WEEK 6 : FOLK DANCE

FOLKDANCE-LAPAY BANTIGUE

A. Ethnic / Folk Dance Defined

Folk dances are dances created by individuals to reflect the lives of people in a
particular country or region. These are not all ethnic dances. Ritual dances or dances with
a ritual origin, for example, are not called folk dances. Because of its aim, ritual dances are
commonly referred to as “religious dances”. When it is necessary to stress the dance’s
cultural roots, the labels “ethnic” and “traditional” are utilized. Almost all folk dances are
ethnic dances in this sense (2 Give example Moderate and Vigorous physical activities 3, n.d.).

B. Philippine Folk Dance

Filipino folk dancing has a long history that blends influences from immigrants and
conquerors while keeping distinctly Filipino roots. Philippine folk dancing is a true picture of
everyday life in previous ages while also enthralling current audiences (2 Give example
Moderate and Vigorous physical activities 3, n.d.).

Classification of Philippine Folk Dance

Nature Meaning Examples

Occupational Dances depict actions of a particular
occupation
Religious /Ceremonials associated with religion, vows
and ceremonies
Comic Dances Depict funny movements for
entertainment
Game Dances done with play elements
Wedding Dances performed during wedding
feasts
Courtship Dances depict the art of courtship
Festival Dances suitable for special occasions
War Dances show imagery combat
Planting, Punding
Dugsu, Sua-sua
Kinotan, Makonggo
Lubi-lubi, Pavo
Panasahan
Hele-hele, Tadek, Pantomina
Pandanggo, Habanera
Sagayan, Palu-palo

LAPAY BANTIGUE
Folk Dance Title: Lapay Bantigue
Meaning: Seagulls of Bantigue Island, Masbate
Dance Culture: Coastal Christians
Place of Origin: Bantigue Island, Masbate
Ethnolinguistic Group: Masbateño
Classification: Comic, Mimetic (fowl)
Background / Context:
Batingue of Masbate, like many small islands, relies on the sea to supply fish to much
of the Bicol region.

Batingue community looks forward to the arrival of boats with their fish every
morning. Thousands of lapay, or seagulls, have gathered on the beach alongside the
humans, hovering overhead or roaming about the sand and shoreline. People focus their
attention to the lapay to pass the time, shooing them or imitating their flight, swoops, dives,
and glides. The first steps of an unrehearsed dance began with this lighthearted frolicking.
Later, music was used to provide structure and order. It wasn’t long that couples competed
in show-off lapay antics, which is still the essence of lapay today (Hope-3_q1_w4_mod4
[92q35x53ppop]., n.d.).

Costumes:
Female
 Top (Baro) and Skirt (Saya)
 Overskirt (Tapis)
Male
 Top (Camisa de Chino)
 Pants (Colored peasant pants, rolled up just below the knee)
 Footwear – Barefoot

Lapay Bantigue Dance Competencies:

1st Step: LUPAD
For 16 counts, gently flutter your arms and stride sideways. After that, turn to face
your partner and repeat this step for another 16 counts.

2nd Step: KUMINTANG

Raise your right arm and raise your thumbs horizontally. Rotate your wrist and
hand four times clockwise and four times counter-clockwise. Your partner will go around
you completing the “Lupad” step while doing this. You and your partner will switch
positions after each of the four counts, with your partner doing the Kumintang and you
dancing around him.

3rd Step: STEP TUKA

Place the back of your palm on your partner’s forehead and make a pecking motion
with your back bent while facing them. Repeat for a total of eight counts. Then, while still
performing this step, travel in opposite directions, for example, you to the front and your
companion to the back. Rep this process four times.

4th Step
You and your partner should stomp for eight counts while blending and facing
different directions, then raise your arms while twisting to face your partner. Repeat this
process four times.

5th Step
For 16 counts, move your arms in front of you up and down. Then, lightly hop in
front of your partner and move your arms in unison up and down. Do this for a total of 16
counts.

6th Step: LUPAD

For 16 counts, flap your arms smoothly and stride sideways. After that, turn to face
your partner and repeat this step for another 16 counts. After that, take your final position
(Hope-3_q1_w4_mod4 [92q35x53ppop]., n.d.).
WEEK 7 : CHEERDANCE

What is Cheerdance?
Cheerdance is a term that combines the terms “cheer” and “dance.” To cheer is to
yell out words or phrases that can help a team perform better during a game by motivating
and boosting their spirit. While Dance is a physical activity where one expresses emotions
or gestures while performing bodily movements, usually in time and rhythm.

