TINIKLING DANCE ESSAY

UNIQUE ESSAYS
ADMIN

Harmonizing to the Filipino authorities. the Tinikling is the national dance of the
Philippines. It is the most popular and best known of all the dances in the Philippines.
In English. the word Tinikling means “bamboo dance. ” Tinkiling is considered as one of
the oldest dances from the Philippines. The dance originated in an island in the Visayas
in the Philippines. Leyte. The people of Leyte describe the tikling bird as one of the most
alone in its motions ; how they walked about and between the tree subdivisions and
some grass stems. This bird was named “tikling” which is where the name

for the dance Tinikling got its name. The people of Leyte were really originative and they
imitated the “tikling” bird by utilizing bamboo poles. There are many different versions
of the narrative behind the Tiniking. many have been passed down through unwritten
traditions and folklore. One of the narratives of the Tinikling’s beginning may be made
up. a fact. or portion of a fable. The narrative says that the Tinikling started by the
people who worked on the rice Fieldss in the Philippines. When the Spaniards came
from Spain and conquered the Philippines. the indigens were sent to the haciendas.

The indigens lost control of their land because they were under an economic system that
is mostly based on rural and agricultural operations of big farming areas administered
by caretakers for the King of Spain. The indigens had to work all twenty-four hours to
delight the Spaniards. The indigens could hold wholly lost control of their fate under an
exploitatory system. The people of the Philippines worked in the rice Fieldss for about
four hundred old ages. The people who worked excessively easy would be sent out of the
rice Fieldss for penalty. Their penalty was to stand between two bamboo poles cut from
the grove.
Sometimes. the sticks would hold irritants lodging from their sections. The poles were
so clapped to crush the native’s pess. By leaping when the bamboo sticks were apart. the
indigens tried to get away this barbarous signifier of penalty. This type of penalty
became a rhythm. the more bruised the person’s pess were. the less work he would
make. the less work he would make. the more penalty. The significance for the dance
was likely laid out when the workers would return place with their pess bruised and
shed blooding from the penalty. It is said that from a distance. the people who were
having the whipping looked like the Hero.

This is one of the narratives about the Tinikling’s beginning. The Tinikling consists of a
four people. two work forces and two adult females. A adult male and adult female on
both sides of two bamboo poles tapping them together in beat with the music and a
adult male and adult female dancing in between the poles avoiding being caught
between them. The aim of the dance is attempt and travel in and out of the bamboo
poles without acquiring hit. When the first twosome dancing makes an mistake in their
dance stairss. the other twosome takes their bend and the dance velocity starts acquiring
faster and faster.

The bamboo poles are besides used as the percussive instrument. it is banged to the land
in order to do a form of music. Tinikling terpsichoreans frock in traditional Philippine
outfits. Womans wear the balintawak. a frock with wide-arched arms and a panuelo. a
hankie on the shoulder. Besides. some adult females wear the patadyong. a checked skirt
paired with a blouse made out of pinapple fibre. Work force wear a barong Tagalog. a
formal garment of the Philippines. It is a lightweight long-sleeved shirt worn over an
under shirt and paired with pants. Dances remain barefoot for the dance.

The Tinkiling is performed on certain Sundays in the Philippines. It is besides

performed at Philippines celebrations. and to advance Philippine cultural heritage and
touristry. In the Philippines. hotel lounges feature Tinikling public presentations to
welcome and entertain invitees. Besides. simple and secondary schools besides include
Tinikling in physical instruction categories to advance physical fittingness. Tinikling is
the most popular and best known of all the dances in the Philippines. It is the national
dance of the Philippines. harmonizing to the Philippines authorities. The word Tinkiling
means “bamboo dance. ” in English.

The Tinikling is performed on certain Sundays in the Philippines. One can watch the nimble
feet jump between the bamboo sticks hoping to escape its ferocious bite. But now that it is
no longer a punishment, the sticks are smooth and the clapping is gentle. The Tinikling has
truly become a dance.

Learn Tinikling Basic Dance Steps!

All the dance steps are combination of only three basic 4/4 tinikling steps. These steps are
called Singles, Doubles, and Hops.

