Breakdance

Breakdance (media coined phrase), also known as breaking, b-girling or b-boying, is a

street dance style that evolved as part of the hip hop movement that originated among

African American and Latin American youths in the South Bronx of New York City during

the early 1970s. It is arguably the best known of all hip hop dance styles. A breakdancer is

also known as a breaker, and B-boy.

Break dancing is largely improvisational, without “standard” moves or steps. The emphasis

is on energy, movement, creativity, and an element of danger. It is meant to convey the

rough world of the street gangs from which it sprang. It is also associated with a particular

style of dress that includes baggy pants or sweat suits, baseball caps worn sideways or

backward, and sneakers (required because of the dangerous nature of many of the moves).

The term break refers to the particular rhythms and sounds produced by deejays by mixing

sounds from records to produce a continuous dancing beat. The technique was pioneered

by DJ Kool Herc (Clive Campbell), a Jamaican deejay in New York who mixed the percussion

breaks from two identical records. By playing the breaks repeatedly and switching from

one record to the other, Kool Herc created what he called “cutting breaks.” During his live

performances at New York dance clubs, Kool Herc would shout, “B-boys go down!”—the

signal for dancers to perform the gymnastic moves that are the hallmark of break dancing.

From those early roots, break-dancers began to add different moves to their routines, such

as “pops” and “locks,” which brought a robotic quality to the dance. That style was

popularized in the early 1970s by artists, including Charlie Robot, who appeared on the

popular Soul Train television program. Disco dancers began to emulate those moves, which

then entered the mainstream disco culture. At that time, however, break dancing and

the hip-hop culture from which it emerged were still associated with crime and gang

violence.

Popular speculations of the early 1980s suggest that breakdancing, in its organized fashion

seen today, began as a method for rival gangs of the ghetto to mediate and settle territorial

disputes. In a turn-based showcase of dance routines, the winning side was determined by

the dancer(s) who could outperform the other by displaying a set of more complicated and
innovative moves.

It later was through the highly energetic performances of the late funk legend James Brown

and the rapid growth of dance teams, like the Rock Steady Crew of New York City, that the

competitive ritual of gang warfare evolved into a pop-culture phenomenon receiving

massive media attention. Parties, disco clubs, talent shows, and other public events became

typical locations for breakdancers, including gang members for whom dancing served as a

positive diversion from the threats of city life.

Though its intense popularity eventually faded in the 1980s, breakdancing persists as a

mainstream phenomenon, maintaining exposure through often comical portrayals in

commercials, movies, and the media. Breakdancing remains an enjoyable pastime for

enthusiasts and, for a few, a serious competitive dance where annual exhibitions and

competitions of all levels take place.

The dance

A basic routine might include toprock, a transition into downrock, also known as

footwork, a display of power moves, and finally a climactic freeze or suicide.

Toprock refers to any string of steps performed from a standing position, relying

upon a mixture of coordination, flexibility, style, and most importantly, rhythm. It is

usually the first and foremost opening display of style, and it serves as a warm-up for

transitions into more acrobatic maneuvers. In contrast, downrock includes all

footwork performed on the floor as in the 6-step. Downrock is normally performed

with the hands and feet on the floor. In downrock, the breakdancer displays his or

her proficiency with foot speed and control by performing footwork combinations.

These combinations usually transition into more athletic moves known as power

moves.

Power moves refer to moves that require momentum and physical power to execute.

In power moves, the breakdancer relies more on upper body strength to dance, using

his or her hands to do moves. Power moves include windmill, swipes, headspins,

flare, and airflare. Because power moves are physically demanding, breakdancers use

them as a display of upper body strength and stamina. Many moves are borrowed
from gymnastics, such as the flare, and martial arts, with impressive acrobatics such

as the butterfly kick.

The more difficult freezes require the breakdancer to suspend himself or herself off

the ground using upper body strength, in poses such as the handstand or pike.

Whereas freezing refers to a single pose, locking entails sharp transitions between a

series of freezes.

Suicides are another type of move to end to a routine. Breakers will make it appear

that they have lost control and fall onto their backs, stomachs, etc. The more painful

the Suicide appears, the more impressive it is, but breakdancers execute them in a

way to minimize pain. In contrast to Freezes, Suicides draw attention to the motion

of falling or losing control, while Freezes draw attention to the final position.

"Battles" refer to any level of competition in which breakdancers in an open space

(typically a circle or square) participate in quick-paced, turn-based routines, whether

improvised or planned. Participants vary in number, ranging from head-to-head

duels to battles of opposing breakdance crews, or teams. Winners are determined by

the side exhibiting the most proficient combinations of moves. "Cyphers," on the

other hand, are open-forum, mock exhibitions where competition is less emphasized.

In pop culture

Since its inception, breakdancing has provided a youth culture constructive

alternative to violent urban street gangs. Today, breakdancing culture is a

remarkable discipline somewhere in-between those of dancers and athletes. Since

acceptance and involvement centers on dance skills, breakdancing culture is usually

free of the common race, gender and age boundaries of a subculture and has been

accepted worldwide.

The world scene

Social interaction centers on practice and performance, which are occasionally

intertwined because of its improvisational style. While featured at dance schools,

breakdancing is very difficult, typically taught to newbies, or beginners, by more

experienced breakdancers and passed on to new generations by informal word-of-

mouth. Clubs and hip-hop schools do exist, but are rare in number and more so in

organization.

Music

As the clichéd quote "break to the beat" insists, music is a staple ingredient for

breakdancing. The original songs that popularized the dance form borrow

significantly from progressive genres of jazz, soul, funk, electro or electro funk, disco,

and R&B. (See 1970s and 1980s). The most common feature of breakdance music

exists in breaks, or compilations formed from samples taken from different songs

which are then looped and chained together by the DJ. The tempo generally ranges

between 110 and 135 beats-per-minute with shuffled sixteenth and quarter beats in

the percussive pattern. History credits Kool DJ Herc for the invention of this concept,

later termed breakbeat.

The musical selection is not restricted to hip-hop as long as the tempo and beat

pattern conditions are met. It can be readily adapted to different music genres (often

with the aid of remixing). World competitions have seen the unexpected

progressions and applications of heavily European electronica, and even opera.

Dance elements

There are four primary elements that form breakdancing. They are toprock,

downrock, power moves, and freezes.

Toprock generally refers to any string of steps performed from a standing position. It

is usually the first and foremost opening display of style, though dancers often

transition from other aspects of breakdancing to toprock and back. Toprock has a

variety of steps which can each be varied according to the dancer's expression (i.e.

aggressive, calm, excited). A great deal of freedom is allowed in the definition of

toprock: as long as the dancer maintains cleanliness, form, and attitude, theoretically

anything can be toprock. Toprock can draw upon many other dance styles such

as popping, locking, tap dance, Lindy hop, or house dance. Transitions from toprock

to downrock and power moves are called "drops".

