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Dance Event Essay

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Published: Mar 5, 2024

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✍️Essay on Festivals: Samples in 150, 250 Words

• Updated on  
• Nov 2, 2023

Festivals are the special occasions celebrated in every religion and country to follow their tradition . They are generally celebrated worldwide to pay tribute to God and Goddesses and to spread joy and positivity. India, known for its diversity and multiculturalism celebrates many festivals throughout the year. Festivals are the best part of the year as they contribute to the unity of the nation and add prosperity to the life of the people. India celebrates different categories of festivals such as regional festivals, seasonal festivals , annual festivals, and national festivals. Stay tuned and read the following essay on festivals!

Also Read: Speech on Dussehra in English

 Essay on Festivals of India 200 Words

Festivals in India are celebrated with great zeal. Indian festivals are worth witnessing as they are the most popular and colourful festivals. Be it Holi, the Queen Festival of Colours or Diwali the festival of crackers and rangoli, all are marked with great historical significance that tells about Indian Mythology. One of the most popular and biggest festivals in the world, Kumbh Mela, is also celebrated in India, where millions of devotees gather to offer their prayers.

Every festival has its own story and belief. People follow and respect their traditional values and do fasting on festivals like Chhath Puja , Govardhan Puja , Bhai Dooj , and Karwachauth. All these Indian festivals play an important role in uniting people belonging to different cultures in the same society. 

Apart from these festivals, Onam, Dussehra , Christmas, New Year, Raksha Bandha, etc are also celebrated in India. Republic Day , Gandhi Jayanti , and Independence Day are the National festivals of India which are government holidays in the Indian Calendar. 

Religious festivals include Eid-Ul-Fitr which ends with Ramadan celebrated by the Muslim community, Guru Nanak Jayanti held on 27 November 2023 to commemorate the birth anniversary of Guru Nanak Dev Ji celebrated by Sikhs, and Christmas celebrated on 25 December every year by Christians. 

Also Read: Why is Onam Celebrated: The Festival of Joy in Kerala 

Essay in Festivals 250 Words

India’s rich diversity and festivals unite people from different backgrounds. It joins people from different states and religions in a single thread for the celebration. Every occasion in India and different countries is celebrated with happiness and joy. Festivals bring joy and prosperity and create a sense of oneness.

The Kumbh Mela is one of the largest festivals in the world, which takes place at four pilgrimage sites in India; Ujjain, Prayagraj, Haridwar and Nashik. On this occasion, devotees take a ritual dip in the holy rivers of Shipra in Ujjain, Ganga-Yamuna-Sarasvati in Prayagraj, the Ganges in Hardwar, and Godavari in Nasik.

People follow the tradition of exchanging sweets and gifts on special occasions. National festivals are marked as Government holidays such as 2 October celebrated as Gandhi Jayanti, 26 January celebrated as Republic Day, and 15 August celebrated as Independence Day.

One thing which you find common in all festivals is cleaning the house, decorating, and worshipping God. Festivals are auspicious occasions that bring good health, wealth, joy, and prosperity into the lives of people. 

Apart from the National festivals, Pongal, Onam, Baisakhi and Bihu celebrated in Tamil Nadu, Kerala, Punjab and Assam respectively are the seasonal festivals celebrated with very high energy by the people of that particular state. Farmers in India worship God and Goddess of agriculture on such seasonal festivals to seek their blessings and wish for good yields for the successive years.

Thus, the festivals in the given essay on festivals tell about various cultures and diversity in a particular country and about the customs followed by the people in festivals to make them grand and happening.

Also Read: Importance of Makar Sankranti

Relevant Blogs

Festivals hold a significant role in the human life. They are important to continue the traditional culture, religion, and practices of that particular religion and region. It plays a key role in uniting people and filling up the communication gaps thereby increasing the social dependency of people.

Festivals are extraordinary events celebrated to commemorate the traditions followed by our ancestors. It holds a significant role in joining the society and passing on the traditions to the future generations. They create an ambience of positivity, joy, and prosperity all around. Every region and religion follows their own festivals worldwide. 

Festivals are the source of happiness. They are the best part of the year. Festivals are celebrated with people belonging to different cultures and religions and it helps in uniting them and enjoying the feeling of oneness and togetherness. 

Here are 10 lines on why we celebrate festivals: Festivals are a chance for everyone to unite for a cause; It is considered auspicious to conduct prayers and worship God and Goddess. ; People of different religions follow different customs and practices to celebrate festivals.; Festivals create a happy atmosphere all around; In India, people celebrate many festivals throughout the year; Holi and Diwali are the two main festivals in India; Decorating the surroundings, cleaning the house, worshipping god, wearing new clothes, and sharing good wishes, and gifts are some of the important elements of any festival; Festivals are considered incomplete without sweets; The special occasion builds friendship among the people and increases interdependency; These special days are celebrated with utmost pomp and enthusiasm. 

For more information on such interesting topics, visit our essay writing page and follow Leverage Edu .

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103 Festival Essay Topic Ideas & Examples

Inside This Article

Festivals are a time for celebration, reflection, and coming together as a community. Whether it's a cultural, music, food, or art festival, there are endless topics to explore and write about. If you're looking for inspiration for your next festival essay, look no further than this list of 103 festival essay topic ideas and examples.

• The Impact of Music Festivals on Youth Culture
• Exploring the History of Mardi Gras
• The Evolution of Coachella: From Music Festival to Cultural Phenomenon
• The Significance of Diwali in Indian Culture
• A Guide to Celebrating Oktoberfest in Germany
• The Role of Food Festivals in Promoting Local Cuisine
• The Cultural Significance of the Chinese New Year Festival
• The Rise of Literary Festivals in the Digital Age
• The Impact of Festivals on Local Economies
• The Intersection of Art and Technology at Burning Man
• The History and Traditions of the Day of the Dead Festival
• The Environmental Impact of Music Festivals
• The Connection Between Festivals and Tourism
• The Role of Festivals in Preserving and Promoting Traditional Crafts
• The Influence of Festivals on Fashion Trends
• The Role of Festivals in Building Community
• The History and Evolution of Pride Parades
• The Cultural Significance of the Holi Festival in India
• The Rise of Virtual Festivals in Response to the COVID-19 Pandemic
• The Impact of Festivals on Mental Health and Wellbeing
• The Role of Festivals in Celebrating Diversity and Inclusion
• The Significance of Harvest Festivals in Different Cultures
• The History and Traditions of the Carnival of Venice
• The Influence of Festivals on Popular Culture
• The Role of Festivals in Promoting Social Change
• The Connection Between Festivals and Religion
• The Impact of Festivals on Local Communities
• The Rise of Food Truck Festivals in Urban Areas
• The Cultural Significance of the Rio de Janeiro Carnival
• The Evolution of Film Festivals in the Digital Age
• The Role of Festivals in Promoting Sustainability and Environmental Awareness
• The Influence of Festivals on Music Trends
• The History and Traditions of the Mid-Autumn Festival in China
• The Connection Between Festivals and Identity
• The Role of Festivals in Preserving and Promoting Indigenous Cultures
• The Significance of the Day of the Dead Festival in Mexico
• The Rise of Wellness Festivals in the Wellness Travel Industry
• The Cultural Significance of the Edinburgh Fringe Festival
• The Evolution of Beer Festivals in the Craft Beer Movement
• The Role of Festivals in Promoting Social Justice and Equality
• The Influence of Festivals on Dance Styles
• The History and Traditions of the Cherry Blossom Festival in Japan
• The Connection Between Festivals and Politics
• The Significance of the Fasching Festival in Germany
• The Rise of Music Festivals in Emerging Markets
• The Cultural Significance of the Inti Raymi Festival in Peru
• The Evolution of Literary Festivals in the Digital Age
• The Role of Festivals in Promoting Community Engagement and Participation
• The Influence of Festivals on Art Trends
• The History and Traditions of the Fiesta de San Fermin in Spain
• The Connection Between Festivals and Gender
• The Significance of the Lantern Festival in Taiwan
• The Rise of Virtual Reality Festivals in the Entertainment Industry
• The Cultural Significance of the Notting Hill Carnival in London
• The Evolution of Food Festivals in the Farm-to-Table Movement
• The Role of Festivals in Promoting Cross-Cultural Exchange
• The Influence of Festivals on Literature Trends
• The History and Traditions of the Midsummer Festival in Sweden
• The Connection Between Festivals and Technology
• The Significance of the Gion Matsuri Festival in Japan
• The Rise of Fashion Festivals in the Fashion Industry
• The Cultural Significance of the Kumbh Mela Festival in India
• The Evolution of Film Festivals in the Streaming Era
• The Role of Festivals in Promoting Environmental Conservation
• The Influence of Festivals on Photography Trends
• The History and Traditions of the Semana Santa

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• Introduction

What makes a dance a folk dance?