Cheerleading, on the other hand, is the execution of a routine that is usually dominated by
a gymnastic skill such as jumps, tumbling abilities, lifts, and throws, combined with cheering and
yelling to lead the public to root for a specific team during a game or sport. Therefore,
Cheerdancing, is rooted from cheerleading.

How did Cheerdancing start?

Cheerleading history is linked closely to the United States’ history of sports, its sporting
venues, as well as the historical development of overall crowd participation at many Athletic
events (History of Cheerleading, 2015). However, its origin can be traced as far back as the late
19th century where in 1860’s students from Great Britain began to cheer and chant in unison for
their favorite athletes at sporting events. This event eventually reached and influenced America
(Timeline of Cheerleading, 2012).

The first organized documented locomotive shout was conducted on an American campus
in the late 1880s, and it was first seen and heard during a college football game.

Fig.1.1 Timeline of Cheerdance

Essentials of Cheer Dancing
Basic Hand Movement and Position in Cheerdance

BUCKET CANDLESTICK BLADE JAZZ HANDS

Arms straight with fists Arms are straight with Arms are straight in Open palm finger are
facing down, as if fists facing each other sideways, open palm spread out.
holding the handle of a as if they were holding a and fist facing down and
bucket in each hand. lit candle in each hand. fingers must stick
together.

CLAP CLASP T MOTION HALF T

Strike palms together in Clasp hands together in Both arms are extended Both arms are parallel
front of the chest. front of the chest. sideways parallel to the to the ground and the
ground. both elbows are bent.
 TOUCHDOWN K MOTION CHECKMARK OVERHEAD CLASP
Arms are stretch out in One arm is raised one arm is raised arms are extended
upward position; closed upward, while the other diagonally upward, then upward; clasp hands
fist facing in. arm positioned the other arm elbow is together.
downward across to the bent and pointing
opposite side. downward.
DIAGONAL HIGH V
One arm is raised Both arms are raised
diagonally upward, diagonally upward;
while the other arm forming “V”
positioned diagonally
downward

DAGGER BOX PUNCH L MOTION

Both arms are bent; Both arms are bent; Raised one arm One is raised upward;
clenched fists facing clenched fists facing overhead with closed the other arm is raised
each other parallel to each other; Elbows are fist. on the side in shoulder
shoulder. on shoulder level. level.

Feet Position
 BEGINNING STANCE
Stand straight with both feet close together.

SQUAT KNEEL
Both knees are slightly Body is supported by
bent facing outward. the knees.

CHEER STANCE
Stance straight with feet apart.

SIDE LUNGE
One leg is ben while other leg is extended.

ESSENTIAL OF CHEERDANCE - JUMPS

TUCK JUMP SPEAD EAGLE

As you jump bring As you jump, arms and legs
knees closer to chest, are extended open wide.
keep knees together.
DOUBLE HOOK FRONT HURDLER
As you jump, both Bring straight leg up to chest
knees are bent and between the arms; back
sideways. knee points towards the
ground; land with feet
together at the same time.
 SIDE HURDLER PIKE JUMP
As you jump, one leg is Keep head up; bring legs to
bent; knee is facing arms; arms parallel to the
forward, while the ground.
other leg goes straight
up.
TOE TOUCH
Also known as straddle jump. As you jump, legs are
open and parallel to the ground.

TUMBLING SKILLS
“What Tumbling Skills Do You Need for Cheerleading?
Tumbling abilities required for cheerleading tryouts differ each squad. A competitive
squad may require more advanced tumbling talents, such as a backflip or a layout,
whereas a cheerleading squad may not have any specific tumbling qualifications. Tumbling
necessitates gymnastic aptitude and should be learned with the use of appropriate mats and
spotters.

Beginner Tumbling Skills

Enroll in a beginner tumbling class to master the fundamentals of floor gymnastics if
the team you’re interested in needs tumbling skills and you’re new to gymnastics. Front
somersaults, handstands, back walkovers, cartwheels, and round-offs are all beginner
skills. Running tumbling passes necessitate the ability to do cartwheels and round-offs. Out
of the rebound of a round-off, back handsprings, back tucks, and full-twisting layouts are
accomplished. You’ll have the foundation to learn more challenging routines once you’ve
mastered fundamental tumbling skills.

