed to recreate themselves through Negros Occidental vastness of lands coupled singing, dancing and playing as a way of with the richness of history has provided releasing their feelings of tiredness, pain, and impetus to this academic endeavor to record and difficulty of living. The life of mamumugon can analyze further a very colorful and interesting be compared to that of sugarcane; if Negrense Culture for the furtherance of its mamumugon could standstill to the test of times, propagation through dance.

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Since the festival is a vital event of any tourism interpretation – base on its theme, form, pattern, industry nowadays which provides attraction to and style. a multitude of visitors from near and far from Moreover, it was also observed that most the province and the country in general? Thus, festival dances if closely analyzed its themes fiesta should mirror and reflect the Filipinos’ would vary from religious practices, belief and Negrense’ in particular diverse cultural systems, economic way of life, legend based, heritage and character. Some festival names old-aged practices which showcase to celebrate may sound good and very correct since it is the struggles and triumphs of its people, these usually explaining why the festival name was themes would require deeper understanding named as such, but the problem lies in how among choreographers and other dance these movement patterns where constructed or if enthusiasts and should be rooted in its context, these movements are contextually framed. more so with the themes that are indigenous in To contextualize means to put into context of a nature. Philips (2009) maintains that the situation and it, therefore, does not mean indigenous dance passed down each clan’s changing the original meaning of a statement. beliefs and history long before they are written In the case of contextualizing the indigenous down. dance movement, it simply means presenting the It is an element of the oral history of each tribal communicating an interpretative potency of the country. Henry (2008) added indigenous dance dance moves to mirror the society, send up the movement has both historic and social traditions society or to encourage the ruling and the ruled that reflect more significance than those of in the society. Contextualization helps in many other cultures. Some of the dance bringing to bear the in-depth analysis of any movements when interpreted portray praises to given performance beyond its superficial level, the gods for helping them during planting it is at this point one can understand what gave season, a victory in war or for successful child rise to the dance and what it is made of the base delivery. on its communicative and interpretation potency (Akas 2014). With these premises, it necessitates among choreographers to unearth and dig deeper on Besides, Akas (2014) also stressed that in the their analyses rather than superficial, the contextualization of any given performance emotional, sociological, and physical, especially in dance, the results of its analysis psychological and environmental dimensions of and interpretation may vary in form, style, creating the dance movements. At this point, the pattern, and aesthetics, but will always maintain the theory of art for art sake or mere base-less required meaning according to the community or creation of beautiful movement combinations society that owns it. Contextualization helps to would become secondary while communicative communicate the innermost intending message, interpretation in dance movement takes the opinion, and view of a choreographer before, during and after choreographing a dance upper edge. This paper, therefore, introduces movement. the idea of contextualizing popular Negrense street dancing festivals on the island. Most of the dance movements present in the street dancing nowadays particularly in the Purpose of the Study Negros Islands are perfectly combined with The study aimed to develop a contextualized various body movements, nice ingenuity in its local dance festival pattern from the traditional creative expression and aesthetically attractive and interesting lifestyle of Negrenses’ Plantation use of varied costumes, huge sets, props, and Workers locally known as mamumugon. backdrops. All of these magical and spectacular Specifically, the study sought to achieve the elements and qualities found in the festival following: dances have reduced its context to just mere entertainment.  Identify and describe Mamumugons way of life as to: These myopic understanding and interpretation  Process/pattern of work at the sugarcane of festival dances have been a great concern plantation and other related activities among dance professionals, thereby motivating neophytes' dance trainers to redress their  Attire and dance implements used during perceptions in seeing festival dances as a their actual work. communicative, educative, informative yet  Music/ rhythm may be used while entertaining tool by giving it a contextualize working in the field.