Operational definitions.

• Hawaiian dance
• Korean dance
• European “character” dance
• John Playford and the preservation of dance
• Johann Gottfried von Herder and the idea of the folk
• William John Thoms and folkloristics
• Cecil Sharp and the promotion of folk dance
• Béla Bartók and ethnographic scholarship
• Ljubica Janković and Danica Janković and modern scholarship
• Elizabeth Burchenal
• Mary Wood Hinman
• The settlement movement
• The International Folk Dance movement
• Folk dance in the United States
• Israeli folk dancing
• Métis dance
• Supporting nationalism
• Fostering goodwill and making a profit
• Dancing for enlightenment
• Who owns the dance?

Our editors will review what you’ve submitted and determine whether to revise the article.

• Jewish Women's Archive - Folk Dance, Israeli
• folk dance - Student Encyclopedia (Ages 11 and up)
• Table Of Contents

folk dance , generally, a type of dance that is a vernacular , usually recreational, expression of a past or present culture . The term folk dance was accepted until the mid-20th century. Then this and other categories of dance were questioned and their distinctions became subject to debate.

For the purposes of this article, the designation folk dance will be used for convenience, without the extended discussion of terms that a more scholarly treatment would require. It is important, however, to examine other ways to write and think about the types of dances that might be characterized as traditional. It is also essential to note that people in many non-Western cultures do not themselves describe any activity as dance in the way that English speakers do. This article examines possible ways to look at and define folk dance, how various groups might conceive of their dances, and how the study of folk dance was born and developed. See also dance , for a general treatment of dance as an art form. For further treatment of the folk arts, see folk music ; folklore ; folk literature ; folk art .

Defining folk dance

Logically speaking, the adjective folk should modify the noun dance to indicate a certain kind of dance and dancing and perhaps the style or some other distinguishing feature of the dance or performance. It should also imply who the performers are. However, the term folk dance , which has been in common use since the late 19th century, along with its parent term folklore , which was coined in 1846, is not as descriptive or uncontroversial as it might seem. Much of the problem lies in the attitudes and purposes of early scholars and their audience.

Usually, the designation folk was used by those who did not consider themselves to belong to the folk and were confident that they knew which other people were the folk. Some of these observers described folk communities with condescension as peasants, simple or quaint people who were illiterate and unselfconscious, carrying on supposedly unsophisticated and ancient traditions. Such writers concluded that “true” folk dances were created anonymously and transmitted from person to person. Many scholars of the late 19th and early 20th centuries postulated a sort of Darwinian social evolution that passed from imagined beginnings through existing folk dances to arrive at modern recreational dances. This attitude, which fell out of favour by the 1930s, was part of a larger worldview that sometimes went so far as to place certain other groups of people farther down the human evolutionary tree from themselves and their peers.

Not surprisingly, a backlash developed, and since the middle of the 20th century the word folk has often been avoided because of the condescending attitude its use is thought to represent. Many cultural groups around the world demanded that their performing arts not be characterized by the term. Thus, some archives and organizations found it expedient to change the word folk to traditional in their names. For example, in the 1960s the Folk Music Archives at Indiana University was renamed Archives of Traditional Music. Similarly, in 1980 the International Folk Music Council, a nonprofit organization supported by UNESCO (United Nations Educational, Scientific and Cultural Organization), changed its name to International Council for Traditional Music. Its study section on dance broadened in scope from folk dance to ethnochoreology, the study of all dance forms in a culture .

Although many academics in the 21st century avoid any use of the word folk because of its past misuse and possible offensiveness, those who do accept the term often mean “traditional,” “authentic,” or “from olden times.” Those who want to avoid implying that culture is static may refuse to use any such categorical term.

The descriptors traditional and authentic are problematic too when applied to folk dances that are self-consciously developed, revived, and restaged for public display in order to reinforce a national identity, to attract tourists, or both. Examples include dances performed by the Bayanihan Philippine National Folk Dance Company and the numerous folklórico groups from Mexico. Neither does the word traditional comfortably identify dances that are transplanted from one context to another, such as the European folk dances performed by the Matachines Society of the Yaqui Indians of southern Arizona in the United States and Sonora, Mexico. Nor do these terms include the fusions of folk dances from two or more cultures into new forms that represent newly established communities, such as the multicultural Israeli folk dances and the fused traditions of the Métis of Canada. These are discussed below.

Of major significance, a point that is critical to the understanding of folk dance is the following fact: folk dance is not a universal genre of dance. When folk dances are compared from one culture to another, they have in common no universal movement, figure, form, style , or function. Neither does a specific movement, figure, form, style, or function identify a dance as a folk dance. The simplest approach to definition might be to say that folk dances are those dances identified with and performed by folk dancers. By the same reasoning, folk dancers are those persons who perform folk dances.

Yet these circular definitions are inadequate. Some persons who perform what outsiders define as folk dances do not themselves identify their dances as folk dances. And some persons who perform such dances do not identity themselves as folk dancers. Others reject the word folk entirely, as having nothing to do with who they are or what dances they do.

The matachines dances are a good example of how fluid the definitions of folk dance and folk dancers are. The Yaqui Indian Matachines Society is a group in northern Mexico and southern Arizona whose members continue to observe a sacred vow to dance their devotions for the Virgin Mary with medieval European folk dances taught to them after 1617 by Jesuit padres. These Yaqui do not think of their dances as folk dances, nor do they think of themselves as folk dancers, although persons from the outside readily make those assignments. Although the origins of the matachines dances of other parts of the Americas are similar, the dances themselves are different. To complicate matters further, in parts of Europe there are matachines folk dance groups that have nothing in common with the Yaqui society or the other American groups. What the dances are, who performs them, and what insiders and outsiders call the dances and the dancers—all these designations vary, although the dances are known by the same name.

Essay on Dance

500 words essay on dance.

Dancer refers to a series of set of movement to music which we can either do alone or with a partner. Dancing helps us express our feelings and get active as well. If we look back at history, dance has been a part of our human history since the earliest records. Thus, an essay on dance will take us through it in detail.

My Hobby My Passion

Dance is my favourite hobby and I enjoy dancing a lot. I started dancing when I was five years old and when I got older; my parents enrolled me in dance classes to pursue this passion.

I cannot go a day without dance, that’s how much I love dancing. I tried many dance forms but discovered that I am most comfortable in Indian classical dance. Thus, I am learning Kathak from my dance teacher.

I aspire to become a renowned Kathak dancer so that I can represent this classical dance internationally. Dancing makes me feel happy and relaxed, thus I love to dance. I always participate in dance competitions at my school and have even won a few.

Dance became my passion from an early age. Listening to the beats of a dance number, I started to tap my feet and my parents recognized my talent for dance. Even when I am sad, I put on music to dance to vent out my feelings.

Thus, dance has been very therapeutic for me as well. In other words, it is not only an escape from the world but also a therapy for me.

Get the huge list of more than 500 Essay Topics and Ideas

Hidden Language of the Soul

Dance is also called the hidden language of the soul as we use it to express ourselves when words fall short. The joy which comes with dancing helps us get over our sorrow and adversity sometimes.

Moreover, it is simply a translator for our hearts. What is most important to remember is that dance is not supposed to be perfect. There is no right way of dancing, as long as your heart is happy, you can dance.

When we talk about dance, usually a professional dancer comes to our mind. But, this is where we go wrong. Dance is for anybody and everybody from a ballet dancer to the uncle dancing at a wedding .

It is what unites us and helps us come together to celebrate joy and express our feelings. Therefore, we must all dance without worrying if we are doing it right or not. It is essential to understand that when you let go of yourself in dance, you truly enjoy it only then.