Downrock (also known as "footwork" or "floorwork") is used to describe any

movement on the floor with the hands supporting the dancer as much as the feet.

Downrock includes moves such as the foundational 6-step, and its variants such as

the 3-step. The most basic of downrock is done entirely on feet and hands but more

complex variations can involve the knees when threading limbs through each other

Power moves are acrobatic moves that require momentum, speed, endurance,

strength, flexibility, and control to execute. The breaker is generally supported by his

upper body while the rest of his body creates circular momentum. Some examples

are the windmill, swipe, back spin, and head spin. Some power moves are borrowed

from gymnastics and martial arts. An example of a power move taken from

gymnastics is the Thomas Flair which is shortened and spelled flare in b-boying.

Freezes are stylish poses that require the breaker to suspend himself or herself off

the ground using upper body strength in poses such as the pike. They are used to

emphasize strong beats in the music and often signal the end of a set. Freezes can be

linked into chains or "stacks" where breakers go from freeze to freeze to freeze in

order to hit the beats of the music which displays musicality and physical strength.

Styles

Although there are some generalities in the styles that exist, many dancers combine

elements of different styles with their own ideas and knowledge in order to create a

unique style of their own. Breakers can therefore be categorized into a broad style

which generally showcases the same types of techniques.

 Power: This style is what most members of the general public associate with the

term "breakdancing". Power moves comprise full-body spins and rotations that

give the illusion of defying gravity. Examples of power moves include head spins,

back spins, windmills, flares, air tracks/air flares, 1990s, 2000s, jackhammers,

crickets, turtles, hand glides, halos, and elbow spins. Those breakers who use

"power moves" almost exclusively in their sets are referred to as "power heads".

 Abstract: A very broad style which may include the incorporation of "threading"

footwork, freestyle movement to hit beats, house dance, and "circus" styles

(tricks, contortion, etc.).

 Blow-up: A style which focuses on the "wow factor" of certain power moves,

freezes, and circus styles. Blowups consist of performing a sequence of as many

difficult trick combinations in as quick succession as possible in order to "smack"

or exceed the virtuosity of the other breaker's performance. The names of some

of these moves are air baby, hollow backs, solar eclipse, and reverse air baby,

among others. The main goal in blow-up style is the rapid transition through a

sequence of power moves ending in a skillful freeze or "suicide". Like freezes, a

suicide is used to emphasize a strong beat in the music and signal the end to a

routine. While freezes draw attention to a controlled final position, suicides

draw attention to the motion of falling or losing control. B-boys or b-girls will

make it appear that they have lost control and fall onto their backs, stomachs,

etc. The more painful the suicide appears, the more impressive it is, but breakers

execute them in a way to minimize pain.

 Flavor: A style that is based more on elaborate toprock, downrock, and/or

freezes. This style is focused more on the beat and musicality of the song than

having to rely on power moves only. Breakers who base their dance on "flavor"

or style are known as "style heads".

Street Jazz Dance

Often, street dance encourages dancers to interact with other dancers and even the

audience. Street jazz dance emerged from an amalgamation of modern dance styles that

were performed in nontraditional settings.

History

Street jazz dance evolved from informal dancing often done in informal settings in

nightclubs, schools and on the street. Street jazz dance was inspired by traditional dance

performed outside of professional studios.

Significance

Jazz dance, modern hip hop and funk make up street jazz dance. In fact, the hip hop and

funk dance styles that appeared on dance scenes in the 1970s inspired the development of

today’s street jazz dance.

Types

Considered by some as a sub-dance style or variation of hip hop, street jazz dance has

several forms: hip hop, jazz dance, broadway dance, breakdancing and contemporary

dance.

Features

Urban styles, such as elements of breakdance, tecktoniks, and other dance forms, are

featured in street jazz dance.

Identification

Street jazz dance can be identified by performers’ fast and intricate footwork, refined spins

and acrobatic flips and moves. Inspired by modern hip hop, street jazz dance resembles

this original street style.

Various dance forms like zumba, hip-hop and bollywood dancing have gained momentum

as dance workouts. This is because dancing not just makes up for an effective

cardiovascular exercise but it is also a fun way to learn a few moves in the bargain.

But let's not limit working out to just a few forms of dancing. Thirty minutes of dancing can

charge you up physically and mentally too. And the best part is that now you can exercise

your way to some of Michael Jackson and Madonna's famous moves too.

You can do so with a dance form is called street jazz. It is a modern-day dance style that

stems from other dance forms like hip-hop, breakdancing, funk, electronic dance etc. The

moves involved in street jazz not only work out your muscles and give you a good cardio

session but can also be used to woo someone at a club. Here are some other fitness benefits

of a street jazz workout.

Improves stamina

Street jazz includes a range of energetic body movements that really work out your

muscles. Such energetic and regular workouts will greatly improve your stamina over time.

Boosts heart health

A 30 minute session of street jazz can really break a sweat. This cardiovascular workout

improves circulation, thus boosting your heart health.

Improves flexibility of hands, feet and joints

Street jazz calls for the use of your hands, feet and leg joints to support your body weight

during the dance. Such a routine when done regularly will surely increase and improve

flexibility.

Aids self-confidence

A dance like street jazz cannot go unnoticed. Once you begin to rain down a few moves,

they will be surely appreciated. This will increase your self-confidence considerably

Popping

Popping is a street dance and one of the original funk styles that came

from Fresno, California during the late 1960s–1970s. The dance is based on the technique

of quickly contracting and relaxing muscles to cause a jerk in the dancer's body, referred to

as a pop or a hit. This is done continuously to the rhythm of a song in combination with

various movements and poses.

Closely related illusory dance styles and techniques are often integrated into popping to

create a more varied performance. These dance styles include the robot, waving and

tutting. However, popping is distinct from breaking and locking, with which it is often

confused. A popping dancer is commonly referred to as a popper.

In the 1960’s during the music revolution with all the changes in the music business a

dance called “The Robot” was created from dancers influenced from watching movies with

Robots. This dance was made famous from a dancer named Bill “The Robot” Williams of the

Lockers crew. It was a part of the dance called Locking at the time.

In the mid 70’s in Fresno California a young dancer named Sam Solomon created a dance

called Electric Boogaloo. Today this dance is called Boug Style Popping and was perfected

from him and his brother Pete (Later on known as Popping Pete) and later on moves were

added from the rest of the members of Sam’s crew (The Electric Boogaloos). Sam thought

that he had created a new style of Locking from watching the Lockers on a T.V show called

Soul Train and inspired by Bill “The Robot”. He even named his 1st crew “Electric Boogaloo

Lockers”.

The name Boogaloo actually means dance and Sam heard his uncle one day saying “Yeah

Boy! Do that Boogaloo!” After that Sam was known as Boogaloo Sam and the crew as
Electric Boogaloos. Boogaloo is characterized by fluidity use of every part of the body,

rolling the hips, knees and head. The style is a combination of “The Robot” and the smooth

isolations of mime.