Standing Tumbling
Standing tumbling is used in routines, shouts, and chants by many competitive and
school cheering groups. Tumbling while standing can even be used as part of a stunt
routine. During tryouts, most collegiate squads and many competitive squads need a
standing back handspring as a minimum criterion. A standing back tuck may be required
by more elite squads. Although back handsprings and back tucks are the most prevalent
standing tumbling talents, certain squad members may be able to do a full-twisting layout
while standing. Standing tumbling can sometimes include multiple tricks, such as a series
of back handsprings or a standing back handspring into a back tuck.

Running Tumbling
Cheerleaders frequently conduct running tumbling sequences on the field or court as
part of a performance or a competitive routine. A round-off into a series of one or more
tricks starts a running sequence. A round-off back handspring is the simplest basic
running tumbling pass. A basic tumbling pass may be required by some squads, while
others may require a succession of two talents, such as a round-off back handspring into a
back layout. A round-off can be used to do back tucks, layouts, full-twisting layouts, and
back handsprings. Many tumblers, on the other hand, incorporate a round-off back
handspring into a more challenging maneuver. Although most competitive squads compete
on a spring floor, tumbling on a gym floor is a prerequisite for most high school or
collegiate squads.

Considerations
Tumbling has become a big component of cheerleading, although it isn’t always a
requirement. If you’re trying out for a tumbling squad, speak with the coach to find out
what special talents are required. Learn standing and running tumbling skills with the help
of a coach. Do not attempt a backflip at tryouts if you are not sure in your ability to do so.
Trying to perform a technique you haven’t mastered can result in significant injury (What
Tumbling Skills Do You Need for Cheerleading?, n.d.).
Elements of Dance

Fig.2 Elements of Dance

Three elements that make up a dance; are Space, Energy, and Time. Space, which
comprises Direction, Size, Level, and Focus, deals with the physical area where dancers move
accordingly. Energy speaks of the power of dance; could it be heavy or light, Sharp or smooth,
depending on what type of dance is being executed. Time, which includes Beat, Tempo,
Rhythmic Pattern, Duration, and Accent, refers to the length, patterns of movement, music
accompaniment’s beat, tempo, and the accent of the dance.

Genre of Dance (For Cheerdance)

Fig.2.1 Genre of Dance

 Cheer dancing can also be incorporated into other dance genres, including Hip Hop and
Jazz/ Classical Dances.

WEEK 8 : BALLROOM DANCE

BALLROOM DANCE (Cha-cha)

What is Ballroom dance?
The term “ballroom” is derived from the word ball, which originates from the Latin word
ballare, which means to dance (a ballroom being a large room specially designed for such
dances). As time passed, ballroom dancing was social dancing for the privileged, leaving folk
dancing for the lower classes. Ballroom dance also depends on the era: balls have featured
popular dances of the day such as the Minuet, Quadrille, Polonaise, Polka, Mazurka, and others,
which are now considered to be historical dances.

Brief History of the dance Cha-Cha-Cha

The cha-cha dance originated from Cuba was initially known as the cha-cha-cha. The
dance gained popularity around the 1950s and was created from two other dances – the ‘mambo’
and the ‘danzon’. Enrique Jorrin, a violinist and composer, realized that most of the crowds
related the danzon-mambo rhythm to a much slower mambo dance and had hardship adopting
the syncopated rhythms. He decided to compose music that strongly focused on the first
downbeat such that the rhythm became less syncopated. This caused the crowd dancers to
develop a triple step, creating the sound ‘cha-cha-cha’ with their shoes; thus, the cha-cha-cha
was born.

CHA-CHA-CHA
Style: International Latin
Music: Medium-tempo Latin music
Meter: 4/4
Tempo: 128 beats per minute
Basic Rhythm: 2, 3, 4&1, 2, 3, 4&1 (accent on count 1)

Cha-Cha Dance Syllabus

BEGINNING BRONZE SILVER GOLD

1a. Closed Basic Movement
1b. Open Basic Movement
1c. Alternative Basic
Movement
1d. Basic Movement In Place
2. New York
3a. Spot Turns
3b. Underarm Turns to R & L
INTERMEDIATE BRONZE
4. Shoulder to Shoulder
5. Hand to Hand
6. Three Cha Chas
7. Side Steps (Chasses)
8. There and Back
9. Time Steps
16. Open Hip Twist 24. Advanced Hip Twist
17. Reverse Top 25. Hip Twist Spiral
18. Opening Out from 26. Turkish Towel
Reverse Top 27. Sweetheart
19. Aida 28. Follow my Leader
20a. Aida 20b. Curl 29. Foot Changes
20c. Rope Spinning
21. Cross Basic
22. Cuban Breaks
23. Chase