Conclusion of the Essay on Dance

All in all, dance is something which anyone can do. There is no right way or wrong way to dance, there is just a dance. The only hard part is taking the first step, after that, everything becomes easier. So, we must always dance our heart out and let our body move to the rhythm of music freely.

FAQ of Essay on Dance

Question 1: Why is Dance important?

Answer 1: Dance teaches us the significance of movement and fitness in a variety of ways through a selection of disciplines. It helps us learn to coordinate muscles to move through proper positions. Moreover, it is a great activity to pursue at almost any age.

Question 2: What is dancing for you?

Answer 2: Dancing can enhance our muscle tone, strength, endurance and fitness. In addition, it is also a great way to meet new friends. Most importantly, it brings happiness to us and helps us relax and take a break from the monotony of life.

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La Jolla Music Society’s 66th season will feature Emanuel Ax, Wynton Marsalis, Twyla Tharp, Terence Blanchard and other greats

The star-studded lineup also includes Gambian multi-instrumentalist and singer Sona Jobarteh, violinist Anne-Sophie Mutter, soprano Barbara Hannigan, the Martha Graham Dance Company and jazz trumpeter and Pulitzer Prize-winning composer Terence Blanchard

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How does a performing arts organization follow the most extensive, star-studded and well-attended season in its 56-year history?

Is it even possible to top a 55th anniversary season that has featured everyone from Pulitzer Prize-winner Rhiannon Giddens, opera legend Renée Fleming and jazz giant Herbie Hancock to the Kronos Quartet, Ladysmith Black Mambazo and Les Ballets Trockadero de Monte Carlo?

“We have to maintain that same level,” said La Jolla Music Society Artistic Director Leah Rosenthal. “This was our biggest season ever, with 77 performances, and we exceeded all of our goals. We don’t want anyone to feel that our next season isn’t just as strong.”

True to her words, Rosenthal isn’t resting on her laurels. The nonprofit arts organization’s upcoming 56th season checks many of the same boxes as its nearly completed 55th edition, which concludes tonight with a pair of sold-out concerts by internationally celebrated San Diego jazz saxophonist Charles McPherson.

The new season’s roster of performers includes Wynton Marsalis, Joyce DiDonato, Emanuel Ax, Zakir Hussain, the London Symphony Orchestra, Anne-Sophie Mutter and both Twyla Tharp Dance and Martha Graham Dance Company, which will soon celebrate its 100th anniversary.

Marsalis, Indian percussion master Hussain and opera dynamo DiDonato will all be making return appearances under the auspices of the society. So will cello star Alisa Weilerstein, the Ukulele Orchestra of Great Britain, the Takacs Quartet, clarinetist Anthony McGill and violinist Gil Shaham, among others.

The new season will also include encore performances by the Japanese percussion ensemble Kodo, the Ukulele Orchestra of Great Britain, and the brother-and-sister cello and piano team of Sheku and Isata Kanneh-Mason, to cite just three examples.

Dozens of debuts

More than half of the nearly 70 performances in the new season will feature artists making their La Jolla Music Society debuts. They include Ghanian singer and multi-instrumentalist Sona Jobarteh, jazz standouts Fred Hersch and Anat Cohen, Mexican singer/actress Aida Cuevas, the Czech Republic’s Trio Bohémo, Canadian soprano Barbara Hannigan, and Mames Babegenush, a Danish ensemble that fuses Eastern European klezmer music with various Scandinavian genres.

Also new to the mix, on Jan. 19, is a concert by jazz trumpet star and Oscar-nominated composer Terence Blanchard. He and and his genre-blurring band, E-COLLECTIVE, will team with the Turtle Island String Quartet and baritone Justin Austin and soprano Adrienne Danrich got a new suite of music from Blanchard’s “Fire Shut Up In My Bones.” In 2021, it became the first opera by a Black composer to be performed by New York’s Metropolitan Opera in its then-128-year history.

“We’re programming such a wide variety of work because we we need to reach a really broad cross-section of people in this region,” said La Jolla Music Society President and CEO Todd Schultz.

“It’s not just a marketing line to say that there really is something here for everyone, because the range of programming is so special and broad.”

Getting the right mix of proven favorites and promising newcomers can be a tricky balancing act. But doing so is an imperative for nearly every successful performing arts organization, whether in cities large, small, or in between.

Even the biggest names can see their appeal diminish if they perform too often in the same market, let alone in the same venue under the auspices of the same presenter. And bringing in too many unfamiliar artists, no matter how gifted they may be, can pose a big risk at the box office.

“It doesn’t get easier every time,” said Rosenthal, who in 2020 became La Jolla Music Society’s first stand-alone artistic director. She was hired by the society in 2008, became its director of artistic planning and education in 2011, and served as its director of programming for four years, starting in 2016.

“Whenever I pick an artist to perform in one of our seasons, my heart bursts, because I have a visceral reaction,” Rosenthal explained. “Whether it’s classical music, jazz or dance, it’s all very personal for me and I always get nervous with open-night jitters.

“You hope the public responds to it as well as you do. Part of our mission is that people don’t have to fly to New York or London to see some of the greatest artists in the world — we present them here in our own backyard. The San Diego Symphony is doing that and so is La Jolla Playhouse. We are all really pushing the idea that San Diego be recognized as a great art town, because it is.”

New musical templates

The society’s nearly completed 2023-24 season had several new components.

They included the organization’s first-ever guest jazz curator, Charles McPherson. He participated in a “The State of Jazz” panel discussion that kicked off the society’s first mini-jazz festival. The lineup for the festival featured the legendary Herbie Hancock, nationally acclaimed San Diego pianist Mike Wofford, Japan’s Hiromi, young Cuban virtuoso Dayramir González, and more.

“Putting the mini-jazz festival together and presenting it over just five days was a risk,” Rosenthal said. “But every concert was sold out and it was musically fantastic. So, it gave us the confidence to continue to push a little and see if the audience trusts what we’re dong, especially with out Global Roots series. I’m very optimistic, given the response.”

While the new season will not have a guest jazz curator, Rosenthal envisions having a guest curator for the 2025-26 season, whether for jazz, Latin music or another genre. And Rosenthal and Schultz both predict a mini-festival will be held every two years as part of the winter season.

With or without a mini-festival, jazz will continue to have an increased presence in the society’s presentations, both in its 513-capacity Baker-Baum Concert Hall and its 144-seat cabaret theater, The JAI. Both are located in the society’s $82 million Conrad Prebys Performing Arts Center in La Jolla.

The coming season’s lineup will include the area debuts of The Paramount Quartet — co-led by jazz saxophone great Joe Lovano and guitarist Julian Lage — and a band honoring the legacy of the late saxophone great Wayne Shorter that features the three members of Shorter’s longtime quartet playing with saxophonist Mark Turner.

“Leah believes we can develop a special following for jazz, and we’re still trying to figure out that identity and what drives people to attend,” said society honcho Schultz. “Many of our jazz concerts are at The JAI and our research shows that a huge percentage of the JAI’s attendees were new to our venue. So, we know were drawing people.”

Is the JAI serving as a feeder for the society’s events in the adjacent Baker-Baum Concert Hall?

“I don’t know if it’s necessarily a feeder,” Rosenthal replied. “But what it does do is provide opportunities for us to present jazz, or any other kinds of artists, at various stages in their careers.

“So, maybe an artist who could only sell 144 tickets at first in The JAI develops and moves up to the Baker-Baum. And if they rise to the level of Wynton Marsalis or Chris Botti, they can move to the Balboa Theatre”

The Balboa hosted the society’s 2023-24 season concerts by Hancock, the Rhiannon Giddens-led Silk Road Ensemble, and other major headliners. Downtown’s nearby San Diego Civic Theatre hosted the society’s performances by international dance troupes, including Ballets Jazz Montreal’s very well-received May 15 “Dance Me,” which was set songs by the late Leonard Cohen.

But the majority of the new season will take place at the society’s The Conrad center, which opened in April 2019, just as the organization’s 50th anniversary was getting under way. Eleven months later, in March 2020, the center was shuttered as live events around the world were shut down by the COVID-19 pandemic.

Pivoting during the pandemic

The shutdown had a devastating impact on arts organizations near and far. Some are still struggling to recover, while others sadly perished altogether. But the society rebounded quickly, thanks to its loyal donors and to its new state-of-the-art center being equipped with top-line audio and video recording facilities.