The best way to describe the movement of popping would be to imagine a force of energy

going through the body causing it to move like a wave. This style is difficult to manage at

the technical level as it requiring command of isolations, a perfect knowledge of the body,

and a good sense of the rhythm with major use of counter-tempo. The style demands

continuous contraction of the muscles to the beat to give a jerky/snapping effect – a bouncy

style.

As one of the earliest funk styles, popping is closely related to hip hop dancing. It is often

performed in battles, where participants try to outperform each other in front of a crowd,

giving room for improvisation and freestyle moves that are seldom seen in shows and

performances, such as interaction with other dancers and spectators. Popping and related

styles such as waving and tutting have also been incorporated into the electronica dance

scene to some extent, influencing new styles such as liquid and digits and turfing.

Terminology

As stated earlier, popping has become an umbrella term for a group of closely related

styles and techniques that have often been combined or danced together with

popping, some of which are seldom seen outside of popping contexts.

Characteristics

Popping is centered around the technique of popping, which means to quickly

contract and relax muscles to create a jerking effect (a pop or hit) in the body.

Popping can be concentrated to specific body parts, creating variants such as arm

pops, leg pops, chest pops and neck pops.

Music

Having its roots in the late 1970s funk era, popping is commonly danced

to funk and disco music. Popular artists include Zapp, Dayton, Dazz Band and Cameo.

During the 1980s, many poppers also utilized electro music, with artists such

as Kraftwerk, Yellow Magic Orchestra, Egyptian Lover and World Class Wrecking
Crew. More mainstream hip hop music was also employed by poppers during the

1980s, including Afrika Bambaataa, Kurtis Blow, Whodini and Run DMC. Today, it is

common to see popping danced to more current music genres such as modern hip

hop (often abstract/instrumental hip hop) and various forms of electronic dance

music such as dubstep.

Songs that are generally favored have a straight and steady beat at around 90-

120 beats per minute, a 4/4 time signature and a strong emphasis on the back beat,

normally by a snare drum or a drum machine. The pops performed by the popper

normally occur on every beat or on the distinct back beats. The popper can also

choose to follow the music more freely such as by timing the pops to the rhythm of

a melody or other rhythmic elements.

Variations

A street dancer doing the backslide or "moonwalk", a common move in the floating

style often seen combined with popping.

There are a number of dance styles that are commonly mixed with popping to

enhance the dancer's performance and create a more varied show, many of which are

seldom seen outside of popping contexts. They can be seen as separate styles related

to popping or as a part of popping when using it as an umbrella term.

Animation

A style and a technique where you imitate film characters being animated

by stop motion. The technique of moving rigidly and jerky by tensing muscles

and using techniques similar to strobing and the robot makes it appear as if

the dancer has been animated frame by frame. Walt Disney was the first to

use this term, referring to his character Steam Boat Willie’s motions as “the

animation dance” in 1929. This style was heavily inspired by

the dynamation films created by Ray Harryhausen, such as The Seventh

Voyage of Sinbad (1958).

Animatronics

A style that imitates animatronic robots. Related to the robot style, but adds
a hit or bounce at the end of each movement.

Boogaloo

Boogaloo or boog style is a loose and fluid dance style trying to give the

impression of a body lacking bones, partly inspired by animated movies

and cartoons. It utilizes circular rolls of various body parts, such as the hips,

knees and head, as well as isolation and sectioning, like separating the rib

cage from the hip. It also makes heavy use of angles and various steps and

transitions to get from one spot to the next. It was developed in 1975 by

Boogaloo Sam. In the original boogaloo you do not pop, but combined with

popping it becomes the electric boogaloo, the signature style of The Electric

Boogaloos (the dance crew).

Bopping

A style of popping in which the chest is isolated by being pushed out and

brought back while flexing the chest muscles. As this movement is performed

to the beat the popper can incorporate different moves in between the chest

bop. When practiced the chest bop can be done at a double-time interval

adding a unique effect to the move.

Crazy legs

A leg-oriented style focusing on fast moving legs, knee rolls and twisting feet.

Developed in 1980-81 by Popin' Pete, originally inspired by the fast and

agitated style of breaking by Crazy Legs from Rock Steady Crew.

Dime stopping

A technique of moving at a steady pace and then abruptly coming to a halt, as

if attempting to stop on a dime or freeze in a moment of time. This is often

combined with a pop at the beginning and/or end of the movement.

Gliding (also called Floating or Sliding)

A set of footwork-oriented techniques that attempt to create the illusion that

the dancer's body is floating smoothly across the floor, or that the legs are

walking while the dancer travels in unexpected directions. This style

encompasses moves such as the backslide, aka the moonwalk, which was

made famous by Michael Jackson.

Lowrider

A ground move where the dancer imitates a lowrider car. The dancer drops

to the ground with his/her knees inward (reverse indian style) and feet

outward. He or she would move up, down, and around imitating the

hydraulic movements of a lowrider auto.

Miming

Performing techniques of traditional miming to the beat of a song. Most

commonly practiced are various movements with the hands as if one could

hold on to air and pull their body in any possibly direction. Miming can also

be used to allow a popper to tell a story through his or her dance. This style is

often used in battles to show the opponent how they can defeat them.

Puppet

A style imitating a puppet or marionette tied to strings. Normally performed

alone or with a partner acting as the puppet master pulling the strings.

Robot/botting

A style imitating a robot or mannequin.

Scarecrow

A style imitating the scarecrow character of The Wizard of Oz. This style is

supposedly pioneered by Boogaloo Sam in 1977. Focuses on outstretched

arms and rigid poses contrasted with loose hands and legs.

Strobing

A style of popping that gives the impression that the dancer is moving within

a strobe light. To produce this effect, a dancer will take any ordinary

movement (such as waving hello to someone) in conjunction with quick,

short stop-and-go movements to make a strobing motion. Mastering strobing

requires perfect timing and distance between each movement.

Strutting
Strutting is a dance style originating out of the City of San Francisco, CA in the

1970s. Distinctions of this style include the execution of angular arm, leg, and

body movements while stepping to the beat in any direction. Strutting

routines are often performed in groups, with 2 or more members lined up

side to side. Classic examples of strutting can be seen from members of the

dance group Playboyz Inc. such as "Money B."

Ticking

A way of popping where the dancer pops at smaller intervals, generally twice

as fast as normal.

Toyman

Based on action figures such as G.I. Joe and Major Matt Mason, developed by

an old member of the Electric Boogaloos called Toyman Skeet. Goes between

straight arms and right angles to simulate limited joint movement.