FULL BRONZE
10. Fan
11. Alemana
12. Hockey Stick
13. Natural Top
14. Natural Opening Out
Movement
15. Closed Hip Twist
Four Basic Steps of Cha-Cha-Cha
1. Forward Step
2. Backward Step
3. Side Step
4. Rock Step
BASIC SIDE STEP FOR MEN
BASIC SIDE STEP FOR WOMEN
WEEK 9 : HIPHOP

HIP-HOP/STREET DANCE
What is Hip-hop?
“Hip-hop is a cultural phenomenon that rose to prominence in the 1980s and 1990s.
Rap music is a musical style that incorporates rhythmic and/or rhyming speech and has
become the most durable and significant art form of the movement.” (Hip-Hop Defined,
2020)

Hip-hop is also a dance style that emerged from hip-hop culture and is usually
performed to hip-hop music. Breakdancing was the first dance connected with hip-hop.

Although hip-hop is sometimes used interchangeably with rap music, it actually refers
to a four-part culture:

5. Deejaying, also known as “Turntabling”

6. Rapping, or “Mcing” or “Rhyming.”
7. Graffiti painting, or “Graf” or “Writing.”
8. B-boying is a term that encompasses hip-hop dance, style, and attitude, as well as the
type of machismo body language described by philosopher Cornel West as “postural
semantics.” (Hip-Hop Defined, 2020)

ORIGINS AND THE OLD SCHOOL

 Hip-hop originated in a predominantly African American economically depressed South

Bronx section of New York City in the late 1970s.
 Graffiti and breakdancing, the aspects of the culture that first caught public attention, had
the least lasting effects.
 “The empire state building was towering over a wall of graffiti in New York City.”
 “The shared milieu in which these art forms formed bonded the beginnings of dancing,
rapping, and deejaying components together.
 DJ Kool Herc (Clive Campbell), an 18-year-old immigrant who introduced the massive
sound systems of his home Jamaica to inner-city events, was the first major hip-hop
deejay.” (Hip hop, n.d.)

HIP-HOP IN THE 21ST CENTURY

 The music industry faced a dilemma as the century progressed, owing to the rise of
digital downloading.
  Hip-hop was hit as hard as, if not more than, other genres, with sales plummeting
throughout the decade.
 At the same time, it cemented its position as the main influence on global youth culture.
 Even the massive popular “boy bands” such as Back Street Boys and NSYNC drew
heavily on hip-hop sounds and styles.” (Tate, n.d.)

Locking

 Don Campbell invented Campbellocking and it dates back to the late 1960s. It’s a funk
and street dance style that was first performed to traditional funk music like James
Brown.
 The name comes from the concept of locking, which entails stopping a quick movement
and “locking” in a specific position, holding it for a short period of time, and then
continuing at the same speed as before. It relies on hip-hop manual movements that are
rapid and unique, as well as more relaxed hips and legs.” (Dexter, 2020)

Popping

 Imagine a surge of energy coursing through your body, causing it to move in a wave-like
motion.
 This style is difficult to master on a technical level since it necessitates a mastery of
isolations, a complete understanding of the body, and a strong sense of rhythm due to the
heavy usage of counter-tempo.
 The style necessitates continual muscle contractions to the rhythm in order to achieve a
jerky/snapping effect, resulting in a bouncy style.” (Dexter, 2020)

Electric Boogie
  “Is a type of popping (ticking), however the main difference is that popping produces a
soft wave, but electric boogie produces more jerky waves with micro wave motions,
which are more difficult to execute at a high pace than traditional popping.
 The robot, as well as mime’s smoother and more controlled movements, are distinctive.”
(Dexter, 2020)

Breakdance/B-boying

 “Breaking or b-boying, often known as breakdancing, is a type of dance that emerged in

the 1970s in the South Bronx as part of hip-hop culture among black and Latino
American teens.
 It’s choreographed to hip-hop and other types of music, which are frequently remixed to
extend the musical breaks.” (Dexter, 2020)

The foundation of breaking is made up of four essential aspects

 “Toprock- a term referring to the upright dancing and shuffles.

 Downrock- which refers to footwork dancing performed on the floor.
 Freeze- the poses that breakers throw into their dance sets to add punctuation to certain
beats and end their routines
 Power Moves- These are the most impressive acrobatic moves normally made up of
circular motions where the dancer will spin on the floor or in the air.” (Hip hop, n.d.)

