Cover

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Title Page, Copyright, Dedication

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pp. i-vi

Contents

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pp. vii-viii

Illustrations

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pp. ix-x

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Acknowledgments

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pp. xi-xii

Many individuals and agencies have made valued contributions to this work. Special thanks are due to Resil B. Mojares and the staff of the Cebuano Studies Center at the University of San Carlos, Cebu City, Philippines, for their invaluable assistance during the fieldwork phase of the research project. Thanks are also due to the staff of the Institute...

A Note about Pseudonyms

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pp. xiii-xiv

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1. Ethnography and Choreography

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pp. 1-17

Imagine gentle currents of energy, flowing freely through and beyond your body, forming warm pools of movement in the space just around you. Your hands are brought to life in this softly pulsing current. They wave around in the watery space, leaving invisible traces...

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2. Troubled Times

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pp. 18-22

Human blood looked oddly ordinary, spilled on the crumbling pavement of the street. I was on my way through downtown Cebu City one afternoon, when I suddenly came upon a puddle of partially congealed human blood lying just off the sidewalk, spread like strawberry...

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3. Views from the Swimming Pool

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pp. 23-32

On most days, barring unforeseen catastrophes of the sort recounted in the last chapter, the city did not appear to be such a grim place to live. From many vantage points, it was a genuinely pleasant locale. There was, for example, an outdoor swimming pool at my host institution, San Carlos University,1 where I used to chat about the city and...

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4. The Looks of the City

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pp. 33-57

Any city gives form to the space and time it inhabits, as well as to the people who inhabit it. In so doing, it may reveal some of its residents' more basic attitudes toward public and social life, attitudes that also serve to form the basis of symbolic expressions. There were many...

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5. The NiƱo

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pp. 58-85

Symbols, particularly those caught up in sacred processes, are often analyzed in weighty terms, with a focus on their power, force, or potency. Victor Turner went so far in his early work as to characterize a symbol simply as "a positive force in an activity field" (1967:20, 26)...

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6. The Tindera Sinulog

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pp. 86-97

A pool of life continually stirred around the basilica. Parishioners and visiting worshippers passed in and out of the large stone portals; occasional tourists searched for spots to take photos of the church's impressive eighteenth-century facade; vendors stood with multicolored...

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7. Customers and Performers

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pp. 98-116

The participants involved in the practices of the Cebu City tindera sinulog adopted one of two roles: that of customers (passive but commanding sponsors) or that of performers (active but subordinate stand-ins). Neither of these two roles formed a complete ritual persona...

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8. Latent Symbolism in the Tindera Sinulog

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pp. 117-131

The tinderas and their customers were never at a loss for words when speaking of the religious causes and effects inspiring the sinulog ritual, particularly when they involved stories and descriptions of the Santo Nino. When I asked about specific details of the sinulog dance style...

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9. The Troupe Sinulog

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pp. 132-153

The ritual may happen in the basilica's courtyard, or perhaps in a fragrant, walled garden on a shaded patio, or even on the polished hardwood floors of the sala, or entrance hall, of a stone and tile home. Or it may happen at an intersection of a barrio neighborhood's dirt...

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10. Historical Development of the Troupe Sinulog

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pp. 154-176

The development of the highly formalized theatrical ritual sinulog occurred over the course of many decades. It was, as said before, a work of genius: of the collective genius of Cebu City society, which supported, influenced, and fostered the ritual, and of the genius of the...

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11. The Parade Sinulog

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pp. 177-198

People were everywhere: on rooftops, under awnings, perched on railings, peering from windows, standing by the roadside under umbrellas that shielded them from the sun's dense heat. I waited amongst the crowd on a dusty sidewalk of General Maxilom Avenue in the slim...

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12. The Symbolism of Desired Recognition

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pp. 199-218

There was a writer working for the Ministry of Public Affairs in 1985 who had observed and reported on the sinulog performances at close range for several years, and whose insights into the sinulog project were among the most reflective and articulate I was to encounter. She...

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13. The Resilience of the Sinulog

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pp. 219-234

To return, in conclusion, to the central question of this study, the question of the enduring and dynamic significance of the sinulog movement experiences in their urban, transnational, Philippine context, two ways of answering present themselves. There is a semiotic...

Notes

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pp. 235-272

References

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pp. 273-286

Index

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pp. 287-294