Tutting/King Tut

Inspired by the art of Ancient Egypt (the name derived from the Egyptian

pharaoh Tutankhamun, colloquially known as "King Tut"), tutting exploits

the body's ability to create geometric positions (such as boxes) and

movements, predominantly with the use of right angles. It generally focuses

on the arms and hands, and includes sub-styles such as finger tutting.

Waving

Waving is composed of a series of fluid movements that give the appearance

that a wave is traveling through the dancer's body. It is often mixed with

liquid dancing.

Isolation

A dance technique that consists of separating, or isolating the movement of

one or more body parts from the rest of the body. One common type of

isolation performed by poppers is the head isolation, in which they seem to

take their head out of place from the rest of their body and move it back in

creative ways.
Locking

Locking is a style of funk dance, which is today also associated with hip hop. The name is

based on the concept of locking movements, which basically means freezing from a fast

movement and "locking" in a certain position, holding that position for a short while and

then continuing in the same speed as before. It relies on fast and distinct arm and hand

movements combined with more relaxed hips and legs. The movements are generally large

and exaggerated, and often very rhythmic and tightly synced with the music. Locking is

quite performance oriented, often interacting with the audience by smiling or giving them

a high five, and some moves are quite comical in nature. A dancer who performs locking is

called a locker. Lockers commonly use a distinctive dress style, such as colorful clothing

with stripes and suspenders.

Locking was originally danced to traditional funk music, such as that produced or

performed by James Brown. Funk music is still commonly favored by locking dancers, and

used by many competitions such as the locking division of Juste Debout. Locking

movements create a strong contrast towards the many fast moves that are otherwise

performed quite continuously, combined with mime style performance and acting towards

the audience and other dancers. Locking includes quite a lot of acrobatics and physically

demanding moves, such as landing on one's knees and the split. These moves often require

knee protection of some sort.

Locking (originally Campbellocking) can be traced back to the late 1960’s and was created

by Don Campbell. It is a style of funk and street dance and originally danced to traditional

funk music such as James Brown.

The name is based on the concept of locking which means freezing from a fast movement

and "locking" in a certain position, holding that position for a short while and then

continuing in the same speed as before. It relies on fast and distinct arm and hand Hip Hop

Manual movements combined with more relaxed hips and legs. The movements are

generally large and exaggerated, and often very rhythmic and tightly synced with the

music.

Locking includes quite a lot of acrobatics and physically demanding moves, such as landing
on one's knees and the split. These moves often require knee protection of some sort. Other

important stylistic features are waving of arms, pointing, walking stationary and grabbing

and rotating the cap or hat. Don Campbell created the original freezes, incorporating his

unique rhythm and adding gestures such as points and handclaps.

In the early 1970s this set off a movement of Locking dance groups, notably Campbell's

group The Lockers. Another locker called Greggery 'Campbell Jr.' Pope and others set the

foundation for locking dance and clothes style. Lockers commonly use a distinctive dress

style, such as colorful clothing with stripes, suspenders, pegged knee length pants, hats and

gloves.

Locking is quite performance oriented, often interacting with the audience by smiling or

giving them a high five, and some moves are quite comical in nature.

History

The beginning of Locking can be traced to one man, Don Campbell. In the late 1960s

he put together several fad dances adding moves of his own (known as the "Lock")

when performing. The original lock was created by accident: Campbell couldn't do a

move called the 'Funky Chicken' and stopped at a particular point whilst moving his

arms, creating a 'locking' effect.He wasn't able to perform it fluently, for he couldn't

remember which step to take next. (Even the acting towards the audience was

spontaneous: when people started laughing at Don because of his unfamiliar moves,

he responded by pointing at them.) These halts soon became popular as Don added

them into his performances. The resulting dance was called Campbellocking, which

was later shortened to Locking. In the early 1970s this set off a movement of

Locking dance groups, notably Campbell's group The Lockers. Other lockers Jimmy

"Scoo B Doo" Foster, Greggory "Campbellock Jr." Pope, Tony "GoGo" Lewis, Fred "Mr

Penguin" Berry (a.k.a. Rerun), Leo "Fluky Luke" Williamson, Damita Jo Freeman and

others also helped set the foundation for the locking dance and clothes style.

Clothes style can consist of loud striped socks, pegged pants that stopped at the

knees, bright colorful satin shirts with big collars, big colorful bow ties, gigantic

Apple Boy hats, and white gloves.

Moves

Locking may be done in solo or in unison with two or more dancers doing steps or

handshakes together. A locker may smile while performing to emphasize the

comical nature of the dance; other times, a serious demeanor will be maintained to

place emphasis on technique. Other important stylistic features are waving of arms,

pointing, walking stationary and grabbing and rotating the cap or hat. Don Campbell

created the original freezes, incorporating his unique rhythm and adding gestures

such as points and handclaps. Other dancers also adapted this style while creating

other steps and moves.

Locking is by nature an improvisational dance but also consists of a set of signature

moves of locking pioneers, However, many lockers alter or blend these with other

moves or create their own variations. In general, Lockers will often put a small

pause and move up on the second and fourth beats to emphasize the locking.

Alpha

Created by Alpha Anderson. One leg is kicked forward from a crouching

position while the upper body is leaned backwards. The upper body can be

supported by both hands or no hands at all.

Break down/Rocksteady

In the squatting position, shift the pelvis to the side, then back to the center.

Stand up, then return to the squatting position again and repeat the

movement for the other side.

Jazz split

A semi-split done with one leg bent, enabling the dancer to get up again in

one swift movement.

Whichaway

Altering twirl kicks to the sides first, starting with one leg and using the

momentum to "kick" the other out like a pendulum. The upper body remains

stationary with the arms out front.

Kick
A single powerful and high leg kick while standing on the other.

Knee Drop

A drop to the knees with the knees pointing inwards (into a W shape leg

position).

Leo Walk

A funky two step where the first step is an exaggerated step in a particular

direction. The other foot is then slid across the floor to meet the first.

Lock/Double Lock

Bending slightly forward with arms forming a circle downward, as if lifting a

heavy object.

Up Lock (Muscle man)

A macho man pose, where the arms are drawn above the shoulder. The pose

is generally held for a moment or two.

Pacing

A quick jab to the side. The wrist should be loose while the arm is tight. The

arm is lowered in between jabs.

Pimp Walk

A two step involving a small kick of one leg before bringing the other foot

beside it. As the other foot reaches the first one, there is a knee split into a "v"

shape without stepping again.

Stop and Go

Created by Jimmy "Scoo B Doo" Foster; starting with a muscle man lock, step

back with one foot and punch, do a quarter turn in the direction of the back

foot breakdown once, and then return reach-around to the same position.

Stomp the cockroach

A ground technique that involves going on one knee and smacking the

ground with your hand, indicating you are stomping something beneath you.