This enabled the society to livestream the truncated, audience-free edition of its 2020 SummerFest chamber music celebration from the Baker-Baum stage. Also in 2020, the Aspen Music Festival and Celebrity Series of Boston both utilized The Conrad for livestreams, while SummerFest Music Director Inon Barnatan recorded a live album in the empty Conrad last year as his producer participated online from New York.

The pandemic caused the society’s 2019-20 winter season to shrink in size. But some of the concerts were livestreamed, while several others were held — with socially distanced seating — in the center’s courtyard. After pandemic restrictions were lifted in June 2021, SummerFest sprang back into action as a live, in-person event. It was followed by a 42-concert 2021-22 winter season and attendance surged.

“Being able to do our own streaming during the pandemic shutdown was hugely advantageous,” Schultz said. “Having a new venue allowed us to come out of the pandemic really quickly and to draw new concertgoers. I think we are on a pattern of steady growth and building audiences. And ticket sales for this year’s SummerFest, which starts in late July, are tracking five weeks ahead of where we were in sales at this time last year. So, we are in a really good position.

“Now that we have a couple of years under our belts of running The Conrad, we’re stepping back to take stock,” he said. “We are looking at where our opportunities are going forward and how the public is responding to our work and the venue. We are mapping out out a future that both matches the mission of our organization and the opportunities we have, based on seeing what our audience is responding to.”

La Jolla Music Society 2024-25 Winter Season schedule

Unless otherwise indicated, all concerts are at The Baker-Baum Concert Hall in The Conrad Prebys Performing Arts Center in La Jolla. Some events will take place in The JAI, the center’s cabaret, or at the Balboa Theatre, San Diego Civic Theatre, St. James by-the-Sea Episcopal Church or the Jacobs Music Center.

Oct. 6: Fred Hersch & Anat Cohen, 5 p.m. & 7:30 p.m., The JAI

Oct. 13: Aida Cuevas, 7 p.m., Balboa Theatre

Oct. 20: Chris Botti, 7 p.m.

Oct. 24: Abel Selaocoe and Bantu Ensemble, 7:30 p.m.

Oct. 26: Takács Quartet, 7:30 p.m.

Oct. 27: Legacy of Wayne Shorter, featuring Danilo Pérez, John Patitucci, Brian Blade and special guest Mark Turner, 7 p.m.

Nov. 2: Sammy Miller and The Congregation present “100 Years of Jazz,” 6 and 8:30 p.m., The JAI

Nov. 8: Hélène Grimaud, 7:30 p.m.

Nov, 10 : Trio Bohémo, 3 p.m.

Nov. 17: “Encanto: The Sing-Along Film Concert,” 3 p.m., Balboa Theatre

Nov. 21: Alexa Tarantino Quartet, 6 p.m. & 8:30 p.m., The JAI

Dec. 5: Barbara Hannigan & Bertrand Chamayou, 7:30 p.m.

Dec. 7: Joyce DiDonato and Kings Return present “Kings Rejoyce!” with Craig Terry, 7:30 p.m.

Dec. 14: Spanish Harlem Orchestra “Salsa Navidad,” 7:30 p.m.

Dec. 15: Connie Han Trio, 5 p.m. & 7:30 p.m., The JAI

Jan. 10: Jeremy Denk, 7:30 p.m.

Jan. 12: Guido Sant’Anna, 3 p.m.

Jan. 19: “Fire Shut Up In My Bones,” featuring Terence Blanchard and E-COLLECTIVE, Turtle Island String Quartet, baritone Justin Austin and soprano Adrienne Danrich, 7 p.m.

Jan. 25: Martha Graham Dance Company 100th Anniversary, 7:30 p.m., Civic Theatre

Jan. 26: Jahari Stampley Trio, 5 p.m. & 7:30 p.m., The JAI

Jan. 29: Anthony McGill & Emanuel Ax, 7:30 p.m.

Jan. 30: Albert Lin: “In Search Of Lost Cities,” 7:30 p.m.

Feb. 2: Evren Ozel, 3 p.m.

Feb. 6: Kodo “One Earth Tour: Warabe,” 7:30 p.m., Balboa Theatre

Feb. 13: Twyla Tharp Dance 60th Anniversary, 7:30 p.m., Balboa Theatre

Feb. 15: Harold López-Nussa, 6 p.m. & 8:30 p.m., The JAI

Feb. 20: Hagen Quartet, 7:30 p.m.

Feb. 21: London Symphony Orchestra, featuring conductor Antonio Pappano, with pianist Yunchan Lim, 8 p.m., Jacobs Music Center

Feb. 26: Dreamers’ Circus, 7:30 p.m.

Feb. 28: Yunchan Lim, 7:30 p.m.

Mar. 2: Elisabeth Brauss, 3 p.m.

Mar. 6: Gerlinde Kaltenbrunner: “Defying Limits: Climbing the 14 Highest Peaks,” 7:30 p.m.

Mar. 8: Zakir Hussain & Third Coast Percussion, 7:30 p.m.

Mar. 14: Blake Pouliot & Henry Kramer, 7:30 p.m.

Mar. 15: Collision of Rhythm, 10 a.m. & 11:30 a.m., The JAI

Mar. 16: Goitse, 5 p.m. & 7:30 p.m., The JAI

Mar. 22: Les Arts Florissants, with Théotime Langlois de Swarte, 7:30 p.m.

Mar. 23: Ballet Folklórico de Mexico, 7 p.m., Balboa Theatre

Mar. 28: Nobuyuki Tsujii, 7:30 p.m.

April 3: Ukulele Orchestra of Great Britain, 7:30 p.m., Balboa Theatre

April 5: Sona Jobarteh, 7:30 p.m.

April 6: Gil Shaham & Orli Shaham, 3 p.m.

April 11: The Paramount Quartet, featuring Joe Lovano, Julian Lage, Santi Debriano and Will Calhoun, 7:30 p.m.

April 17: Lucas Debargue, 7:30 p.m.

April 24: Jess Cramp: “The Untold Story of Sharks,” 7:30 PM

April 25: American Patchwork Quartet, 6 p.m. & 8:30 p.m., The JAI

May 3: Anne-Sophie Mutter, Pablo Ferrández & Yefim Bronfman, 7:30 p.m., Balboa Theatre

May 4: Mames Babegenush, 5 p.m. & 7:30 p.m., The JAI

May 10: Lucky Diaz, 10 a.m. and 11:30 a.m., The JAI

May 16: Cameron Carpenter Organ Recital, 7:30 p.m., St. James by-the-Sea Episcopal Church

May 17: Cameron Carpenter plays “Metropolis,” 7:30 p.m.

May 18: Wynton Marsalis’ Louis Armstrong Project, 7 p.m., Balboa Theatre

May 31: Sheku Kanneh-Mason & Isata Kanneh-Mason, 7:30 p.m.

June 1: Tres Souls, 5 p.m. & 7:30 p.m., The JAI

June 15: Jaemin Han & Alexander Malofeev, 3 p.m.

Tickets: Winter Season 2024-25 subscription ticket packages will go on sale online at 9 a.m. today and at noon today at the La Jolla Music Society box office, 7600 Fay Ave., La Jolla. Order by phone at (858) 459-3728 and online at theconrad.org . Single tickets go on sale July 15.

Subscription packages: Winter Season 2024-25 subscriptions range from $94.50 (for the Speaker Series) to $475.50 (for the Piano Series). These prices include a facility fee. Compose-Your-Own discounted packages of any three or more concerts and single tickets will be available on July 15. Single ticket prices range from $28 (Collision of Rhythm) to $165 (London Symphony Orchestra with Yunchan Lim). All single ticket prices are subject to change.

Special events: The concerts by London Symphony Orchestra, the Ukulele Orchestra of Great Britain, Joyce Di Donato & Kings Return, and Carpenter’s May 16 concert are all special events that will go on sale with single tickets on July 15.

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What to Know About the Hostages Still in Gaza

Israel’s military announced it had rescued four hostages who were held in Gaza. There are roughly 120 captives still in the enclave.

