The “Sinug”
In as much as the “sinulog” has been identified as one of Cebu’s most wellknown dances, it owes much of its underlying steps to the “sinug”.
Noted by historians to be a form of supplication to deities that was practiced by locals before the arrival of Ferdinand Magellan in 1521, the relationship between the two dances was once again brought to the fore in this year’s staging of the “Sinug sa Casa Gorordo”.
Held at the garden of the Casa Gorordo Museum on January 22, the event picked up on a tradition that was spearheaded by the Gorordo family, one wherein the family would host a “sinug” performance the day after Fiesta Señor was observed on the third Sunday of January.
After the Ramon Aboitiz Foundation Inc. acquired and converted the Gorordo house into a public museum in 1984, the non-profit organization maintained the tradition of the Gorordos as part of its continuing efforts to preserve various aspects of Cebu’s intangible cultural and heritage treasures.
In this year’s “Sinug sa Casa Gorordo”, the Mabolo Sinug Dance Troupe performed a traditional rendition of the “sinug”, which narrated the arrival of Christianity to the Philippines, the dispute between the islanders and the Spaniards, and the eventual union that was forged between the two.
The performance began with the traditional “alabacion”, wherein the lead dancer chants a prayer to the Santo Niño that’s set on an altar that faces the dancers. It was choreographed by Richelieu Colina, and the performance entailed two variations of the “sinug” – the “natural” and the “kinampilan” routines.
The “natural” version is the one which most are familiar with, as it is basically the “two steps forward, one step backward” routine. The “kinampilan” routine is a bit different, as it runs by a “one step with the right foot forward and one step backward as the left foot is set in place”.
The dancers performed the steps with prop-swords, and their movements involved the “tukod espada” and the “estocada” routines. In terms of attire, the members of the troupe wore costumes that bore similarities to the garb that was worn by the islanders and the Spaniards in the mid1500s.
Colina notes that the “natural” variation is a simplified take of a more intricate version of the “sinug”. This version was choreographed to be easy to learn and follow through for new dancers.
He also cites that the “kinampilan” routine is one that’s widely associated with prayers for a good harvest, in that farmers of the past would use farming tools and, at times, weapons to make noise as a way to drive pests away from certain crops.
These aspects to the “sinug”, apart from its steps and the narrative that it traditionally tells, can be characterized as the variables that distinguishes it from the festive and vibrant costumes that’re worn in contemporary Sinulog Festival performances.
Unlike last year’s staging of the event, Colina himself participated in the performance this year and enjoined those in attendance to dance with the group – teaching them the basic “natural” steps of the “sinug”; thereby pass on the basic steps of the “sinug” to others.
As a part of the house traditions that’re being espoused by Casa Gorordo Museum, this year’s “Sinug sa Casa Gorordo” is the continuation of a tradition that was initiated by the Gorordos and Cebuanos for around 80 years running, and plays a central role in fostering a traditional version of the “sinug” that inspired what’s now largely known as the “sinulog”.