Scoo B Doo

Created by Jimmy "Scoo B Doo" Foster; doing a muscle man lock then doing
two separate kicks while pacing with one hand in time with the kicks

Scoo B Doo walk

Created by Jimmy "Scoo B Doo" Foster; Walking forward, lifting leg up and

bending your back towards the knee

Scoobot

Created by Jimmy "Scoo B Doo" Foster; One arm and leg out then switching to

the other leg. Leg out and arms crossed then wrist twirl andclap behind

Scoobot hop

Slightly varied from scoobot with legs hopping towards the sides then the

front.

Floor Sweep

Using your hand to swiftly move left to right on the floor, as if using a cloth to

wipe.

The Skeeter Rabbit/Skeeter Rabbit Around the World

Created by James "Skeeter Rabbit" Higgins; a kick and shuffle hop move,

either at the sides and/or front and back.

Funky Guitar

Hands positioned as if holding a guitar, and start walking backwards.

Point

A quick, extended pointing gesture coming from opposite shoulder, usually

held for a few seconds for emphasis.

Wrist Twirl

Twirling wrists while moving arms up

The Seek

Doing a breakdown whilst rolling your arms in front of you and then lifting a

hand up over your eyes as if you are looking/seeking for something

Hitch Hike

Arms up and then crossed in front of you, and then three hitchhiker thumbs

up to the right and then the left.

Sinulog Festival

SINULOG is a dance ritual in honor of the miraculous image of the Santo Nino. The dance

moves to the sound of the drums and this resembles the current (Sulog) of what was then

known as Cebu’s Pahina River. Thus, in Cebuano, they say it’s Sinulog.

More than just the meaning of the word is the significance of the dance. Historians now say

that Sinulog, which is of pagan origin, is the link between the country’s pagan past and its

Christian present. Let’s trace its history.

Historical accounts say that before Portuguese navigator Ferdinand Magellan came to Cebu

on April 7, 1521 to plant the cross on its shore and claim the country for the King of Spain,

Sinulog was already danced by the natives in honor of their wooden idols and anitos. Then

Magellan came and introduced Christianity. He gave the Santo Nino (image of the Child

Jesus) as baptismal gift to Hara Amihan, wife of Cebu’s Rajah Humabon who was later

named Queen Juana. At that time, not only the rulers were baptized but also about 800 of

their subjects. Unfortunately, however, shortly after the conversion, Magellan went into a

reckless adventure by fighting the reigning ruler of Mactan, Rajah Lapulapu, with only a

handful of men. He died in the encounter. That was on April 27, 1521.

The remnants of Magellan’s men were however able to return to Spain to report the

incident and the possibility of conquest. It took 44 years before a new group came and

started the formal Christianization of the islands. Miguel Lopez de Legaspi arrived in Cebu

on April 28, 1565. His ships bombarded the village and in one of the burning huts, one of

his soldiers named Juan Camus found inside a wooden box the image of the Santo Nino

lying side by side with native idols.

Historians now say that during the 44 years between the coming of Magellan and Legaspi,

the natives continued to dance the Sinulog. This time however, they danced it no longer to

worship their native idols but a sign of reverence to the Santo Nino which is now enshrined

at the San Agustin Church (renamed Basilica Minore del Santo Nino). Of course, through the

years since 1521, the dance was a small ritual danced by a few in front of wooden idols or

before the Santo Nino. In fact, at the Santo Nino Church where the image is consecrated,

only the candle vendors could be seen dancing the Sinulog and making offerings. During the
Santo Nino fiesta which falls on the third Sunday of January, children dressed moro-moro

costumes also dance the Sinulog. This was really no big event for Cebu City.

In 1980, however, David S. Odilao Jr., then Regional Director of the Ministry of Sports and

Youth Development (MYSD), organized the first ever Sinulog parade. He invited the

physical education teachers for a meeting to discuss the organization of a Sinulog street

dance parade. Nang Titang Diola of Mabolo was invited to give a demonstration at the Cebu

Doctor’s College. The steps were analyzed and further enhanced by steps used by the

candle vendors who performed in front of the church– The Basilica del Santo Niño. With

seven schools and universities, the physical education teachers spearheaded the first

Sinulog Street Dance Parade. With financial support from then MYSD Regional Director

David Odilao and Department of Education Culture and Sports, the schools were given an

era to represent the history of Cebu from the primitive times to the present. Member

schools of the Cebu Physical Education Association the University of San Carlos,

Southwestern University, University of San Jose-Recoletos, University of Cebu, University of

Southern Philippines, Cebu Institute of Technology and Cebu Doctor’s University. The

street dance parade started from the Plaza Independencia and caught the imagination of

the City of Cebu, which then thought of making the Sinulog a festival that would rival other

festivals being held yearly in the country.

Thus, under the direction of Cebu City Mayor Florentino S. Solon and through the help of

Manuel S. Satorre Jr., the late Juan B. Aquino Jr., also late Xavier Ledesma, Robert Grimalt

and Antonio R. Aseniero Jr., Odilao turned over the Sinulog project to the Cebu City

Hstorical Committee under Kagawad Jesus B. Garcia Jr. through Garcia’s committee, the

Sinulog organization came into being. The first task of the organizing committee was how

to conceptualize the festival and make it a big event.

The committee then came up with the idea of having a Sinulog logo that would identify the

event yearly if it were to be institutionalized. The group didn’t however want to use the

Santo Nino image itself because this would have been a sacrilege. And it had to look for

something that would identify the project.

This was the coat of arms of the Santo Nino, which is quite visible as they are being
embossed in the benches, architecture and banners of the old San Agustin Church. The coat

of arms of the Santo Nino bears a two-headed hawk, the mark of the House of Hapsburg

(Hamburg) in Europe which then ruled most of the known world from the 15th century to

20th century. Spain was under the Hapsburg dynasty when it sent the expeditions out

across the globe to spread the Faith and expand the influence of the dynastic house to be

unknown lands beyond the oceans.

The royal origin of the Hapsburg started with the ruling family on Austria in 1276 and for

centuries until the 20th century the house rule most of the kingdoms in Europe. The

Hapsburg established the Holy Roman Empire in 14552 and it was at the height of their

power under Charles 1 of Spain (who was also Holy Roman Emperor Known as Charles V1)

the first expedition under Ferdinand Magellan which discovered the Philippines for Spain

was sent initially to look for the Spice Island. His son, Philip 11 who ruled Spain for 42

years from 1556, sent Legaspi the second expedition under Miguel Lopez de Legaspi. In

fact, the Hapsburg rulers continued to hold power until 1700 not only in Spain but also in

the colonies under the Spanish regime while the Austrian line of the Hapsburg dynasty also

ruled Central Europe until about the same time.

Thus, the Hapsburg emblem, now the coat of arms of the Santo Nino, was influential in

many kingdoms in that time. The two-headed hawk emblem was in some of the banners

brought by Magellan’s men to Cebu settlement in 1521. The same emblem was carried all

the way from that time, through the Legaspi expedition of 44 years after Magellan and the

others that would come to the country in those days such as Loaisa, Saavedra and the

Villalobos expeditions.