Four people should be two boys and two girls. The first couple performs the dance and the
other couple operate the bamboo poles by hitting them together and also tapping them on
the floor in rhythm to the music. When the first couple dancing makes an error in their
dance steps, the other couple takes their turn and this is where the fun starts especially
when the dance speed gets faster and faster. Further, tinikling is very similar to jump rope,
but instead of a spinning rope, two bamboo poles are used
Singkil (or Sayaw sa Kasingkil) is a famous dance of the Maranao people of Lake Lanao, which
was popularized by the Bayanihan Philippine National Folk Dance Company.

(Maranao, Mindanao) Coming from the Lake Lanao region, the Singkil is a popular
dance performed during celebrations and other festive entertainment. Performed as a
female only dance, the Singkil serves as either a conscious or unconscious
advertisement to would-be suitors for her future marriage. The ladies graciously step
in and out of clashing bamboos poles arranged in either a parallel, rectangular, or
criss-cross fashion while manipulating eitherapir (fans), mosala(scarves), or even just
their bare hands. Singkil means to entangle the feet with disturbing objects such as
vines or anything in your path. It takes its name from the epic tale that the Maranaw
people trace the origin of their culture.

Singkil is originally originated from the Maranaw of Lake Lanao (Ranaw). It is derived
in a story from the Darangen epic of the Maranaw.

As with many other Southeast Asian and South Asian bamboo dances, the dance now
popularly known as Singkil has its roots as a communal dance in which women show
their grace in manipulating a fan or at times a scarf and precision skills of
interweaving into the clapping bamboos. While the woman dances, an ensemble of
kulintang musicians play for the dance. While the dance is often referred to as a
Muslim dance, it is, however, a secular dance performed by the Ummah communities
of the Maranao and Magindanao. Performed at celebrations and festivals, traditionally
the dance was performed by a girl of royal blood intent on advertising herself to
would-be-suitors for her future marriage. Traditionally, Singkil was performed by only
women, inclusive of the clappers and the individual in the role of Putri Gandingan.
Initially, the dance was perform with just one pair-set of bamboos. Then, it grew to
two criss-crossing pair-sets of bamboos.

According to the dance scholar, Minerva S. Sani, the Kasingkil or royal Maranao Fan Dance is
said to have been brought from northern Malaya, by way of India, and evolved into its local
forms. The original Indo-Malayan Kasingkil is thought to be the source of the contemporary
Singkil of the southern provinces. It is a spectacle of pageantry and artistry traditionally
performed by a noble girl among the Maranaos. The dancer wields her fans expertly as she
weaves in and out of four crisscrossing bamboo poles. The Singkil, alluding to the metallic
anklets which make tinkling sounds worn by the people of Mindanao, is performed during
celebrations such as weddings, or other festive occasions. Some have small bells attached to
the ankle, also used to keep time and rhythm of the dance. The key is for the performer to step
skilfully and gracefully in and out of the clashing bamboo poles. Usually she carries a fan or a
pair of fans with which she artfully creating gestures. Originally, these gestures were done by
hands and fingers, like the “Pangalay style”, or with colourful silk handkerchiefs. Sinkil, a
Moslem bamboo dance is one of the most popularly performed dances here and abroad.
Danced for royalties and their attendants, it tells the story of Gandigan, who while walking in the
forest is caught in an earthquake caused by the “Diwatas” or Fairies. Amidst shaking trees and
falling rocks she manages to avoid stepping on these by skipping nimbly from one place to
another. Singkil is found in the repertoire of all Filipino Dance Troupes. There are many
interpretation of this dance. In 1958, the “Bayanihan” started with a simple and has since
developed into a theatrical and stylized spectacle to the point of it becoming a signature piece
for the dance company.…...

Singkil is a very unique Philippines traditional dance of the Maranao people in Southern
Phillipines. It is said to be inspired by the age-old Hindu epic “Ramayana” and another
mythological epic from South East Asia called “Darangen“. This “folk” dance is said
to have originated from the Lake Lanao region in the island of Mindanao in Southern
Philippines. It was first popularised by the Bayanihan Philippine National Folk Dance
Company. Apparently this dance is mainly performed during festive occasions.
Furthermore, it also possesses a few adaptations which include a dance referred to as
Rajah Bantugan. In addition, this dance style was first used in the 2001 American
independent film known as “The Debut” which was directed by a Filipino American
named Gene Cajayon.