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 Extract, analyze and develop a structured interview guide. The collection of contextualized mimetic dance movement data started as early as June until May or pattern which could serve as the basic approximately ten months before the sugarcane movements in any local dance festival is due for harvest. The process or pattern of the highlighting the mamumugons way of life in mamumugons’ fieldwork was closely tracked by the sugarcane plantation. the researcher thru the help of his contact person who is in-charged to supervise their work, he is METHODOLOGY popularly known to them as the "inkargado” This descriptive- narrative approach which (trusted person of the landowner who is tasked made use of documentary analysis and to supervise and monitor the work of the fieldwork as tools of research in recording and mamumugon in the field). The researcher determining the pattern of mamumugons way of conducted in-depth interviews with 15 farm life in the vast sugarcane plantation in terms of workers and another 15 choreographers who background/cultural context, movements’ previously utilized sugarcane plantation workers as description, clothing/costumes, dance implements, their festival theme, gathering a total of 30 and music/rhythm. The aforementioned dance respondents. Data gathered from these properties where found useful in establishing the interviews, contributed much to support the context of the dance festivals anchored on the gathered data. Still, pictures and video camera sugarcane plantation workers locally called were also used to record the Mamumugons work mamumugon to wit : studying the background of in the sugarcane plantation. The recorded video the subject where the festival dance should be was played several times to vividly record or grounded , could provide us a broader spectrum notates every single step pattern being done by in knowing and understanding further its origin the mamumugon and both video and the which could possibly provide concrete ideas captured pictures helped a lot in the descriptions about its nature and the characteristics. Even in of the costumes and the dance implements used. their ways of dressing up themselves most RESULTS AND DISCUSSION especially with their working clothes, their choice of colors speaks for the kind or nature of Mamumugons Way of Life work they used to have in the field. Clothing is All information that was gathered from the indeed reflective of one’s culture and indicative aforementioned sources were analyzed and of our social classes. It sets the true character of filtered. Common movement patterns were also the people involved. Their music also manifests extracted and described. Below are the different their true feelings and emotions; at times it dance properties and elements which were displays their moods as they travail each day of considered as materials in contextualizing the their work under the heat of the sunlight. The use of various implements by workers would local dance festival in the life of Negrense rationalize the intricacies and hardships of their sugarcane plantation workers. This includes the work as a farmer. different patterns of work and other related activities, clothing and the used of dance Akas (2014)added two of the many ways of implements during their actual work, music or developing a contextualization perceptive on rhythm used. All of these data served as baseline indigenous dance movement is to explore and for the creation of the contextualized movement use dance elements, vocabularies, technologies pattern for the local dance festival. of various dance, forms, style, and genres, another is to always investigate, appreciate and Process/Pattern of Work at the Sugarcane learn about dance in relation to its social and Plantation and Other Related Activities cultural contexts. He also mentioned that the The work in the sugarcane field usually follows core aims of interpretation on indigenous dance the same work sequence. There are some movements in education are to learn in, through instances that other workers would deviate from and about dance an aesthetic and artistic form the usual routine, but in most cases, they stick to symbolic representation and expressive the traditional way of doing it. In one of my communication. interviews with a certain group of farmers they Furthermore, the researcher agrees with the commonly shared below the different processes/ above-mentioned arguments made by Akas, thus patterns of their works in the field: Pag-Arado to get the accurate data or information of the (Tilling the land with a plow) -Traditionally, a subject in this academic discourse an interview plow is attached to a carabao used in tilling the with the workers were conducted using a semi- land.