“Uprock

 It’s a competitive street dance that uses soul and funk music rhythms.
 Foot shuffles, spins, turns, freestyle motions known as jerks, and hand gestures known as
burns are all part of the dance.

Funk

 Funk dance began in the late 1960s on the west coast of the United States as a reaction to
the merger of soul and disco, as well as Rnb and hip-hop music.

Streetdance

 Streetdance is a highly physical form of dance that integrates routines from all around the
world.
 A multicultural influence and lively tunes are combined in with various dancing genres.
 The hip-hop genre’s streetdance is a combination of genres.
Tutting/Tetris

 Is a dance form that is inspired by ancient Egyptian art and features angular stances.
 Although the style is constantly changing, there are some constants that characterize it.

Battle

 A battle is a freestyle dancing competition in which dancers compete against each other
on the dance floor without making physical contact.
 They create a circle and take turns trying to outdo each other by employing a superior
style, more complicated combos, or more difficult maneuvers.

Liquid Dance

 A type of expressive dance that includes pantomime at times.

 Invokes the word liquid to describe the fluid-like motion of the dancer’s body and limbs.
 Primarily the dancer’s arms and hands, which are the focus, though more advanced
dancers work in a full range of body movements.

Boogaloo

 A fluid technique that incorporates all of the body’s parts and incorporates angles and
smooth movements to make everything flow together.
 It is often uses rolling the hips, knees, and head and is often used as a transition.

Ragga

 The style used is a combination between hip-hop moves, afro moves with Latin
influences with sensuality

House Dance

 Footwork, jacking, and lofting are the three main styles. It was invented by black and
Latino Americans, just like hip-hop dancing, and is often spontaneous.
 It incorporates movements from many other sources such as capoeira, tap, jazz, bebop,
and salsa.
 Footwork, jacking, and lofting are the most common styles. Other related genres such as
vogue, wacking, and hustle have evolved from house dancing.
Lyrical

 Lyrical hip-hop is a fluid and more interpretative version of new style hip-hop, most
often danced to downtempo rap music or Rnb music.
 Lyrical is “hip-hop with emotions.”
 It focuses more on choreography and performance and less on freestyles and battles.
 Because dancers used the lyrics of a song or instrumental music to motivate them to
execute certain motions or exhibit expression, the term “lyrical” was coined.

Stepping

 Stepping, also known as step-dancing, is a percussive dance in which the entire body is
utilized as an instrument to create complex rhythms and sounds using a combination of
footsteps, spoken words, and handclaps.

Free Running

 Free running is a sort of urban acrobatics in which performers, known as free runners, do
acrobatic maneuvers around the structures of cities and rural landscapes.
 It combines parkour’s efficient movements with artistic vaults and other acrobatics like
tricking and street stunts to create an athletic and aesthetically pleasing movement style.

Punking

 This style came in the 1970s from the west coast directly to Los Angeles, where it was
developed in clubs and underground scenes.
 Dancers began to represent on television, and it became well-known thanks to soul train

Waacking

 Waacking 1947 is about this time broke out “Disco Madness.” Music began to take a
different direction. Dancers started to wear completely different clothes. The style began
to veer more toward jazz. There were a lot of lines, stances (mainly inspired by 1930s
movie stars), and other technical design movements of hands in the dance that you
wouldn’t find in punking.
 Some argue that punking was the original name for the underground form, while
waacking or “whacking” was added later as the dance grew more famous.
Voguing

 Photos of models in various postures, such as posturing hands, feet, and body motions in
linear, angular, and precise, stationary positions, influenced the design.
 Currently, there are three different styles, or we can say “schools” in Voguing.
1. Old way (pre-1980)
2. New way (1990)
3. Vogue Fem (Started about 1985) (Hip hop, n.d.).

WEEK 10 : FESTIVAL DANCE

FESTIVAL DANCES
WHAT ARE FESTIVAL DANCES?
Festival dances are cultural dances done by a group of people who share a common
culture to the loud rhythms of percussion instruments, usually in honor of a Patron Saint
or in gratitude for a plentiful crop. (7 FESTIVAL DANCE.docx - FESTIVAL DANCES
Health Optimizing, n.d.)

The Philippines is recognized for its numerous festivals. It is undeniable that the
Filipinos appreciate the festivities and have to gather together as a result of these.
Philippine festivals are diverse, and they all reflect the culture and traditions of the many
regions. Some celebrations endure for a day or a week, while others last for a month. Many
tourists are drawn to these festivals because they provide a vibrant and lively atmosphere.