The dance involves rich ornamental costumes and a female lead and male lead and
other dancers elegantly dancing between rhythmically striking bamboo poles held by
the fellow dance troupe. There are many bamboo pole based dances in the world but
this one has a distinctive flair about it.

a. History/origin of the Singkil:

According to the cultural history of the Philippines, this form of dancing is said to have
been developed and created by people living in the Lake Lanao area. Apparently, this
dance form was created from a story written in the “Darangen”, an epic belonging to
Maranao community which draws inspiration from the Hindu epic Ramayana.
Furthermore, this dance was originally performed mostly by women belonging to the
royal family. In addition, it was a dance company called “Bayanihan” that popularised
this dance form around the western world by adapting it in accordance to the taste of
the westerners.

b. Costumes used in the Singkil:

A Maranaw costume is mainly worn in this form of dancing. In addition, the female
lead dancer wears an elaborate dress of a princess and holds “decorated fans” in both
hands, while the male lead dancer holds either handkerchiefs in both hands and in some
cases a sword and a shield.

c. Music involved in the Singkil:

The musical instruments used in this dance form are the kotiyapi i.e. bamboo guitar,
insi i.e. bamboo flute, kobing i.e. harp, and tintikan i.e. metal sticks.

d. Training availability and the technique involved in the Singkil:

In terms of technique, this dance involves the lead dancer (i.e. female) locally known
as “Putri Gandingan” (the name of Sita as mentioned in the Darangen) gracefully
stepping in and out of closing bamboo poles that are arranged on the floor in either a
parallel, rectangular, and criss-cross manner. In addition, the performer also uses either
apir i.e. fans or mosala i.e. scarves while dancing. As for training availability, there are
none available around the world since this “folk” dance is mainly performed in the Lake
Lanao region in the Philippines.
Sining ng Paglikha ng Kasaysayan. Ito ang namutawing mensahe mula sa 2012 Gawad CCP para sa
Sining kung saan tatlong babae at apat na lalaking kapwa mga alagad ng sining at guro, gayundin ang
isang institusyon sa malikhaing pagsulat ang pinagkalooban ng karangalang idinaraos sa Tanghalang
Nicanor Abelardo, Sentrong Pangkultura ng Pilipinas noong Pebrero 27, 2013.

Para sa Sining Biswal, ginawaran si Brenda Fajardo (ipinanganak sa Manila, 1940) bilang pagkilala sa
kanyang pagsulong ng mga historikal at makabayang dibuho gamit ang mga katutubong ekspresyon at
kwentong bayan. Naniniwala si Fajardo na ang paglikha ay paglilimi para maitanghal ang mas malalim na
pag-unawa sa kasaysayang Pilipino habang ang edukasyon ng kapwa guro at kabataan ay nararapat
lamang nakatuon para sa pagbabago. Mahalaga ang pagpanibagong-hubog at kamalayan ng sarili dahil
hindi ito kusang binibigay ng gobyerno o ng burukrasya.

Sentral din sa kanyang mga obra ang imahen ng babae bilang Inang Bayan o mamamayang may
mahalagang papel sa paglikha ng maunlad na bayan bilang babaylan, ina, anak o guro. Ang Baraha ng
Buhay, isang mural na matatagpuan ngayon sa Philippine Educational Theater Association
(PETA) lobby at nabuo sa kolaborasyon ni Fajardo kina Noel Soler Cuizon, Karen Ocampo Flores, Iggy
Rodriguez at Max Santiago ay halaw sa kanyang tanyag na eksibit na Baraha ng Buhay ng Pilipino.

Sa alay-pagtatanghal ng PETA na pinamagatangPagpupunla, Pagsilang, Pagpapailanlang, pinagalaw

ang mga makapangyarihan at makulay na mga imahen ni Fajardo habang inawit ang mga kantang may
diwa ng pagpapalaya gaya ng Babae Ka at Kung Ibig mo Akong Makilala.