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By Ephrat Livni

• Published June 8, 2024 Updated June 9, 2024, 6:46 a.m. ET

Israelis briefly breathed a collective sigh of relief on Saturday, when the military announced it had rescued four hostages who were held in Gaza for eight months after being captured in the Oct. 7 attack led by Hamas.

The four hostages were taken at the Nova music festival on Oct. 7 and were rescued in an operation in the town of Nuseirat in central Gaza early Saturday. The mission left scores of Palestinians, including women and children, dead. News of the rescue raised renewed questions about the fate of those who remain in captivity and a proposed cease-fire deal.

How many hostages are still being held in Gaza?

Roughly 120 captives remain in Gaza. The Israeli military has confirmed that at least 30 of them have died.

Earlier this month, the Israeli military informed the families of four hostages that they were dead and that their bodies were being held by Hamas. In May, the military recovered the bodies of nine hostages, and the families of two Thai citizens who had been captured were informed that their bodies were still being held in Gaza.

Will Israel undertake more rescue operations?

Dozens of proposed rescue missions have not gone forward for fear the hostages or soldiers would lose their lives in the process, according to Israeli defense officials.

Israeli troops have managed to rescue only seven living hostages in three separate military operations. In December, Israeli troops accidentally fired on and killed three hostages in Gaza who were trying to reach safety.

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Photos: Middle Village dance studio delights with star-studded outdoor dance festival

The Salvatore LaRussa Dance Theatre , a stand-alone neighborhood dance studio in Middle Village , has delighted guests once again with a series of performances from distinguished artists at its annual Queens Outdoor Dance Festival this year.

Salvatore LaRussa, the artistic director and choreographer of the Middle Village theater, located at 66-85 73rd Pl., has continued to bring performance arts to the neighborhood since opening the theater space in 2009.

The Sunday evening art exhibition featured a diverse range of experimental and classical dance performances. Included in the program were nearly a dozen key performing artists from all parts of the city who brought together a choreographed show in the form of solo acts and company pieces.

Yang Sun, as one of many internationally recognized performers for the night, performed her solo “Poet” as part of the festival. Sun comes with an extensive background in dance performance art, appearing in several works from premier dance studios.

Joining the international artists was Anabella Lenzu, a dancer and educator with over 30 years of experience performing throughout the U.S., Argentina, Chile and Italy. Lenzu has been the director of her own company, in operation since 2006, and has created hundreds of choreographed works.

LaRussa continues to bring the arts to Middle Village with the support from Council Member Robert Holden , Senator Joseph P. Addabbo Jr. , the Queens Council on the Arts , the NYS Council on the Arts , the NYS Foundation for the Arts and the NYC Department of Youth and Community Development .

About the Author

Anthony Medina

Anthony Medina (he/him) is a reporter for QNS, the Ridgewood Times and Times Newsweekly Newspapers.

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Essay on Philippine Festivals

Students are often asked to write an essay on Philippine Festivals in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Philippine Festivals

Introduction to philippine festivals.

Philippine Festivals are colorful and lively events. They are a way for people to show their culture, history, and beliefs. The festivals are held all year round in different parts of the country. Each festival has its own unique style and purpose.

The Sinulog Festival

The pahiyas festival.

The Pahiyas Festival is another popular event. It is held in Lucban, Quezon in May. People decorate their homes with fruits, vegetables, and rice products. This is to thank God for a good harvest. It is a fun and colorful event that attracts many visitors.

The Kadayawan Festival

The Kadayawan Festival is held in Davao City in August. It is a week-long celebration of life, health, and thanksgiving. People enjoy various events like street dancing, horse fights, and floral floats. The festival is a highlight of the city’s cultural life.

250 Words Essay on Philippine Festivals

The Philippines, a country full of life and color, is famous for its festivals. These festivals, known as ‘fiestas’, show the rich culture and history of the country. They are full of fun, music, dance, and lots of delicious food. Each festival is unique and has its own story.

Reasons for Celebrations

There are many reasons why Filipinos celebrate festivals. Some are to honor their local saints, some to thank nature for its gifts, and some to remember important events from their history. Festivals are a way for people to come together, enjoy, and keep their traditions alive.

Examples of Festivals

One famous festival is the ‘Sinulog’ in Cebu. It is a dance ritual that honors the Santo Niño, or the child Jesus. Another is the ‘Pahiyas’ in Lucban, Quezon. Here, people decorate their homes with fruits, vegetables, and rice products to thank God for a good harvest.

Impact of Festivals

Festivals in the Philippines have a big impact. They attract tourists from all over the world. This helps the local economy. Also, they teach the younger generation about their culture and history. Thus, festivals play a big role in preserving Filipino heritage.

In conclusion, Philippine festivals are more than just parties. They are a reflection of the country’s vibrant culture, deep faith, and rich history. They bring people together and create a sense of community. These celebrations truly make the Philippines the ‘Land of Fiestas’.

500 Words Essay on Philippine Festivals

Introduction.

Fiestas are held for many reasons. Some honor saints, some thank God for good harvests, and others celebrate history. Each festival is unique, with its own story and customs. The “Pahiyas” festival, for example, is a thanksgiving event for a bountiful harvest. On the other hand, the “Sinulog” festival honors the Santo Niño, or the child Jesus.

Common Elements in Festivals

Despite their differences, most fiestas share some common elements. There is usually a parade with floats, dancers, and musicians. People often wear colorful costumes and masks. There is also lots of food, with each region showcasing its special dishes.

Importance of Festivals

Festivals are important for many reasons. They bring communities together and strengthen social bonds. They also help preserve Filipino traditions and pass them on to younger generations. Moreover, they attract tourists and boost local economies.

The “Panagbenga” or Flower Festival in Baguio City is another popular event. It celebrates the city’s flowers and includes a grand float parade.

In conclusion, festivals in the Philippines are vibrant and joyful events that reflect the country’s rich culture and traditions. They are a testament to the Filipino spirit of unity, faith, and celebration. Whether you’re a local or a tourist, joining a fiesta is a must-do experience when in the Philippines.

(Note: The essay is 300 words long, well within the 500-word limit.)

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Benefits of Dancing Essay

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

If you’re exploring the importance of dancing, this essay can help you.

Dance is an art that refers to the movement of part of the body, some of the parts or the whole body, while keeping rhythmical to music (Luetzner). It is also referred to as a nonverbal form of communication as such movements can carry some massage. So that you see the benefits of dancing, this essay explores its importance in the human experience.

Dance as an art itself can be used to make expressions. The expressions can be either of joy, sorrow, warning or sometimes used for entertainment (Luetzner). In many parts of the world, dance can also be used to express talent or extra ordinary ability over others has in dance competitions.

Sense of unity

Dancing can be used as a symbol of unit. Among the several symbols of unity in different people in the world, such as taboos, cultures, songs, color and many others, dance is the most common way of expressing the sense of unity (Browning). In other words, dancing to a rhythm shows appreciation and acceptance despite the perspectives on can have.

Form of Exercise

This is because of the movements that are involved in dancing. It is proven that dancing can considerably improve one health by reducing the risk of some worse health conditions such as high blood pressure, weight gain and heart diseases (Browning). Just like any other exercise or sport, dancing has been incorporated in sports such as gymnastics, martial arts and figure skating (Luetzner).

Offers Mental and Physical Relaxation. A combination of music and a simple physical exercise are the most effectual way of setting one’s mind stress free. Dancing provides a quick and fun state that naturally relieves stress.

Form of Entertainment

Dancing and fun go hand in hand thus; it is the easiest way to happiness. Happiness can come from the activities one gets involves into will in dance groups, which include, making friends, dancing settings and of course learning new dance styles (Luetzner).

Source of Motivation and Inspiration

This is commonly in some games, competition and even sports such as basketball and football. The dancers can perform before, during the event and even on commercial breaks to keep both the fans and the participants motivated.

Source of Income

Dancing is a skill that if specialize can lead into career. So many professional dancers nowadays are able to form affiliates and make a living from training interested people and competitions (Browning).

Enhances education

Dancing is a major booster for both the old and the young. In children, dancing contributes a lot in terms of personal improvement hence enhancing their skills more so those necessary for better education. Research shows that dancing help in boosting self-esteem as well as confidence (Luetzner).

Social and political activity

Just like any other practice, dancing is also a social and political activity. The importance of dance is vividly understood during performance. As explained above, dance sends a message to the audience hence it is an important activity to the society at large.