Because of the influence of Spanish colonization, the fiesta is primarily religious in

nature in the Philippines. Some festivity, on the other hand, is a commemoration of an
important event in the region’s history or a thanksgiving for a bountiful crop.

The Black Nazarene Procession of Quiapo, which takes place at the start of the year, is
the first well-known religious festival (every 9th of January). Many devotees are taking
part in the festivities by attending the country’s greatest procession, known as the
“translacion” or “transfer of the Black Nazarene from Intramuros to Quiapo Church (2020
FESTIVALS IN THE PHILIPPINES | Religious, Non-Religious, n.d.).
WHAT IS THE NATURE OF FESTIVAL DANCES?
• Festival dances may be: Non-Religious, Religious, or Secular
Festival dances depict people’s culture by depicting their way of life through
movements, costumes, and utensils that are unique to their home country.

WHY DO FILIPINOS DO FESTIVALS?

Filipinos hold festivals largely to commemorate important events in their lives. We
celebrate our unity in the face of cultural variety, as well as our industry’s contribution to a
plentiful crop.

OTHER BENEFITS FROM DOING FESTIVALS

Festivals have long been a reliable crowd-drawing activity that boosts a community’s
economy by attracting tourists and providing entertainment. It attracts both foreign and
domestic tourists to a location, resulting in an improvement in the Filipinos’ quality of life.
SOME FAMOUS RELIGIOUS FESTIVALS
SINULOG FESTIVAL
A Religious Festival in honor of Sto. Nino held around January in Cebu City.

The Sinulog Festival, or the Santo Nino Festival, is a religious and cultural event held in
Cebu every year. The event is regarded to be the first of the Philippines’ most well-known
festivals (Sinulog Festival in Cebu: Everything You Need to Know, n.d.).

DINAGYANG FESTIVAL
A Religious Festival in honor of Sto. Nino held around January in Iloilo City.

The Dinagyang Festival is a cultural and religious event held in Iloilo City, Philippines, on
the fourth Sunday of January, immediately following the Sinulog in Cebu and the Ati-Atihan
Festival in Kalibo, Aklan. Dinagyang has also been named the Best Tourism Event in the
Philippines three years in a row, and it is the most honored festival in the country due to its
history, popularity, and originality (Dinagyang, n.d.)

It received honor and is regarded as a World-Class Festival and dubbed the "Queen of all
festivals" in the Philippines.

ATI-ATIHAN FESTIVAL
A Religious Festival in honor of Sto. Nino held around January in Kalibo, Aklan.

The Ati-Atihan Festival is a Philippine festival conducted every January in numerous

municipalities in the province of Aklan, Panay Island, in honor of the Santo Nino (Holy Child or
Infant Jesus). The main event takes place in Kalibo, the province’s capital, on the third Sunday
of January. The name Ati-Atihan means “to resemble Ati,” the local name for the Aeta people,
the archipelago’s initial settlers (FAMOUS SECULAR FESTIVALS PHYSICAL EDUCATION
3 MODULE 1 36, n.d.).

SOME FAMOUS SECULAR FESTIVALS

BANGUS FESTIVAL
Non- Religious Festival in honor of the thanksgiving & bountiful harvest of Bangus
held around April to May in Dagupan, Pangasinan.

“From the third of April through the end of the month, the Bangus Festival is one of
the most delicious festivals in the Philippines. The festival takes place in the lovely city of
Dagupan in Pangasinan province. The festival honors the city’s robust aquaculture
industry, which specializes in bangus or milkfish.” (Eat up at the Bangus Festival, n.d.)
PANAGBENGA FESTIVAL
Non- Religious Festival in honor of the thanksgiving & bountiful harvest of Flowers
held around April to May in Baguio City. Panagbenga Festival (transl. Flower Festival) is a
month-long annual flower occasion occurring in Baguio. The term is of Kankanaey origin,
meaning "season of blooming.” The festival, held in February, was created as a tribute to
the city's flowers and as a way to rise from the devastation of the earthquake.

BINATBATAN FESTIVAL
Non- Religious Festival in honor of the thanksgiving & celebration of peoples’
Weaving Industry held around May in Vigan, Ilocos Sur. According to the writings, the
Viva Vigan Binatbatan Festival of the Arts, celebrated from the last week of April to the
first week of May, was originally the Feast of the Natives that began on May 3, 1883, of
Damaso King, a well-known Vigan historian.