Para sa Sayaw, ginawaran si Agnes Locsin (ipinanganak sa Davao, 1957) bilang pagkilala sa kanyang
kontemporaryo at mala-etnikong koreograpiya sa mga produksyong nakaugat sa positibong katutubong
paniniwala, ritwal, kaugalian, pamumuhay at pagmamahal sa bayan at kalikasan. Kabilang dito ang
pagtatanghal ng Ballet Philippines ng La Revolucion Filipina (2008), Elias (1997), Salome, Encantada
(1992), Taong Talangka, Babaylan, Dabaw, Bagobo, Igorot atMoriones. Sa kanyang masugid na
pagbibigay ng pagsasanay sa Manila at Davao, isinilang ang mga henerasyon ng Pilipinong mananayaw
na kinikilala sa loob at labas ng bansa.

Ayon kay Locsin, ang paglikha ng sining ay isang masalimuot na paghahanap at pagtuklas na makakamit
sa pamamagitan ng pagkaroon ng bukal na loob at ng pagturing sa gawain bilang pag-aalay. Sa kanyang
aklat na Philippine Neo-Ethnic Choreography (UST Press 2012), ibinahagi niya ang proseso ng pagkabuo
ng mga katutubong sayaw sa bagong anyo, maging ang naging inspirasyon ng kanyang mga obrang di
kailangang lumingon o mangopya sa Kanluran.

Sa isang panalong bahagi ng piyesang Salome na muling itinanghal ni Krisbelle Paclibar-Mamangon sa

gabi ng Gawad, ramdam ang mga antas ng kalungkutan ni Salome sa kanyang pag-iisa gawa ng walang-
katiyakang-buhay-ay-di-mautas na muling paglalakbay ng kanyang rebolusyunaryong kasintahang si
Elias. Mula sa mahinahong pag-unawa hanggang sa pag-aalala, hibik, hinagpis, pighati, habag, bagabag,
asam at siphayo ng makasariling damdamin, sumabog ang pag-asa ng pagkikitang muli. Samantala, sa
piyesang Moriones na halaw sa pista ng Moriones sa Marinduque, tampok ang bruskong galaw ng mga
sundalo sa nakamaskara nilang anyo.
Les Miserables Medley ng Reportory Philippines bilang pagpugay kay Zeneida Amador

Para sa Dulaan, ginawaran si Zeneida “Bibot” Amador (1933-2004) bilang pagkilala sa kanyang pag-arte,
pagdirehe, pagsasanay at pagtatag ng isa sa pinakamatagumpay na tanghalan sa bansa: ang Repertory
Philippines (Rep). Mula nang itinayo ang Rep noong 1967, kinikilala siya nito bilang ama at ina. Bagamat
pangunahing nagtatanghal ng mga klasikong Ingles at musikal mula sa Broadway (US) at West End (UK)
ang kumpanya, binanggit ang natatanging pamana ni Amador sa pagbahagi ng disiplina, paghubog ng
mga artista at pagyabong ng mga tagapagtangkilik ng tanghalan. Naniniwala si Amador sa dalisay na
pagmamahal para sa sining at katiwasayan ng pakiramdam sa pagkatuto at paglipad ng henerasyon ng
mga artistang Pilipino.

Kabilang sa naging anak niya sa alinmang panahon si Lea Salonga na tanyag bilang unang Kim ng Miss
Saigon(1989) at unang Asyanong gumanap ng Eponine at Fantine sa Les Misérables (1995/2007). Ang
iba namang kapwa mga premyado rin ay nakapagtatag ng sarili nilang kumpanyang pang-teatro gaya
nina Monique Wilson (New Voice Company), Audie Gemora (Trumpets), Robbie Guevara at Mio Infante
(9 Works Theatrical) at Joel Trinidad (Upstart Productions).

Itinanghal ng mga miyembro ng Rep sa saliw ng Philippine Philharmonic Orchestra (PPO) at kumpas ni
Olivier Ochanine ang Les Misérables Medley na unang dinerehe ni Amador noong 1993.
To Silliman with Love, improbisasyon ng Kolab Company. Direksyon nina Tess Jamias at J. Victor Villareal.