Confidence Booster

Dancing being an exercise, it improves posture, strengthen muscles and bring out sense of them. Eventually, this state of body and mind eliminates doubts and fears and replaces them with confidence and thus good time (Luetzner).

Enhances Creativity

Lastly, d ance provides emotional outlet that helps a person to clearly reveal his or her feelings through coordinating body movement with music. It is this ability that translates back to the sense of creativity in the real world (Browning).

Works Cited

Browning, Sarah. The Importance of Dance . 2012. Web.

Luetzner Andreas. Benefits of Dance . 2012. Web.

• Dance and Mathematics Relationship
• African Dance Taught by Rujeko Dumbutshena
• Classical Dance: Term Definition
• Ruth St. Denis's Biography
• Survey of Contemporary Dances
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• History of Balinese Dancing Art
• Igor Stravinsky’s The Rite of Spring
• Chicago (A-D)
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IvyPanda. (2019, June 4). Benefits of Dancing Essay. https://ivypanda.com/essays/importance-of-dance-in-human-experience/

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IvyPanda . 2019. "Benefits of Dancing Essay." June 4, 2019. https://ivypanda.com/essays/importance-of-dance-in-human-experience/.

1. IvyPanda . "Benefits of Dancing Essay." June 4, 2019. https://ivypanda.com/essays/importance-of-dance-in-human-experience/.

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Related Papers

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Asia Pacific Journal of Education, Arts & Sciences

Asia Pacific Journal of Education Perspective

This study aimed to determine the sociocultural effects of festivals in the province of Batangas as part of the cultural tourism industry. Specifically, it described the profile of the respondents in terms of age, gender, civil status, religion, income educational attainment; assess the perceived socio-cultural and economic effects of festivals in the province of Batangas; to test the significant difference between perceived socio-cultural and economic effects when grouped according to their profile variables; and to propose a plan of action to enhance and promote the cultural tourism industry of Batangas Province. Majority of the residents were 60 years and above, female, married and Roman Catholic with monthly income of 5,001 – 9,999.99 and elementary graduate. The respondents strongly agreed that one of the socio cultural effects of festivals is it provide unity in the community and in terms of economic effects, hosting a festival is expensive. A plan of action was proposed to enhance and promote the cultural tourism industry of Batangas Province.

This study determined the cultural and economic benefits of conducting festivals on the cities and municipalities of Batangas Province, Philippines. Descriptive type of research was utilized in the study. The respondents are the 250 local residents based in ten cities and municipalities forming the top 10 Batangas Festivals. Results showed that the community respondents strongly agreed that festival helps in the preservation of local culture and traditions. For those who belong in the high and average class, they have a more positive response compared to those in the lower class. Festivals can help recreate the image of the town to get on the tourism map where it helps the tourism industry of the specific area like Batangas by extending the tourism season. Every development happens in the province gives them the opportunity for life improvement. Festivals provide identity to the people that nourish the Filipino culture and strengthen the economic benefits through hard work and perseverance of the Batanguenos to be known their festivals worldwide.

Jayrome Nuñez

Dr. Hanafi Hussin

A cursory review of tourist events in the southern Philippines and East Malaysia reveals the emergence of quite a number of festivals that veers away from the nature of traditional ones. These festivals are non-traditional for the two important reasons. First, they are instigated by authorities above the kampung or village level. Second, they are largely secular festivals that have less to do with the respective cosmologies of communities, but rather have more to do with a perceived need to create a sense of pride or solidarity beyond the family/clan or village level. Generation of income through tourism revenue may also be added to these two reasons. Two examples of this relatively new type of festival are the Kamahardikaan Festival of Bongao, Tawi-Tawi Province, southern Philippines and the Regatta Lepa Festival of Semporna, Sabah State, East Malaysia. This chapter compares the two festivals through Eric Hobsbawn’s (1983) concept of “invention of tradition.” The inventio...

William Peterson

In a country famous for its many festivals, the Ati-atihan Festival on the island of Panay near the geographic center of the Philippines stands out not only for its devotion to the Santo Niño, or Holy Child, but because of its claim to be the country’s oldest festival. Believed to date from 1212, this festival grafts the veneration of the Santo Niño onto a kind of thanksgiving commemorating the ‘voluntary’ gift of land from the indigenous population to their ‘brothers’ from present-day Borneo. This article traces the ‘Mardi-Gras-ization’ of the festival through an examination of its more extravagant, public, and theatrical elements, while considering what this week-long event means for its tens of thousands of active participants.

Conflict, Justice, Decolonization: Critical Studies of Inter-Asian Societies

Fernan Talamayan

Panagbenga is an annual festival held in Baguio City, Philippines every February, celebrating Cordillera’s flora and promoting the region’s culture and economy. Despite the festival being initiated fairly recently, it has found its way to many Filipinos’ calendars. Every year, it attracts millions of visitors and contributes to the city’s flower industry and tourism. It is curious, however, that even with the festival’s popularity, very few social scientists have been intrigued by the festival’s inception and traditionalization. To address this gap, this study offers a preliminary examination of Panagbenga using nuanced anthropological descriptions of tradition. Central to its analysis of traditionalization is the modification, institutionalization, and multiplication of festival practices that serve various purposes. In exploring the intersection of cultural expressions and economic practices during Panagbenga, the study validated the fluidity of tradition, refuting the prevailing Hobsbawmian distinction between “genuine” and “invented” traditions.

Lyubomir Kutin

Festivals create and promote works of art in the conditions of globalization, mobility of artists and exchange of cultural values. Furthermore, festivals are forums of debating about the life of modern society. Through festivals human, financial and material resources are being mobilized and governed. They are the subject of transnational, state, regional and local policies. Festival events actively contribute to the development of cultural and creative industries and as such they are part of the local economy.

Norie Palma

Sanju Shrestha

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The iconic dinagyang festival dance.

ILOILO City – Tribu Parianon is this year’s Dinagyang 2023 champion. From Molo district, Tribu Parianon was declared grand champion of the Dagyang sa Barangay competition while Tribu Jalaud  from Calinog, Iloilo won the Kasadyahan sa Kabanwahanan contest. On this video, we invited Tribu Parianon to perform in our company Family Day celebration where they showcased their winning performance, Dinagyang Festival dance steps, Dinagyang Festival music thru drum beats and Dinagyang Festival costumes.

The Dinagyang Festival is one of the most vibrant and energetic celebrations in the Philippines, and the Dinagyang dance is a highlight of the festivities. This traditional dance is performed by skilled dancers dressed in elaborate costumes, accompanied by the rhythmic beat of drums and other musical instruments.

Dinagyang is a Hiligaynon word extrapolated from dagyang meaning “merrymaking” It celebrates the feast of the Infant Jesus and the pact between the Datus and the locals.

In the above video, you will experience the excitement and energy of the Dinagyang Festival dance firsthand. You'll see the intricate choreography, the colorful costumes, and the infectious enthusiasm of the dancers as they move to the music.

On this article, you'll also learn about the history and significance of the Dinagyang Festival, which honors the Santo Niño (the Holy Child) and celebrates the arrival of Malay settlers to the region. It's a cultural experience that is not to be missed!

Watch and enjoy the captivating sights and sounds of the Dinagyang Festival dance. Whether you're a seasoned traveler or simply a lover of dance and culture, this video is sure to leave you feeling inspired and uplifted.

What is the Dinagyang Festival?

The Dinagyang Festival is a vibrant and colorful cultural festival celebrated in Iloilo City, Philippines. It is held every year on the fourth weekend of January to honor the Santo Niño (the Holy Child) and to celebrate the arrival of Malay settlers in the region.

During the festival, the streets of Iloilo City come alive with music, dance, and pageantry. One of the main highlights of the festival is the Dinagyang dance, which is performed by skilled dancers dressed in elaborate and colorful costumes. The dance is accompanied by the beat of drums and other traditional musical instruments, creating a lively and infectious atmosphere.

Aside from the Dinagyang dance, the festival also includes other events such as street parties, parades, food fairs, and cultural performances. It is a time for locals and visitors alike to come together and celebrate the rich history and cultural heritage of the region.