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A carabao or water buffalo is a large animal like matilawannaguidnamonsadilimadugay a cow with long horns that lives in Asia and is angamonkinabudlayan. Madako-dako man ang often used to pull plows. A plow is a piece of amobatononkag may padya man kami saamon farm implement that is used to dig into and turn Amo, daw mayo ang amonpatubas” ( “ over the soil especially to prepare the soil for Everyone is filled with happiness, few days from planting. now we will taste the fruit of our labor, We might be receiving huge amount of money and “Sasubongkalabananngamangungumanag incentives from the landowner, it seems like we agamitna sang traktora para madasig ang obra, have a good harvest”).. pero kami yanagamantinir man gihapons a ka rbaw” ("Today, most of the farmers are using Pamatdan (Cutting the sugarcane ends) - This is some heavy equipment to expedite their work, the process of separating or cutting the other end but to us, we still use our carabao") of the sugar cane ends which will be used for planting new sugarcanes. Pamatdan is also done Pananum (Planting) - -An act of planting using during harvest time, as the Mamumugon harvest “patdan” (a sugarcane stalk which was cut short or cut the long stem of tubo, they immediately and sharpen at the end being used for planting). cut the lower portion of the stalk which will Pag- Abono (Applying fertilizers) - -Putting serve as patdan, ready for the planting season. fertilizer on the soil. Fertilizer is a substance " Gina prepararninamon sir ang patdan, basis (such as manure or a chemical) that is added to sasunodngasemanamanamunnaman kami ". We soil to help the growth of the plants. There are have to prepare this sugarcane ends sir, maybe two different traditional ways of fertilizing the next week we will start planting again"). soil, these are: Was-ag which means scattering Pangkarga/Pang-ngarga (Carrying/loading the the fertilizer on the soil and Pang-tagad which is sugarcane) - This process is done when the done by making a hole in a soil near the harvested sugarcane is transferred or loaded to sugarcane roots with the use of tagâd (a one the Trucks from the field. Loading of the meter-long iron with a pointed end used for sugarcane was then transported through a bagon digging hole)where a small amount of fertilizer or bagonita(a huge trolley made of steel that is dropped and covered with soil. could carry a huge volume of sugarcane). "Kabalosa ang ibannagagamit nag ani ka spray, Each trolley or cart is attached that would look pero para saamon mas epekitibo ang like a train of trolleys that are being pulled by kinaraanngapamaagi" ("you know what, some locomotive also known as "the iron dinosaur" are using now the spray, but in our case, we still passing thru a railroad leading to the sugar mill prefer the traditional way effective." ) site. Panghilamon (Weeding off the field) -This is “Makapoyguid mag pangkarga, mabug -at guid, done to free the field from different grasses that pero kaya ah, naanadnasa pila na ka tuig”. could hinder the growth of the sugarcane stalks. ("It is tiring and hard to carry and load the sugarcane, but we can still sustain it, besides we “kinanglanmoguidsundon ka panghilamon kay have been doing this for several years now.”) makibotkalang mas mataas pa ang hilamonsaimotanom, tipigawtubo sg imotanum” Other Related Activities (“ you need to regularly weed-off the ground, Aside from planting, cutting, loading and you will be shocked that the grass is taller than harvesting the sugarcane which is all considered your sugarcane, your plants might not grow as the usual routine that Mamumugon does in well”) the field, these plantation workers could still Pangkahig (Raking the soil) --Process of find a time and manage to lighten their cultivating the land by elevating the soil at the workloads by engaging other activities below root ends. most especially during their break time. Panapas/Pangtapas (Cutting the sugarcane) - Orit (Break time) -this means a rest from work. This is an act done to harvest the sugarcane. As expressed by one participant "orit” is There are varied strokes of cutting the equivalent to "alright" in English. This means sugarcane. The harvest period is from October that it is the right time where a farm worker to December and ends in May. Harvest season is would take a break and eat for a snack or lunch the most awaited part of the mamumugons’ brought and prepared for them by their loved work in the field. “Malipayonguid ang tanan, ones or wives.

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" makapoy man ang obrasakampo, makakaon added. The head is covered with turban and man kagmakapahuway man kami konoritna kalò. Dancers are wearing rubber sleepers but para may pwersa" ( " it is really hard to work in most of them are time barefooted. the farm, we can only eat and rest during our Turban. A piece of cloth usually made of cotton break time for us to regain our strength."). folded in triangular shape used as takorong or Dugsing (Teasing/ courting) -despite the headcover to protect the girl head against the hardships of their work, farm workers find heat of the sun. It can be noted that the solace from the company of their wives where garments or the attire of both girl and boy the latter would at times teas and court each mamumugons, fully wrapped their entire body other in a more fun and loving ways. and only the face, hands and the feet are exposed. According to them, one reason is to " Maayoguid Sir kon, upod ko simisis, wala ko protect themselves under the heat of the sun and batyagkapoy, maistoryahon kapa." ("It's nice if likewise avoid some skin itchiness or irritation you work with your wife sir, you will not feel due to sugarcane leaves and other insects tired besides you have someone to talk with."). present in the field. Attire/Clothing and Dance Implements Used Dance Implements During their Actual Work Many forms of dance do require special Attire or clothing is also referred to as a dance equipment and/or apparel. In some cases, dance costume that is worn by a dancer when equipment and apparel only help create the performing before a big crowd. The dance mood, like the spiky high heels worn for Latin costume is patterned after the traditional and and ballroom dancing. In other cases, a special typical attire used by the natives while working pair of shoes is a necessity; to dance a full- in the field. Moreover, a costume may portray or length ballet en pointe truly requires that one relate to some characteristic, mood, or theme of wear a pair of pointe shoes (Dance Equipment the dance. 