Schedule
Nov. 28, 2024 | 10:30 AM–12:00 PM
Room
Rm 5, Emerald-Citrine
Moderator
TBA
D5.1
Performing Authenticity: Probing the Culture of Tourism in the Kaamulan Festival through its Jargons of Authenticity and Performance Environment
Neil Arkhe P. Azcuna
Mindanao State University-Iligan Institute of Technology
The Kaamulan Festival in the Province of Bukidnon, Philippines is an annual cultural festival that has been aggressively marketed as the only “authentic” cultural festival in the country by its local tourism industry where it is believed to have contributed to the “preservation” of the culture and traditional practices of the province’s seven (7) indigenous tribes namely the Bukidnon, Higaonon, Talaandig, Manobo, Matigsalug, Tigwahanon and Umayamnon. Zeroing in on the festival’s “cultural” performances, particularly the street dance as the highlight of the festival, this paper probes into the festival’s jargon of authenticity by analyzing the semiotics of its performance environment in both synchronic and diachronic manner and drawing out the practices and culture of tourism in the province using theories of representation and performance studies approach. This paper also examines the assertion of this cultural “authenticity” within the broader frame of Bukidnon’s sociocultural identities and how it is used as power by institutions and the tourism economy that demands it.
D5.2
Finding the Filipino Amidst the Pageantry: The Kneeling Carabao Festival of Pulilan, Bulacan
Alicia C. Esguerra
Bulacan State University and University of the Philippines Diliman
Two towns in the Philippines are known for celebrating the feast day of San Isidro with fanfare and pomp, and which features the lowly beast of burden, the carabao. The first is Lucban, a town in Quezon in Southern Luzon, and the other is Pulilan, in the province of Bulacan, Central Luzon. Both town fiestas are thanksgiving festivals in honor of the patron saint of farmers, San Isidro Labrador during his feast day which is celebrated every 15th of May every year.
Hagiography and festivals are foreign concepts brought by Spanish missionaries in their attempt to “evangelize” the natives and make them subjects of Spain’s colonial imperialism. The purpose of this paper is to interrogate hagiography and festivals as hegemonic tools employed by the Spanish religious orders to propagate Roman Catholicism in the Philippines, and how Filipinos reacted to such foreign ideology. Using the Kneeling Carabao Festival in Pulilan, Bulacan as a case study and lens, the researcher aims to locate indigenous Filipino identity embedded in the festival. This study is informed by Reinhard Wendt’s cultural self-determination framework. The Kneeling Carabao Festival of Pulilan, Bulacan is a fusion of pre-colonial and colonial ideology that is evident until now. Through the analysis of this festival, the author tried to locate the Filipinos with the hope of taking pride in the dynamic participation of our forebears in the cultural and spiritual development of our nation and our people.
D5.3
Project “Hala Bira!”: Community Narratives, Identity Construction, and the Dinagyang Festival
Cyril John M. Galanza
West Visayas State University
Every fourth Sunday of January, the City of Iloilo in the Philippines explodes with the vibrant Dinagyang Festival. Named after the Hiligaynon term for joy—dagyang—this celebration honors both the Holy Child Jesus and the Ati communities, which are said to be the first settlers of Panay Island, through lively performances, rituals, and community gatherings. This paper delves into the enigmatic chant “Hala Bira” (keep going or dispense all means), and its connection to the evolving portrayal of the Ati within the festival’s narratives. Utilizing oral ethnography and phenomenological approaches, the research explores narratives surrounding Ati’s presence and how it shapes Ilonggos’ identity. Analyzing historical and cultural contexts, contemporary interpretations, and the symbolic meanings associated with the Ati, the study investigates how these narratives influence identity formation and shared awareness among the Ilonggo people. It argues that the portrayal of the Ati people presents a complex dynamic. While some Ilonggo community members admire the (re)presentation, others express concerns about potential marginalization. The festival’s portrayal showcases multiple themes – foundation, faith, and future. A critical gap exists in understanding how the evolving material aspects – costumes, props, and performances – influence how the Ati are perceived by the community. Ultimately, this research aims to illuminate the Dinagyang Festival as a platform for cultural negotiation. Here, the Ilonggo community and the Ati people engage in a dynamic exchange that shapes their collective identity and cultural consciousness. This ongoing exchange, I argue, is central to understanding the festival’s significance.