The Dinagyang Festival is not only a fun and exciting event, but it is also an important cultural tradition that helps to preserve the unique identity and traditions of the people of Iloilo City.

What are the different tribes competing in Dinagyang street dance 2023?

The Dinagyang street dance competition features various tribes, also known as "tribus," competing against each other. In 2023, there are eight tribes that participated in the Dinagyang Festival street dance competition. These tribes are: Tribu Sagasa, Tribu Parianon, Tribu Panaad, Tribu Familia Sagrada, Tribu Molave, Tribu Ilonggohanon, Tribu Kanyao sang Baybayanon, and Tribu Halimau.  

Each tribe has its own unique costume, choreography, and music that reflect the culture and traditions of the region. The tribes compete for the top spot by showcasing their creativity, skill, and passion through their performances. The street dance competition is one of the most anticipated events of the Dinagyang Festival, drawing crowds from all over the world to witness the colorful and lively performances.

What are the characteristics of Dinagyang Festival?

The Dinagyang Festival is known for its vibrant and colorful performances, religious processions, and cultural events. Here are some of the main characteristics of the Dinagyang Festival:

• Street performances: The festival features street performances by groups of dancers wearing colorful costumes and face paint. The performances are accompanied by the beat of drums and other musical instruments and are intended to tell the story of the Santo Niño's miraculous intercession in the lives of the Ilonggo people.
• Religious activities: The festival includes a religious procession that takes place on the first day of the festival. The procession begins at the St. Joseph Parish Church and ends at the San Jose Parish Church, where a Mass is celebrated. There are also other religious activities throughout the festival, such as novena masses, processions, and the reenactment of the arrival of the Santo Niño in Iloilo.
• Cultural events: The Dinagyang Festival also includes a trade fair, a food festival, and other cultural events. The festival is an opportunity for the Ilonggos to showcase their culture and traditions through music, dance, and other artistic performances.
• Participation: The festival is an inclusive event, and people of all ages and backgrounds are welcome to participate. The festival is not only for locals but also attracts visitors from all over the Philippines and around the world.
• Spirit of merrymaking: The Dinagyang Festival is a celebration of life and faith, and the spirit of merrymaking and revelry is evident throughout the festival. The festival is a time of joy, gratitude, and devotion for the Ilonggo people.

The music of the Dinagyang Festival

The music of the Dinagyang Festival is characterized by the beat of drums and other percussion instruments. The festival music is intended to be lively, upbeat, and energetic, to match the colorful and dynamic performances of the dancers.

One of the most important musical instruments used during the Dinagyang Festival is the drum, particularly the "dabakan." The dabakan is a large, cylindrical drum made of wood and animal hide. It is played by striking the drumhead with the hands or with sticks, producing a deep and resonant sound.

Other percussion instruments used during the festival include the "tambor," a small drum played with sticks, the "plastic tabor," a plastic drum played with sticks, and the "agung," a set of two large, metal gongs played with wooden sticks.

The music of the Dinagyang Festival also features a variety of other instruments, such as trumpets, flutes, and guitars. These instruments add melody and harmony to the festival's musical performances.

Overall, the music of the Dinagyang Festival is an essential component of the festival's vibrant and dynamic atmosphere. It is a celebration of life and faith, and the festival music plays an important role in creating a festive and joyful atmosphere for both participants and spectators.

History of the Dinagyang Festival

The Dinagyang Festival is a religious and cultural festival celebrated in the city of Iloilo in the Philippines. It is held every year on the fourth Sunday of January, and it honors the Santo Niño (Holy Child Jesus).

Iloilo City is a city located in the Western Visayas region of the Philippines. It is located on the southern coast of the island of Panay, and is the capital of the province of Iloilo.

The origins of the Dinagyang Festival can be traced back to the late 1960s when a group of local students organized a parade to honor the Santo Niño. The students, who were members of the Iloilo City National High School (now the Iloilo City National High School-Mandurriao), dressed up in colorful costumes and danced to the beat of drums and other musical instruments.

The festival gained popularity over the years, and in 1977, the Iloilo City government officially declared it a religious and cultural festival. The festival's name "Dinagyang" comes from the Ilonggo word "dagyang," which means "merrymaking" or "revelry."

The Dinagyang Festival is known for its vibrant street performances, which feature dancers in colorful costumes and face paint. The performances are accompanied by the beat of drums, and they tell the story of the Santo Niño's miraculous intercession in the lives of the Ilonggo people.

The festival also features a religious procession, which takes place on the first day of the festival. The procession begins at the St. Joseph Parish Church and ends at the San Jose Parish Church, where a Mass is celebrated.

In addition to the street performances and religious activities, the Dinagyang Festival also includes a trade fair, a food festival, and a variety of other cultural events. The festival attracts visitors from all over the Philippines and from around the world, making it one of the most popular festivals in the country.

Why is Dinagyang festival celebrated?

The Dinagyang Festival is celebrated to honor the Santo Niño (Holy Child Jesus). According to the festival's history and legend, the Santo Niño played a significant role in the conversion of the local population to Christianity.

In the 16th century, Spanish explorers led by Portuguese explorer Ferdinand Magellan arrived in the Philippines and brought with them the Christian faith. In Iloilo, the locals were resistant to the new religion and refused to convert. However, a group of Spanish missionaries arrived in Iloilo in the mid-1500s and introduced the Santo Niño to the locals.

The Santo Niño, also known as the Holy Child Jesus, is a representation of Jesus Christ as an infant. The statue of the Santo Niño was said to have been given to the local chieftain, Datu Puti, as a gift from the Spanish explorer, Legazpi. The Santo Niño then became a significant part of the local culture, and its veneration eventually led to the conversion of the Ilonggos to Christianity.

The Dinagyang Festival celebrates the Santo Niño's role in the conversion of the Ilonggos and the deepening of their faith. It is also an opportunity for the locals to express their gratitude and devotion to the Santo Niño through colorful performances, religious activities, and cultural events.

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Essay on Festivals in Philippines

Top of Form Most festivals in Philippines are religious in origin, but nowadays the religious component is usually secondary to the general spirit of celebration. Philippines has dozens of festivals and most towns have their own in addition to the national ones. Filipino hospitality is legendary and at no time is it more in evidence than at festival time. Here’s a list of the ones you should keep a look out for when planning your vacation in Philippines, we will try to cover each festival more extensively in individual articles.

The Read more link will direct you there! Quiapo – Procession of the Black Nazarene Date: 9th January The procession, and the accompanying Feast of the Black Nazarene, takes place every year on 9th January. It is usually the single largest festival of the year in the Philippines and thousands of devotees come to the district of Quiapo to take part in the procession to commemorates the transfer of the Black Nazarene image (“traslacion”) from Intramuros to Quiapo Church. Ati-Atihan Date: 3rd Sunday of January

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The Ati-Atihan Festival is a feast held in honor of the Santo Niño held annually in January concluding on third Sunday, in the town of Kalibo, Aklan in the Philippines. It is the wildest among Philippine fiestas and considered as the Mother of All Philippine festivals. Celebrants paint their faces with black soot and wear bright, outlandish costumes as they dance in revelry during the last three days of this two week-long festival. Catholics and non-Catholics alike observe this special day with processions, parades, dancing, and merrymaking. Sinulog Date: 3rd Sunday of January

The Sinulog is an annual festival held on the third Sunday of January in Cebu City, Philippines. The festival honors the child Jesus, known as the Santo Niño (Holy Child), patron of the city of Cebu. It is a dance ritual that commemorates the Cebuano people’s pagan origin, and their acceptance of Christianity. The festival features a street parade with participants in bright-colored costumes dancing to the rhythm of drums, trumpets, and native gongs. Dinagyang Date: 4th Sunday of January The Dinagyang is a religious and cultural festival in Iloilo City, Philippines held on the fourth Sunday of January.

It is held both to honor the Santo Niño and to celebrate the arrival on Panay of Malay settlers and the subsequent selling of the island to them by the Atis. Dinagyang was voted as the best Tourism Event for 2006, 2007 and 2008 by the Association of Tourism Officers in the Philippines. Panagbenga Date: February Panagbenga is month-long annual flower festival occurring in Baguio. The festival, held during the month of February, was created as a tribute to the city’s flowers and as a way to rise up from the devastation of the 1990 Luzon earthquake.