2018). On the contrary, in the case of folk Additionally, A folk costume (also regional dancing the dance implement/s is not just costume, national costume, or traditional apparel but a very important tool that is of vital garment) expresses an identity through costume, importance for a particular role or character that which is usually associated with a geographic a dancer must relate. In most cases, a dance area or a period in history. It can also indicate implement recreates a theme or scenario of social, marital or religious status. If the costume bringing the dance closer to a real-life situation. is used to represent the culture or identity of a Below are different farm implements which are specific ethnic group, it is usually known as ethnic commonly used by the mamumugon in their costume (also ethnic dress, ethnic wear, ethnic work at the sugarcane field. clothing, traditional ethnic wear or traditional ethnic Binugkos nga Tubô( Bundle of Sugarcane stem) garment). Such costumes often come in two forms: -A bundle of sugarcane stem approximately cut one for everyday occasions, the other for of the same length. The number of stems traditional festivals and formal wear (Estonica depends on the capacity of the person to carry Encyclopedia n.d.). with the use of saklit. Boys: Camisa de chino, collarless short or long- Ispading (Cane Knife) - A tool used for cutting sleeved (cotton material). Checkered, stripes or sugarcane palm also known as cane knife. plain long-sleeved polo shirt fully opened at the front used as over-shirt, this is matched with any Kalò (Native Hat)- A native hat usually made of Buri ( Buri is the largest and most common dark-colored pants. The head is covered with palm in the Philippines ) worn on top of purông and kalo. Purông. A round neck t-shirt turban/purong (a piece of cloth used to wrap the used to cover the head as protection against the head to protect it from the heat of the sun). sunlight. The head slips through the hem of a Attached to it is a garter that holds the kalò from short-sleeved t-shirt which allows only the eyes, being blown by a strong wind. Pinutos nga nose, mouth and a portion of the face to be Balon (Food wrapped with cloth) - Food exposed on the neck-hole. The sleeves are tied- wrapped with banana leaf and white recycled up at the back of the head. This is worn by the cloth called katsa.This is usually attached or boys and occasionally by the girls. hung to one end of sugarcane stem when Girls: The same with boys, however, a carrying the balon. Sabakan (Improvised empty checkered or plain knee-length overskirt is sack bag)- An empty sack used as improvised

6 International Journal of Research in Humanities and Social Studies V6 ● I10 ● 2019 Contextualizing Local Dance Festival on the Lifestyle of Negrense Sugarcane Plantation Workers bag hung in front of the waist filled with abono Contextualized Mimetic Dance Movement to be scattered over the soil. Patterns Saklit (Rubber tire binder )-A rubber taken Movement patterns of the actual work of the from tire interior approximately one meter or mamumugons in the field which were longer, six inches in width with a ring at one or videotaped and reviewed several times to both ends. This is used to bind or wrap around accurately extract the step patterns for notation the sugarcane stems to make it easy for the boys of movements which were considered part of to carry or load the tubó in going up the contextualized dance movement. The analysis of andamyo/damyo (ladder). The rubber also the movement patterns was also backed-up with protects sakadas shoulders from chaffing. The close observation during the actual work in the actual size of saklit may not be used instead, the field for several occasions. Some actions which smaller size of rubber to tie-up all the stems were found dubious, the details of which were together for dancing purposes. supported with a one-on-one interview from the source. Sanggot (Scythe) - A farming tool with a curved blade and long handle that is used during On the other hand, the use of dance implement pamatdan. This is placed inside the tagub. in the course of executing the work or action was also included in the notation. Actions Tagâd (Digging tool) - A pointed tool used to imitating the actual usage of these dance dig the soil to create a hole where the fertilizer implements were mimic or imitated making it is placed and covered with soil again. (May not more realistic. In terms of the attire; the be used in the actual dance) description that was mentioned above was typically followed in contextualizing the dance. Tagub (Scythe Cover) - A customized scabbard Any working clothes similar to the description usually made of wood used to protect the user of attire previously mentioned may be used in from the scythe blade. This is usually hung the dance for both boy and girl. around the waist with the use of abaca rope. Below are the sample contextualized mimetic Tabig/bakag (Native Basket) - Small native dance movement patterns which were the result basket with a sling made of abaca rope used as a of extracting movement patterns from container in distributing patdan in the field. Mamumugon way of life starting from plowing