Ginawad naman ang Tanging Parangal sa Silliman University National Writers Workshop (1962) bilang
pagkilala sa mahigit 50 taon ng pagsasanay ng mga makata at manunulat ng bansa. Itinatag ng
Pambansang Alagad ng Sining na si Edith Tiempo at ng manunulat na si Edilberto Tiempo, isinilang at
isinisilang muli ang mga salita, kataga at talinghaga mula sa loob ng tatlong linggong pagkatay o
paglamay sa tula at kwento karamay ng iba pang manunulat.

Para kay Edith Tiempo, ang pagsusulat ay di lamang pagkuha ng litrato ng realidad kundi paglikha muli
ng realidad alang-alang sa mambabasa. Hangga’t ang isang tao ay marunong tumingin, makinig at
kumilatis ng buhay, siya ay may puwang sa sining ng pagsulat. Ang tula, gaano man ito kalalim, ay
nararapat lamang maging tahanan ng pakiramdam na di hiwalay sa mamamayan.

Kabilang sa mga naging Fellow ng palihan sa Dumaguete sina Pambansang Alagad ng Sining Virgilio
Almario (Ang Makata sa Panahon ng Makina), Pambansang Alagad ng Sining Salvador Bernal (The
Firetrees Burn all Summer at Designing the Stage), ang martir na si Emmanuel Lacaba (Open Letters to
Filipino Artists), Rogelio Sicat (Impeng Negro at Tata Selo), Ninotchka Rosca (State of War at Twice
Blessed), Alfredo Navarro-Salanga (ed. Kamao: Panitikan ng Protesta 1970-86), Ricky Lee (Si Tatang at
ang mga Himala ng ating Panahon), Rogelio Mangahas (Mga Duguang Plakard), Bibeth Orteza (Ang
Lalaki sa Buhay ni Selya), Lamberto Antonio (Insiang), J. Neil Garcia (Philippine Gay Culture: The Last
Thirty Years), Jun Cruz Reyes (Ka Amado), Alfred Yuson (Great Philippine Jungle Energy Café) at Eric
Gamalinda (ed. Flippin’: Filipinos on America).

Itinanghal ng Kolab Company ang To Silliman with Love, isang pagtatagni ng karanasan sa pagsusunog
ng kilay at pagpaparaya ng mga inspirasyon at mithi ng manunulat ng bayan sa isang libong eroplanong
papel.

Para sa Pelikula at Sining Brodkast, ginawaran ang Hari ng Katatawanan na si Rodolfo “Dolphy” Quizon
Sr. (1928-2012) bilang pagkilala sa kanyang ambag sa paghubog ng kulturang Pilipinong may positibong
pagtingin sa kanyang lahi at kakayanan. Mula sa kanyang AVP, hinalintulad ni Dolphy ang comedy sa
kapayakan ng mga nota ng musika. Ang hamon dito ay ang paglikha ng maraming variation mula sa
walong batayang nota kung kaya ang pag-arte ay walang katapusang pag-aaral. Dagdag pa niya,
mahalaga para sa epektibo at makatotohanang pagsasatauhan ang pakikihalubilo sa kapwa. Palagi
niyang nilayon ang magpatawa habang nakapagbigay nang seryosong mensahe sa mga manunood.
Makikitaan ito sa kanyang mga sitcom gaya ng John en Marsha (1973-90) at Home Along da Riles (1992-
2003) gayundin sa mga pelikulangMarkova: Comfort Gay (2000), Good Morning Professor(1982) at Ang
Tatay kong Nanay (1978).

Bilang pagbigaypugay, itinanghal ng kanyang mga anak na sina Epy at Vandolph ang Bahay Kubo,
isang comedy sketch tampok ang pagsasalin ng awit, tula o kasabihan sa estilo nina Dolphy at Panchito
na unang napakinggan sa Tawag ng Tanghal (ABS-CBN Radio) at sa kalaunan ay ipinalabas sa Buhay
Artista (tv). Masasabing wala pa ring kupas ang sketch ni Dolphy na kapansinpansin sa di mapigilang
pagbulanghit ng mga manunood. Sa pag-usbong ng Stand-up Comedy na kilala ngayon, magandang
mabalikan ng mga nasa karera ng pagpatawa ang diwa at sensibilidad ni Dolphy sa pagkataong Pilipino
kung saan di kailangang manglait, mambastos o magpaka-macho para lamang magpatawa.