The festival includes floats that are decorated with flowers unlike those used in Pasadena’s Rose Parade. The festival also includes street dancing, presented by dancers clad in flower-inspired costumes, that is inspired by the Bendian, an Ibaloi dance of celebration that came from the Cordillera region. Kaamulan Date: 28th Feb – 1st March The Kaamulan Festival is a Bukidnon ethnic-cultural festival that takes place from the last week of February to the first week of March. Kaamulan, from the Binukid word amul, “to gather”, is an indigenous Bukidnon term for a gathering for any purpose.

It can mean a datukship ritual, a wedding ceremony, a thanksgiving festival during harvest time, a peace pact, or any number of these together. The Festival is held in Malaybalay City from the second half of February to March 10, the anniversary date of the foundation of Bukidnon as a province in 1917,d to celebrate the culture and tradition of the seven ethnic tribal groups—Bukidnon, Higaonon, Talaandig, Manobo, Matigsalug, Tigwahanon and Umayamnon—that originally inhabited the province. It is the only ethnic festival in the Philippines. Moriones

Date: Holy Week The Moriones is an annual festival held on Holy Week on the island of Marinduque, Philippines. The “Moriones” are men and women in costumes and masks replicating the garb of biblical Roman soldiers as interpreted by local folks – Morion means “mask” or “visor,” a part of the medieval Roman armor which covers the face. The Moriones or Moryonan tradition has inspired the creation of other festivals in the Philippines where cultural practices or folk history is turned into street festivals. Maleldo / Cutud Lenten Rites Date: Good Friday

Every year on Good Friday or the Friday before Easter a dozen or so penitents – mostly men but with the occasional woman – are taken to a rice field in the barrio of San Pedro Cutud, 3km (2 miles) from the proper of City of San Fernando, Pampanga and nailed to a cross using two-inch (5 cm) stainless steel nails that have been soaked in alcohol to disinfect them. The penitents are taken down when they feel cleansed of their sin. Other penitents flagellate themselves using bamboo sticks tied to a rope. Read more on Maleldo / Cutud Lenten Rites Turumba

Date: Between April and May Every year during the months of April and may, the people of Pakil, in the province of Laguna celebrates the Turumba Festival. It commemorates the seven sorrows of the Blessed Virgin Mary. It is held 7 times each year between the months of April and May. The first is held on the Friday before Palm Sunday and the last falls on Pentecost Sunday. Flores de Mayo Date: 1st May – 31st May Flores de Mayo is a Catholic festival held in the Philippines in the month of May. It lasts for a month, and is held in honor of the Virgin Mary.

The Santa Cruzan is a parade held on the last day of Flores de Mayo in honor of Reyna Elena. Santacruzan Date: 31st May Santacruzan is the queen of Maytime festivals. It is a novena procession, in commemoration of Saint Helena’s finding of the cross. Saint Helena was the mother of Constantine the Great. The procession, however, differs from other religious processions in that it does not parade the usual images of patron saints. Instead, biblical and historical characters are represented by the local people dressed in appropriate costumes. Carabao Date: 14th May – 15th May

Begining May 14th, the people of Pulilan in Bulacan Province, San Isidro in Nueva Ecija Province, and Angono in Rizal Province celebrate for two days. On the first day, farmers pay pay homage to the beast of burden which is the farmer’s best friend – the lowly carabao. These animals are very important for farmers because they help till the land. Farmers brush their carabaos’ skin until it is sleek and shiny. Then the carabaos are decorated with ribbons and attached to carts. In the afternoon, farmers lead their carabaos to the church square to be part of the procession. At the church, the carabaos kneel for their blessings.

On the second day, the carabaos compete in a friendly race. Pahiyas Date: 15th May Lucban celebrates the Pahiyas Festival in honor of the patron saint of farmers, St. Isidore. This festival showcases a street of houses which are adorned with fruits, vegetables, agricultural products, handicrafts and kiping, a rice-made decoration, which afterwards can be eaten grilled or fried. The houses are judged and the best one is proclaimed the winner. Obando Fertility Rites Date: 17th May – 19th May “Santa Clarang pinong-pino, Ang pangako ko ay ganito, Pagdating ko sa Obando, Sasayaw ako ng pandanggo. The Obando Fertility Rites are a Filipino dance ritual. Every year during the month of May, to the tune of musical instruments made out of bamboo materials, the men, women and children of Obando, Bulacan, Philippines wear traditional dance costumes to dance on the streets followed by the images of their patron saints San Pascual Baylon (St. Paschal), Santa Clara (St. Clare) and Nuestra Señora de Salambao (Our Lady of Salambao), while singing the song Santa Clara Pinung-Pino. The feast days or dance festivals are held for three consecutive days: May 17 for St. Paschal, May 18 for St.

Claire and May 19 for the Our Lady of Salambaw. What makes the Obando fiesta unique among Philippine festivals is the dance performed in the streets by the childless women. Pintados Date: 29th June The Pintados-Kasadyaan Festival is a merry-making event lasting a whole month, highlights of which include the Leyte Kasadyaan Festival of Festivals, the Pintados Festival Ritual Dance Presentation and the Pagrayhak Grand Parade. These festivals are said to have begun from the feast day of Señor Santo Niño, held every June 29th. The Leyteños celebrate a religious festival in a unique and colorful way.

Since the Visayans are experienced in the art of body tattooing, men and women are fond of tattooing themselves. Kadayawan Date: Third week of August The Kadayawan Festival is an annual festival in the city of Davao in the Philippines. Its name derives from the friendly greeting “Madayaw”, from the Dabawenyo word “dayaw”, meaning good, valuable, superior or beautiful. The festival is a celebration of life, a thanksgiving for the gifts of nature, the wealth of culture, the bounties of harvest and serenity of living. Penafrancia Fluvial Date: Third Saturday and Sunday of September

The Peñafrancia Festival in Naga City, Camarines Sur, Bicol Region. During the festivities, people attend church services, followed by parades on the streets, fireworks, and feasting. The ninth day, usually falling on the third Saturday of September, is marked by a fluvial procession. The image of the Virgin Mary is carried on a barge which is trailed by thousands of devotees in boats gliding alongside. People who line the river banks shout “Viva la Virgen! as the Virgin passes by. MassKara Date: 3rd weekend nearest to 19th October The MassKara Festival is a week-long festival held each year in Bacolod City, he capital of Negros Occidental province. The festival features a street dance competition where people from all walks of life troop to the streets to see colorfully-masked dancers gyrating to the rhythm of Latin musical beats in a display of mastery, gaiety, coordination and stamina. The word MassKara has a double meaning. First, it is a fusion of the English word “mass” or many and “kara”, the Spanish word for “face. ” MassKara then becomes a “mass of faces,” and these faces have to be smiling to project Bacolod already known in the late 70’s as the City of Smiles.

Lanzones Date: 25th October Each year there is a Lanzones (a small grape-sized tropical fruit) Festival held in October. The week-long festival is one of the more colorful events in the Philippines. The Lanzones festival is celebrating its 30th Anniversary on October 2009 Higantes Date: 23rd November Angono celebrates the “Higantes Festival” which coincides with the Feast of Saint Clement, the Patron Saint of Angono. Higantes Festival is now promoted as tourism-generating event in the country. This attracts numerous tourist from all over the world.

The higantes are made of paper-mache. Higantes measures four to five feet in diameter and ten to twelve feet in height. Traditionally, it began in the last century when Angono was a Spanish hacienda. This higantes was influenced by the Mexican art form of paper-mache brought by the Spanish priests to the Philippines. Giant Lanterns Date: December – Saturday before Christmas Eve The Giant Lanterns Festival is an annual festival held in December (Saturday before Christmas Eve) in the City of San Fernando in the Philippines.

The festival features a competition of giant lanterns. Because of the popularity of the festival, the city has been nicknamed the “Christmas Capital of the Philippines”. Read more on Giant Lanterns Festival Misa de Gallo Date: 16th December – 25th December Traditionally, Christmas Day in the Philippines is ushered in by the nine-day dawn masses that start on December 16. Known as the Misa de Gallo (Rooster’s Mass) in the traditional Spanish and in Filipino as Simbang Gabi, or “Night Mass”, this novena of Masses is the most important Filipino Christmas tradition.

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