Tubó(Sugarcane) - Approximately one meter- the field until harvest time. This dance material long. Fresh or dried sugarcane may be used truly mirrors the travails and hardships, yet very interesting life of a mamumugon. Through this Music/ Rhythm may be used while working written material it is hoped that this very in the Field significant story of a Mamumugon can be Farm workers do not have a definite song or any preserved and can never be forgotten, likewise, music that they used to listen every time they may these pieces of literature serve as an aspiration to the future generation. This new work on the field. Others would love to hum instructional material in additional dance literature their favorite songs and lullaby for those who which can be utilized in the teaching of Philippine have a vivid recollection of their childhood. traditional dance that is contextually framed in the Some would use familiar folk songs that match Negrense setting. the movement patterns. For others, who do not have a good quality of voice to sing, they just It is also very important to note that in using any prefer to clap their hands do some rhythmic part of this dance literature, the background combinations patterned after the movements. context should be explained first to the learners, Today, most of them would just depend on by so doing, the learners would have a deeper whatever melody or songs being played in their understanding as to the meaning of the dance portable transistor radio. movements. Moreover, the meaning behind each peculiar step found in the dance should “Censyaguid, walaguid KO may also be explained for the learner to give nahibaluanngakanta sir, libagonguid KO, mayo appropriate internalization of the dance steps. konupod ko dirisi Lola kay mayo guid to The following are the examples of magkantakinaraan.” (“Sorry sir, I not familiar contextualized mimetic dance movements: with any song, It would be better if grandma is here with us, she can sing better some old  Pag -arado (Plowing the field). Hold one songs"). end of tubó with a right hand; place it over

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the right shoulder. Girl's left-hand holds front of left, extend right arm diagonally skirt, while Boy's left on waist. Take three- forward-downward going towards left step turn right starting right, close left foot sideward with force, as if cutting the tubó in with the right. the left hand.  Execute walking steps forward. Knees are  Step left foot sideward, bring is pading over slightly turned–out and bent. Hold one end the left shoulder, step right foot forward, of tubó with the right hand, left hand as if extend right arm diagonally forward as if holding the rope attached to the carabao. cutting the tubó leaves on the left hand. The other end of tubo is diagonally pointing Bend trunk slightly forward towards the ground  Karga (Carrying / Loading the Sugarcane).  Pamatdan (Sharpening the ends of Step right foot sideward, lean trunk forward sugarcane). Step right diagonally forward, and lift binugkos with both hands, trunk hold tubó with the left hand and sang got erect and bring binugkos over the right with the right hand. Bring right forearm shoulder. Take four skip steps forward across the body with right fist almost starting right foot. Turn right about; take touching the left shoulder with the right four walking steps starting right foot. Bend backhand facing front, execute a chopping trunk slightly forward. With feet apart, place action with the right hand as if cutting the binugkos on the ground. Bend trunk patdanon your left hand, step left close to backward with hands at the back, presume right, extend the right arm diagonally as if the back is aching. forward-downward going towards the  Orit (Breaktime) sideward right.  Girl Part: Starting with R foot, take eight  Pananom (Planting the Sugarcane Points). skip-steps forward going to partner’s place. Stand with feet apart, step right foot forward Hold tubó at one end with both hands and and presume to hold the patdan on the right place it over the right shoulder with hand, bend trunk forward and execute pinutosngabalon attached to another end. planting motion of the patdan with the right Hang Kalò at the back of the neck. Starting hand. Cover the planted patdan with soil with the right foot, take two change steps using left hand and repeat the same forward. Hold pinutosngabalon with both movement with the right hand. hands and swing it right and left alternately.  Pag-abono (Putting Fertilizers in the Soil) Two-step turn right in place, hands hold pinutosngabalon in front of the chest. Raise  Was-ag (Means of scattering the fertilizer heels, raise pinutos diagonally forward- over the soil). Step right forward, right upward, heels down, finish with feet apart hand presumes the action as if taking out the and slightly bent knees. abono from sabakan in front of the waist while the left hand supports the right hand  Boy Part: Take sixteen change steps, right to avoid abono from spilling, slightly raise and left alternately, closely following the left foot forward, extend right hand Girl, running after the balon while rubbing diagonally forward as if spreading the the belly and sometimes catches the Girl's abono. Knees and trunk are slightly bent skirt. Finish behind the Girl facing the forward. audience. Four small hops with right foot to the sideward right. Circle arm right and left  Panagad (Dropping the fertilizer on the hole alternately, while trying to reach the pinutos with the use of tagâd). Step right diagonally from the Girl. forward and bend trunk, presume to dig with the right hand to produce a hole on the  Both boy and girl imitate the movement of a ground approximately one foot away from person when eating and drinking water. the right foot. Presume to drop abono from  Sunloganay/Dugsinganay (Teasing and the hole with the left hand. Execute half- Courting). Partners push and pull each other circle movement with your left foot going while trying to grab the pinutosngabalon in outward to inward as if covering abono with any direction. The Girl stumbles at times. soil.  