Jolan-Rey B.

Lebara

Reflection Letter

In the midst of the Cebu Sinulog hulabaloo,

Fernandez's reflections on street-dancing,
particularly within the context of the festival
culture in the Philippines, offer a profound
analysis of the evolving landscape of
performance art, community dynamics, and
cultural commodification.

Fernandez delves into the transformation of

traditional rituals into the spectacle-driven
phenomenon of street-dancing, noting how
these performances have become detached
from their original communal functions, instead
serving as platforms for competition,
entertainment, and economic gain. His
observations underscore the complex interplay
between tradition, consumerism, and
community identity in the modern-day
expression of cultural practices.

One of the most striking aspects of

Fernandez's analysis is his examination of
power dynamics within the production and
presentation of street-dance performances. He
highlights the centralized authority wielded by
choreographers and local officials, whose
decisions shape not only the creative direction
of the performances but also the hierarchical
structure of the community itself. This insight
sheds light on the underlying social and
political forces that influence the cultural
landscape of festivals like Sinulog.
Moreover, Fernandez's exploration of the
aesthetic and structural characteristics of
street-dancing reveals the calculated nature of
these performances, characterized by
uniformity, symmetry, and high-energy
spectacle. These traits, while contributing to
the allure of the performances, also serve as
indicators of the commercialized nature of
street-dancing as a product tailored for mass
consumption and tourism.

In light of the COVID-19 pandemic and its

impact on public gatherings and cultural
events, Fernandez's reflections prompt us to
consider how street-dancing and similar forms
of performance art may adapt and evolve in
response to changing circumstances. Will the
pandemic accelerate the commercialization
and digitalization of these traditions, or will it
prompt a reevaluation of their cultural
significance and community relevance?

As we navigate the uncertainties of the future,

Fernandez's insights serve as a valuable lens
through which to examine the complex
interplay between tradition, modernity, and
commercial interests in shaping the cultural
landscape of festivals like Sinulog. Ultimately,
his reflections invite us to critically reflect on
the role of street-dancing not only as a form of
entertainment but also as a reflection of
broader social and cultural dynamics in
contemporary Philippine society.