The emblem of the two-headed hawk at the peak of the power of the Hapsburg dynasty

represented the twin purpose of the House, which was to stand as “Champion of

Catholicism and Defender of the Faith.”

With the background, the Sinulog committee used a native warrior’s shield on whose face is

imprinted the coat of arms of the House of Hapsburg that now represents the Sinulog logo

as interpreted by Ms Olive Templa, who coincidentally is a Cebuana. The native shield

figure symbolizes the country’s continued resistance to colonization. It speaks of the

Filipino’s readiness to defend the country from all forms of foreign incursion and to resist

any move that may endanger the country’s self-determination. The coat of arms of the

Santo Nino on the face of the shield on the other hand, traditionally symbolizes the

country’s acceptance of Christianity as European rulers brought it to the settlements in

1521.

Sinulog ’81 was then organized. Practically all sectors in the Cebuano community got

involved. To distinguish the festival from the popular Ati-atihan Festival in Aklan, the

organizers decided to use the parade to depict the history of the Sinulog which, as had been

said, is the dance, which links the country’s pagan past and Christian present.

Seven floats were created to depict seven different periods of history. Dancers wearing

costumes depicting the periods followed each float. They all danced the same beat. The

Sinulog parade started at 1 P.M. at the Cebu Provincial Capitol and ended about past

midnight at the Fort San Pedro-Plaza Independencia area. And the show continued until the

wee hours of the morning.

To the credit of the Sinulog Foundation prime movers, particularly Executive Director Juan

“Dodong” Aquino, Jr. the Sinulog Festival always jazzes up every year or so with new

features, all meant to invite wider participation. There’s always something in there for

everyone, be he a participant or spectator, be she a verbalist or visualist, an artist or

symbolist.

Government agencies, the private sector, commercial and industrial establishments,

academic institutions and barangays can pit their skills in making float, the paper mache

“higantes” on route arches, on-site decors, fluvial contests and photography. Organizations

could also compete in discovering pulchritude via the Miss Sinulog ’88 now known as Ms.

Cebu which was eventually taken as an annual project of the Cebu City Tourism

Commission.

The quality of participation definitely gets better year after year. In 1983, the Sinulog

project was still relatively new. Naturally, it had its complement of dents and scrapes,

among which were participants on floats and on the streets wearing highly inappropriate

and outspoken costumes. Wisened by that, the judges thereafter fine-tuned the
qualifications to avert any form of irreverence.

Irrelevance, too, was pre-empted. In the first five years the contingents also included

“guests” who, as the afternoon drew and grew, reveled too much after having one too

many. Also kibitizers weaved themselves through, sometimes against, the flow, smearing

black paint on the spectators. The former have been weeded out of the parade, and the

latter are thinning out in number. An improvised detention cell right smack by the roadside

has been an effective deterrent.

In the early years, Sinulog the ritual and the beat was a total strangers to young and new

participants. Too often, it was mistaken for Aklan’s Ati-Atihan, complete with painted faces

and war-like, martial beat. Too often, therefore, many a would-be winner, while beautiful in

execution and precision, eventually got sidelined by such criteria as relevance and over-all

impact.

To prevent repetitions of such sorry instances, Sinulog workshops and demonstrations

have been conducted annually thru the help of the Cultural Center of the Philippines, the

National Commission Culure and the Arts (NCCA) and the Philippine Folk Dacne Society.

Greatly instrumental in this activity is Ms.Dolores Suzara, another mainstay Sinulog judge,

and P.E. instructor/choreographer. The incidences of “misplaced” contingents have

definitely waned since then.

For the first five years, judging was a test of true grit lasting 20 hours. So that the contest

could begin, judges had to be up with the birds. And so that the results could officially sign

for the next day’s news, the judges had to stay up until 3 or 4 in the morning, bird or no

bird. But all judges complained not. They, too, paid homage to the Santo Niño in ways

requested of us.

The entry of TMX’s Engr. Rogelio Q. Lim and naturally, technology introduced system and

speed in results identification breathe better.

In 1988, the plum prize for first prize winners in the parade participation was only

P12,000.00. In the year 2005, it has risen to P500,000. Grand total is close

to P8,000,000.00.

Contest participants used to be purely from Cebu City. For about two decades now, the
Festival has brought forth dramatic performances (and eventual winners) from all over the

country, such as Surigao City, San Carlos City, Southern Leyte, Agusan del Sur, Camiguin,

Iligan City , Tangub City , Tacloban, Ilo-ilo, Paranaque City, Naga City, Masbate, Sultan

Kudarat , Iligan, Butuan among others.

Prior to 1986, spectators came from Cebu City and province. Since the Balik-Cebu program

in 1986, however, creating direct Cebu-San Francisco flights, the festival has packed in a

million pilgrims and thousands of overseas visitors.

With the present set up of the Sinulog Foundation Inc. introduced new contest categories

such as the search for the Festival Queen (Sinulog lead dancer), the Puppeteers category,

Visual Merchandising Contest (malls and department stores), Photo Contest, the Sinulog

Short Film Festivals, the See Cebu on Carousel , huge lighted billboards which features

various tourism and historical sites in Cebu displayed along the Carousel parade route. .

The Foundation also commissioned artists to come up with a distinct Sinulog music, to

date, the Foundation has produced varied Sinulog music, from the traditional beat, to

techno funky beat and the overture of Sinulog (music provided by the Philippine Peace

Philharmonic orchestra).

For the past three years, since 2006, the Sinulog Grand parade can now be seen live in

international audiences thru live TV broadcast and Webcast, reaching out as far as US

mainland, Australia, some parts in Europe and some parts in Asia. Website, sinulog.ph has

also been updated regularly and promotional videos uploaded in Youtube and internet. At

present the word Sinulog and the logo is now patented and registered in the Intellectual

Property Office, the first ever granted to a Festival.

Crowd control has been the Sinulog organizers’ perennial headache. Varied, tried and

tested, the approach and strategies have so far been elusive, however. And yet, this could

be the dark side of the moon, the light side being that as the crowd swells year after year by

millions, the Sinulog parade and activities became bigger and better. This made Sinulog

…the country’s biggest and grandest cultural festival.

What began as a revival of an old dance brought government, business establishments,

schools, pilgrims, artists and private individual together like never before. The attempt to
enhance cultural awareness gave the Cebuanos a shared passion, a collective identity. In

the end the Sinulog did give Cebu a culture. And a name. Pit Senyor!

The Sinulog Dance

Sinulog dance is another way to give tribute to Sto. Niño. Sinulog dance is composed

of two steps forward and one step backward dance steps accompanied by the

sounds of the drum. Sinulog’s name derived from the word, “sulog” which means

“like water current movement.”