Partners facing each other. Hold tubó  Tapas (Cutting/harvesting the sugarcane). horizontally with both hands; right hand Step left foot diagonally forward, right arm against the left hand of the partner at one high holding is pading, cross right foot in end and another right and left hands at the

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other end with pinutosngabalon. Take analyses rather than superficial interpretations of running steps clockwise while pulling each the emotional, sociological, physical, other. psychological and environmental dimensions of creating the dance movements. At this point, the DESCRIPTION theory of art for art sake or mere base-less Dance is an emblem of cultural identity that creation of beautiful movement combinations helps us recognize ourselves and other nations would become secondary while communicative since it expresses the sentiments and reveals the interpretation in dance movement takes the mores and ethos of the world. Congruently, upper edge. This paper, therefore, introduces Gabao (2007) also said, to comprehend dance is the idea of contextualizing popular Negrenses to open oneself to the culture from which it street dancing festivals on the island of Negros springs and from disentangling the web of such Occidental. culture to relate to people. The propagation of Majority of the people means of living in several local dance festivals in Negros Island is Negros Island is dominated with farming in the very apparent and almost all facets of life are sugarcane field. Thus, it cannot be denied that often celebrated with a community dance most local dance festivals are inspired by this festival. Thus, this undertaking has encouraged popular way of life among Negrenses. However, other nearby cities and municipalities to create it is sad to note that most of these dances are their version of a local dance festival. superficially done which do not exactly mirror Examining closely, most of the dance the true character of the Negrenses. It movements found among local dance festivals incompletely disintegrates the very heart of in the island nowadays are perfectly combined what is the way of life of these farm workers. It with various body movements, nice ingenuity in is on this premise that these Festival dances its creative expression and aesthetically should be corrected and should undergo the attractive use of varied costumes, huge sets, process of contextualization, to rightfully retell props, and backdrops. All of these magical and the history of mamumugons (sugarcane spectacular elements and qualities found in the plantation workers) to the current generation. festival dances have reduced its context to just Therefore, correct costumes, dance implements, mere entertainment. music/rhythm, and movement patterns should These myopic understanding and interpretation encapsulate the true character of the story of festival dances have been a great concern through a festival dance. among dance professionals, teachers, and other The pattern of work at the sugarcane plantation enthusiasts, thereby motivating neophytes’ and other related activities were found to be dance trainers to redress their perceptions in potentially effective medium through which seeing festival dances as a communicative, these movement patterns could be extracted educative, informative yet entertaining tool by from are: pag-arado (tilling the land ) , pananum giving it a contextualize interpretation – base on (planting), pag-abono (applying fertilizers), its theme, form, pattern, and style. panapas (cutting/ harvesting), pamatdan (cutting Additionally, it was also observed that most sugarcane ends) pangkarga (loading the festival dances if meticulously analyzed its sugarcane), orit (break time) and dugsing themes would vary from religious practices, (teasing). Moreover, the use of right and belief systems, economic way of life, legend appropriate costuming and dance implements based, old-aged practices which showcases to could also complement with a more informative celebrate the struggles and triumphs of its and contextualized festival dance presentation. people, these themes like these would require To contextualize means to put into context of a deeper understanding among choreographers situation and it, therefore, does not mean and other dance enthusiasts and should be changing the original meaning of a statement. rooted in its context, more so with the themes In the case of contextualizing the indigenous that are indigenous in nature. Philips dance movement, it simply means presenting the (2009)upholds that the indigenous dance which communicating an interpretative potency of the was passed down by each clan’s beliefs and dance movement either to mirror the society, history long before they are written are a vital send up the society or to encourage the ruling element of the oral history of each tribal and the ruled in the society. Contextualization community. Having all of these facts in mind, helps in bringing to bear the in-depth analysis of it necessitates among choreographers and dance any given performance beyond its superficial teachers to unearth and dig deeper on their level, it is at this point one can understand what

