Sinulog - All behind us now
Finally, physically drained and mentally exhausted choreographers, drawn in the festive fever that swept across
Whether emerging triumphant or dismayed, they bask in a temporary shining glory of the win or like a dog with tail in between the legs, these choreographers scuffle back to their old drawing boards to concoct yet another imaginative idea for next year’s street dance contest. As far as they know, Sinulog is not an emergency. Preparations should have been done a day after the last Sinulog event.
Winning isn’t everything. Respect is earned through the victorious work of art manifested in the dance concepts and theme of the presentation. There are a handful that led their originality to victory - Lumad Basakanon’s signature moves and costume (although their costume style can be traceable to PLDT’s winning 1999 performance), Sinanduloy’s fluid gestures,
Creation ceases if we imitate, most especially in miming storylines and costuming that have been rehashed over and over again.
While it is true that Sinulog presentations have been improving, Osmeña’s observation that progression moves along the same line also holds true. But there are also factors that deprive the improvement of presentations even if these choreographers will be immersed in foreign festivals and the like. Guidelines should also improve through the course of time. For example, the use of set design on wheels were banned in 2006 only to be permitted again this year upon realizing that the lack thereof resulted to a crude and cumbersome flow.
And what about the use of canned music to augment the presentation? Isn’t this a catalyst for improvement? (For as long as the canned music in question will only be used in part to emphasize a point rather than consume and alter the whole meaning of the presentation). There might be more wonderful suggestions you, dear readers, could share. If only it could be heard in an advisory meeting.
The
Pit Senyor!
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