According to Sinulog dance history, Sinulog dance came to life when Baladhay, Rajah

Humabon instructed his men to put Baladhay in a room where Sto. Niño is placed

together with other pagan gods of the Cebuanos. Days passed, they heard Baladhay

shouting and found dancing. According to Baladhay, he was awakened by a little child

who was on top of him at that time then the little children made fun of Baladhay.

They danced the two steps forward, one step backward movement or the movements

of the river. It is believed that the dance movements were Sto. Niño’s choice. In the

present time, those dance steps are known as the Sinulog dance.

Dinagyang Festival

Dinagyang is Iloilo City’s version of the Ati-Atihan festival widely celebrated not only

in Panay Island but also in other parts of the country. It may not be as ancient as the

one in Kalibo in Aklan Province, but is definitely impressive in choreography and

striking in terms of the various attires worn by participating tribes which reflect the

ingenuity, craftsmanship and artistry of the Ilonggos.

An Ilonggo term for revelry or merrymaking, Dinagyang was coined in 1977 by

Ilonggo writer/broadcaster Pacifico Sudario to describe the riotous celebration. Prior

to this, Dinagyang was labeled “Iloilo Ati-Atihan” to differentiate it from other Ati-

Atihan festivals.

Iloilo Ati-Atihan dates back to the year 1967 when a replica of the image of Señor

Santo Niño was first brought from Cebu by the San Jose Parish in Iloilo City. The

image, accompanied by devotees from Cebu, was enthusiastically received at the

Mandurriao Airport by the people of Iloilo.

In 1969, the Ati-Atihan contest became a part of the cultural aspect of the celebration

with only four tribes participating. Since then, the celebration has progressed into a

more colorful and pompous affair that includes the participation of more tribes and

groups.

In 1974, the Dinagyang Festival played a vital role in the “Operation Balikbayan”

program of the then Ministry of Tourism when some of the tribes provided tourists

with a unique form of cultural entertainment.

In 1976, street revelry and audience participation were encouraged. From mere

spectators of the performances of various competing tribes, the 1976 festivities

offered people their first chance to wildly gyrate in the streets, to shed off inhibitions

and to forget the cares, pressures and vexations of everyday life.

In 1977, an authentic Ati tribe from the mountains of Barotac Viejo was invited by

the Dinagyang organizers and by the Regional Association of National Government

Executives to perform and display their native dances.

From 1978 to the present, the Dinagyang Festival has evolved into a big religious

and cultural activity supported by both the government and the private sectors. It

now features cultural presentations, sports competitions and various side events.

The Festival was likewise adjudged the country’s tourism event of the year by the

Association of Tourism Officers of the Philippines for three consecutive years from

2006 to 2008.

The Dinagyang Festival is divided into three major events held annually every

fourth weekend of January: Ati Tribe Competition (held on a Sunday), Kasadyahan

Cultural Competition (held on a Saturday prior to the main event the next day, the Ati

Tribe competition) and the Miss Iloilo Dinagyang (which is held on the week of the

main Dinagyang Festival highlights).

As an added attraction to the Ati Tribe competition, the Kasadyahan Cultural

competition was added in the festival in the 1980s to showcase the talents of the

students as well as the rich cultural heritage of the province of Iloilo. In the first few

years of this event, schools from various towns and cities in the province participates
in this competition but in recent times, the cultural competition confined only in the

province became a regional scope accepting entries from other provinces of the

region showcasing the best of Western Visayas cultural and historical heritage.

The main part of the festival which is the Ati Tribe competition consists of a number

of "warrior" dancers (who hold a shield in one hand and a spear in another) in a tribe

(locally called "tribu") dancing in a choreographed formation and patterns as well as

chanting to the sound of loud drum beats and improvised percussion instruments

innovated by the respective tribes. In the early years, a number of tribes where

created, founded and organized by some of the barangay or communities around the

city but through the years and as the Dinagyang evolves and the competition

becomes competitive gaining worldwide fame and attention, schools are starting to

create and organize tribes introducing dynamic new dance patterns, formations and

choreography soliciting sponsors from private companies for expenses and cost of

participating in the competition. It should be noted that no actual Ati are involved

nor do they benefit in any way from this event. There are a number of requirements,

including that the performers must paint their skin black and indigenous and other

kinds of materials can be used for the costumes. All dances are performed to drum

music. Many tribes are organized by the local high schools and in recent times some

tribes came from as far as Batanes in Luzon and Cotabato in Mindanao. The tribes

receive a subsidiary from the Dinagyang Foundation Inc. and the city government of

Iloilo and recruit private sponsors, with the best tribes receiving the most. The

current Ati population of Iloilo is not involved with any of the tribes nor are they

involved in the festival in any other way although recently the original Atis from the

hinterlands of Panay specifically from the mountains of Barotac Nuevo and Anilao

came to participate non-competitively for recognition and giving them importance as

being the characters symbolically portrayed in the festival.

Dinagyang festival has brought a lot of innovations throughout the years. These

innovations have influenced the way other festivals in the country is run. Among

these are the following:

 Carousel Performance - Dinagyang initiated the simultaneous performance of

the competing tribes in different judging areas.

 Mobile Risers - Mobile risers is prominent feature of Dinagyang choreography

today. It was introduced by Tribu Bola-bola in 1994. The risers has added depth

and has improved the choreography of the dance movements.

 Dinagyang Pipes - First used by Tribu Ilonganon in 2005, the Dinagyang pipes

are made of PVC pipes and are hammered by rubber paddles. Each pipe produces

a distinct sound depending on the length and diameter of each pipe.

 Dagoy - The first festival mascot in the Philippines.

Dagoy

Dagoy is the official festival mascot of Dinagyang. He was born from the

promotional sketches of Dinagyang in 2002. The caricature was later

adopted as the official logo of the festival. He was introduced to the public in

December 14, 2004 in The Fort, Taguig and December 18, 2004 in Iloilo City.

Depicted as a young Aeta warrior, Dagoy symbolizes the jollification and

friendship of the Ilonggo and other thousands of tourists flocked to witness

the festival.

Dagoy stands six feet and nine inches tall. He has a dark brown skin tone and

wears a headdress with an image of Sto. Niño. He is garb with a camel-

colored loincloth which is the typical attire of an Aeta. Dagoy is holding a

drum made of fiberglass with the logo of the Iloilo City Government printed

at the center. His hands and feet are adorned with multi-colored bracelets,

similar to these being worn by a Dinagyang warrior.

Dagoy's winsome smile is popular among children as such miniature version

of the mascot is marketed as Dagoy Dolls. The mascot has also its mini-event

in the festival with Dress-up Dagoy Contest.

Panagbenga and Masskara

Festivals

Panagbenga Festival
It's flower season at the City of Pines -- perfect timing for an all-out fiesta in the streets. The

Baguio folks take a break on these days to revel in the cool climate and the unique culture

of their city. Multi-hued costumes are worn, mimicking the various blooms of the highland

region (or any of its 11 ethnic tribes). There's also the half-dozen or so flower beds--

disguised, of course, as the Panagbenga parade floats.