International Journal of Research in Humanities and Social Studies V6 ● I10 ● 2019 9 Contextualizing Local Dance Festival on the Lifestyle of Negrense Sugarcane Plantation Workers gave rise to the dance and what is the bases of of the movement. The cultural sacredness in its communicative and interpretation potency some indigenous dance movements (Akas 2014). Also, Akas (2014) also stressed differentiates the full initiates from non-initiates that in the contextualization of any given and makes them superior. Occupation- The performance especially in dance, the results of people's occupation also affects their style, its analysis and interpretation may vary in form, form, and pattern of dancing. It is from the style, pattern, and aesthetics, but will always various indigenous dance style or movement maintain the required meaning according to the that people can differentiate where each community or society that owns it. indigenous dance performance emerge from. Contextualization helps to communicate the The occupation of a particular community innermost intending message, opinion, and view clarifies what gave rise to its dance movement of a choreographer before, during and after and also it automatically aids in exposing the choreographing a dance movement For instance, sociological potency behind the creation of that in choreographing indigenous dance movements, particular dance movement. The non- indigenes the choreographer does not choreograph in are not thrilled with the energetic dance abstraction rather every detail of his/her movements; they are also presented with the choreographic movement will interpretatively community occupational cultural identification. zero-in into centers on the community myth, Folklore -Serves as an important tool in creating cosmology and religious belief system. indigenes dance movements. Some of the Some elements in the contextualization of indigenous dance movement when indigenous dance movement stand requisite. contextualizes are reenacting the popular They are highly essential because of its folklore stories into dance movements. The guidelines, people's perception, understanding, reenacting of folklore into serious dance and interpretation while watching a dance movements presents it as a didactic tool in the performance. It is those required elements that lives of the indigenes. This study of the state categorically the essence of indigenous contextualization of festival dances on the dance beyond aesthetics, chanting and stylized lifestyle of the Negrense plantation workers may movement into a serious communicative tool. fall under occupation and folklore elements for The indigenes at this point not only appreciate cultural identification. Sugarcane farming being the dance and its well choreographic styles as referred as one of the Negrenses’ occupations their source of cultural identification rather which exposes the society’s way of life in the these 4Ws of what, why, where and when will field and folklore in the sense that, since time be more clarified to them towards the existences immemorial Negrense had been known as the of dance. Those elements are mythology, Philippines number one sugar producer in the cultural sacredness, occupation, folklore: country. Thus, the countless number of Mythology - People’s belief system always sugarcane fields that carpeted the island has in- affects the indigenous dance movement, as their stored a lot of stories to tell which could be used belief system differs both in thought and action for contextualization for the future generation to so is their dance movements. Some of the see and experience. All of these had been a vital mythological essence in indigenous movement part of the peoples' customs and traditions. is believed to be unchangeable. It is believed Hriesik (2017) emphasized, that that it is such mythology both in their dance, contextualization and embodiment are two costumes, feeding, and worship that makes them opposite forces in dance practice. The first what they are today. And once such uttered, contextualization, puts the individual or given they automatically lose their identity and favors problem in the wider context, relates dancer and from their ancestral fathers. dance material within his generation, within Cultural Sacredness- Some indigenous dance time and space, relates him to his environment, movements are not meant for everybody, not of social conditions, current themes and eventually any aesthetics and strictly out of binding for the audience. It generalizes the second – the non-indigenes. When such dance movements embodiment – is a process of selection, filling are been performed it is strictly to actualizes its the concrete body with chosen impulses, ideal purpose. At this point, the dance tendencies, themes, techniques – internalizing movement becomes strictly for the initiates who them, personalizing. Based on the numerous are well trained in the choreographic movement ideas that were presented, as a researcher it and how to interpret the communicative potency could be surmised that, the conceptualization