Panagbenga Festival (English: Flower Festival) is a month-long annual

flower festival occurring in Baguio. The term is of Kankanaey origin, meaning "season of

blooming". The festival, held during the month of February, was created as a tribute to the

city's flowers and as a way to rise up from the devastation of the 1990 Luzon

earthquake. The festival includes floats that are covered mostly with flowers not unlike

those used in Pasadena's Rose Parade. The festival also includes street dancing, presented

by dancers clad in flower-inspired costumes, that is inspired by the Bendian, an Ibaloi

dance of celebration that came from the Cordillera region.

Aside from boosting the economy through tourism, the festival also helped the younger

generation of indigenous people to rediscover their culture's old traditions. The indigenous

people were first wary with government-led tourism because of the threat that they will

interfere or change their communities' rituals.

The A. Lim of the Bases Conversion Development Authority (BCDA). Entries from the

annual Camp John Nichol Sibug art contest gave its official logo: a spray of sunflowers. The

festival was set in February to boost tourism as it was considered as a month of inactivity

between the busy days of Christmas season and the Holy Week and the summer season.

In 1996, archivist and curator Ike Picpican suggested that the festival be renamed as

Panagbenga, a Kankanaey term that means "a season of blossoming, a time for flowering."

The Panagbenga started with just an idea that Baguio City should, like other towns and

cities in the Philippines, have its own "fiesta" or festival celebration. Having been created a

city by the Americans during their occupation of the Philippines, Baguio did not start as a

town during the Spanish colonial period that had a patron saint with a feast day.

Its charter day anniversary is on September 1, which falls right in the middle of the

country's rainy season, which does not allow for parades and other outdoor activities that
usually are the highlight of such celebrations.

In 1995 when Atty. Damaso E. Bangaoet, Jr., proposed the idea of organizing a flower

festival to be held in February to the directors of the John Hay Poro Point Development

Corporation, his suggestion received their immediate approval.

Thereafter the idea was presented to the different sectors of Baguio society and their

response, also warm and immediate, eventually grew as a wellspring of community

support.

• An identity was created that was to reflect the rich cultural heritage of Baguio City

and the Cordillera region. The official logo was selected from among those

submitted by the students of all levels at the Camp John Hay Art Contest. Trisha

Tabangin's winning entry of a spray of wild sunflowers was selected.

• The festival hymn was composed by Saint Louis University (SLU) Professor

Macario Fronda, which was learned by all the school children. It is still that music

that wafts in the air all throughout the festival during the parades.

• The core events remain the same: The Parade of Floats, Street Dancing &

Band Competitions, Session Road in Bloom, Market Encounter, Pony Boys Day, etc.

• The original Barangay Community Garden competition participated in by the

different local government units, which was one of Atty Bangaoet's most brilliant

ideas that was designed for the city to have as many pocket gardens and mini parks

as there were barangays, sadly no longer figures in the Panagbenga.

• Many other events have been added with civic organizations holding privately run

and funded activities, too.

In the beginning, the Panagbenga was a series of celebrations that were held over a period

of 10 days encompassing two weekends: the first being the launching ceremonies, the

weekdays being Session Road in Bloom and the last weekend was when the Grand Parades

were held. Due it its popularity, the period was extended to two weeks, then three, then

held for the whole month of February, always taking full advantage of the presence of the

alumni of the Philippine Military Academy during PMA Week which is timed for Valentine's

Day. Now the festival stretches to five weeks!

A few years later the Baguio Flower Festival Foundation (BFFF) was organized to manage

the festival.

The Panagbenga has always received huge media coverage because of the instantaneous

popularity it has enjoyed from the very beginning. Every year, visitors are treated to a

display of the strength of the local community sprit as the residents stage the hottest show

in the coolest city in the Philippines.

The rich traditions of the Cordillera region where Baguio belongs under are performed

during Panagbenga. Some examples of the featured dances during the festival are “Hulin” of

the Ifugao tribe that is danced during the planting and harvest seasons to drive away pests

and bad spirits. There is also the Kalinga’s “Abuyog” that depicts the bayanihan or spirit of

cooperation and self-help in the community. There is also the “Tsinakhon” or the dry

season rice production of Bontoc. Other performers have done “Adivay” or a folk tale about

the defeat of a snake that threatened the farmers’ beautiful harvest. One performer

narrated the story of the Benguet hero, “Ioway” who conquered adversity to bring home a

gift for his chosen bride. Another set of performers has danced the “Say-ang” which depicts

a Tinguian story about birds that transformed into a beautiful lady who gets married to the

farmer they are helping to harvest rice.

Masskara Festival

The term Masskara is coined from two words: mass, meaning crowd, and the Spanish

word cara, for face; thus the double meaning for "mask" and "many faces". The Masskara

festival was first conceived in 1980 to add color and gaiety to the Bacolod City's celebration

of its Charter Day anniversary, on 19 October. The symbol of the festival - a smiling mask -

was adopted by the organizers to dramatize the Negrenses happy spirit, despite periodic

economic downturns in the sugar industry.

Throughout the week, people from all over the Visayas, flock to the town plaza. They join

Bacoleños in the non-stop round of festivities. Even if you don't feel like dancing and

singing, the pig catching and pole climbing competitions are musts. Some are also trying

their luck and testing their skills in mask-making contests, disco king and queen
competitions, coconut-milk drinking to name a few.

Masks are the order of the day at the Masskara parade, as brightly-costumed men and

women dance and prance in the streets. Their beaming faces are be-dimpled, grinning and

laughing in molded clay or papier-mache. Every group is represented: civic associations,

commercial establishments, schools, even private and government organizations. They

march out in enthusiastic throngs wearing their painted masks and elaborate costumes, all

vying for prizes in judging that will be held in the afternoon.

The festival also benefits Bacolod tourism not only because tourists flock the city during

this time to join the merrymaking but also to buy the orchids and ornate handicrafts on

sale.

` The mask motif of the festival has changed from masks influenced by native Filipinos to

those influenced by the Carnival of Venice and the Rio Carnival. Earlier masks were hand-

painted and adorned with feathers, flowers, and native beads, while contemporary masks

feature plastic beads and sequins.

The festival features a street dance competition where people from all walks of life troop to

the streets to see masked dancers gyrating to the rhythm of Latin musical beats in a display

of mastery, gaiety, coordination and stamina. Major activities include the MassKara Queen

beauty pageant, carnivals, drum, bugle corps competitions, food festivals, sports events,

musical concerts, agriculture-trade fairs, garden shows, and other special events organized

every year.

The street dance competition is divided into two categories: the school division, corporate

and the barangay division, the latter is not considered as the highlight of the street dancing

competition.