10 International Journal of Research in Humanities and Social Studies V6 ● I10 ● 2019 Contextualizing Local Dance Festival on the Lifestyle of Negrense Sugarcane Plantation Workers and creation of new festivals in many parts of ACKNOWLEDGMENT the province, regions and maybe in the national Thank you very much to these two reputable scene should need a careful understanding and and great institutions for making this academic should be viewed in its context, be embraced by journey possible; Philippine Normal University the society though it has varied forms and styles, Systems and to the Universitas Negeri Jakarta, it should be grounded on one common context. Indonesia. My gratitude also goes to Eliseo P. Since festival dances are community dances Marpa and Aina C. Radan who shared great therefore, these dances should be rooted from its contributions to the accomplishment of this people from different walks of life. noble endeavor. It is also a must that there should be one REFERENCES common understanding of the dance in terms of its background context, terminologies, and [1] Akas, N. C. (2014). The Contextualization of movement vocabularies. Considering the case Indigenous Dance Movement: A Critical of the Negrense local dance festival which were Appraisal on Tatasoso Dance Performance. contextualized based on its sugarcane workers’ Retrieved March 20, 2019, from Research on Humanities and Social Sciences: https://iiste. lifestyle, the people in the community could org/Journals/index.php/RHSS/article/view/15774 relate and interact if collaborative efforts were at [2] Gabao, Larry. Dance with Me. Philippines first considered in crafting the dance festival, Normal University Press. 2007 this, in turn, would develop that social responsiveness and accountability to every [3] Henry, K. The Sociology of African Dancing South Africa. South African University Press.2008. member of the community because they believed that they are part of the dance festivals. [4] Hriesik, Maja. 2017. "Rooting the unrooted - contextualization and embodiment in dance These festivals will speak for them, the stories dramaturgy." Academia. November 17. of their past (hindsight), the kind of life they Accessed March 20, 2019. https://www. have at present (insights) and how they see academia.edu/37257234/Rooting_the_ themselves in the future (foresight). The dance unrooted_-_contextualization_ embodiment_ festivals, therefore, should reflect the dynamics dance_dramaturgy. and complexity of their physical, emotional, [5] Philips, R.. The History of Dance and Music philosophical, psychological, social, Indiana. Indiana University Press.2009. environmental and spiritual life. [6] About Negros Occidental. (2017).,from Provincial Government of Negros Occidental, CONCLUSION Philippines:www.negros-occ.gov.ph (Retrieved The above-identified contextualized dance September 19, 2018) movements can be repeated several times as [7] Bayog, O. (2017, August 30). The Sugar desired based on the required duration of the Industry at a Glance., from Negros Daily presentation. The counting of steps and the Bulletin: http://www.ndb-online.com/ august manner execution can be adjusted based on the 3017/sugar-industry-glance.(Retrieved September 27, 2018). rhythmic pattern which will be used as an accompaniment for dance. Conclusively, [8] Dance Equipment. (2018, September 13)., from https://dance.lovetoknow.com/Category: Dance differences in terms of how each choreographer _Equipment. (Retrieved March 25, 2019). analyze and understand this piece of dance literature are expected. While it is true and we [9] Estonica Encyclopedia. (n.d.)., from www. estonica.org/en/culture/traditional_folk-culture/ highly acknowledged that our level of Folk_costume. (Retrieved September 13, 2018). appreciations is at times not congruent from [10] Food and Agricultural Organization of the each other which resulted in an array of United Nations. (2013, May 31)., from interpretations. Let us remain to be mindful that http://www.fao.org/es/ess/top/commodity.html no matter how near or far we deviate from each ?lang=en&item=156&year=2005(Retrieved other's concepts, we must not forget to stay September 27, 2018). grounded on one common context. Moreover, [11] Henry, K. The Sociology of African Dancing festival dances may be indigenous or not, it South Africa. South African University Press. must go beyond the mere combination of 2008 aesthetic movements but rather should remain [12] Negros First! Economic Development. (2018, educative, informative and entertaining tool September 25). Retrieved from Provincial before a group of audience and the society at Government of Negros Occidental: http:// large across time and age. www.negros-occ.gov.ph/development-agenda/

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negros-first-development-agenda/negros-first- [15] Sugar Regulatory Administration. (2013, May economic-development 31)., from http://www.sra.gov.ph/historical- [13] Negros Island. (2017). Retrieved March 20, statistics(Retrieved September 27, 2018). 2019, from Wikipedia The Free encyclopedia: [16] Yan, G. (2018, January 14). Sweet dreams are https://en. wikipedia.org/wiki/Negros_Island made of this., from Philippine Daily Inquirer: [14] Philips, R. The History of Dance and Music https://business.inquirer.net/244063/sweet-drea Indiana. Indiana University Press. 2009 ms-made.(Retrieved March 25, 2019).

Citation: Randyll V. Villones, “Contextualizing Local Dance Festival on the Lifestyle of Negrense Sugarcane Plantation Workers”. (2019). International Journal of Research in Humanities and Social Studies, 6(10), pp.1-12 Copyright: © 2019 Randyll V. Villones. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

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