Para sa Musika, ginawaran si Ramon Santos, PhD (1941) sa kanyang ambag sa pananaliksik, teorya at
praktika sa pag-unlad ng tradisyonal na musikang Pilipino. Ayon sa kanya, ang awit at musika ay di
maaaring sikilin bagkus ito ay nararapat lamang palayain nang sa gayon ay tuloy-tuloy ang buhay nitong
napapakinabangan ng bawat salinlahi. Mahalagang harapin ng mamamayan ang hamon ng palagiang
pagtatanong at paglikha ng bago.

Ang kanyang mga obrang gumagamit ng kombinasyon ng mga elemento ng musika ng Timog Silangang
Asya, Europa at Latino Amerika ay kinikilala bilang halimbawa ng sulong na katutubong musika sa
kontemporaryong anyo. Mula 2009, pinangunahan rin ni Dr. Santos angRondalla Festival para sa mga
grupong pampaaralan, komunidad at propesyunal upang mahikayat ang katutubong tugtugan ng balitaw,
kundiman, sayawang bayan at mga klasikong awit sa bansa.

Tinanghal ng UP Cherubim at Seraphim sa kumpas ni Elena Mirano at sa saliw ng gitara nina Lester
Demetillo at Gary Duran ang Awit ni Pulau (libretto ni Edgardo Maranan). Namayani naman ang orkestral
na komposisyon ng maestro na binigyang-buhay ng PPO saPenomenon mula sa First Movement:
Pagdiriwang ni Santos.
MADS at BP sa God Knows Hudas not Pay. Tagakumpas Mark Carpio. Koreograpiya Alden Lugnasin.

Para sa Pananaliksik Pangkultura, ginawaran si Florentino Hornedo, PhD (ipinanganak sa Batanes,

1938) bilang pagkilala sa kanyang masikhay na pag-aaral laluna sa kultura at sining ng Hilagang Luzon
at ng Ivatan, pambansang minorya sa Batanes. Ayon sa guro ng mahigit 50 taon, ang kulturang Pilipino
ay hindi linyar kundi ay sapin-sapin ng mga impluwensya ng sinaunang panahon, panahon ng
kolonyalismo at panahon ng teknolohiya. Mahalaga ang pagdiskubre at pangangalaga ng mga artifact na
may katumbas na isang libong kaalaman. Ang buhay at sining ay may mahigpit na relasyon kung kaya
ang paghalungkat sa mga epiko at katutubong panulaan ay may mahalagang papel sa pagbuo ng sining
ng katwiran at pambansang dangal.

Halaw sa kanyang sanaysay na The Visitor and the Native in the Jeepney and Tricycle, inawit ng
Madrigal Singers ang God Knows Hudas not Pay sa komposisyon ni Ryan Cayabyab at sa malikot na
mala-dyip na galaw ng Ballet Philippines.

Para sa Panitikan, ginawaran si Cirilo Bautista bilang pagkilala sa kanyang walang humpay na pagsulat
ng tula, katha at kritisimong pawang nakalaan sa mas malalim na pag-unawa ng pagkataong Pilipino.
May-akda ng The Trilogy of Saint Lazarus, tinangan niya ang epiko bilang muling paglikha ng
kasaysayang may sentral na bayaning pupukaw ng damdamin at kamalayan ng isang lipunan. Sa
obserbasyon ni Bautista, maraming kabataan sa kasalukuyan ang di marunong bumasa samantalang
yung mga marurunong, di naman nagbabasa. Naniniwala siyang susi sa pagkilala at pagpalalim ng
identidad ng Pilipino ang pagbabasa bilang balon ng kasaysayan at kasarinlan.

Sa paanyaya ng makapangyarihang boses ni Rody Vera at nakakatindig-balahibong biswal ni Don

Salubayba, naglakbay ang mga saksi ng Gawad CCP sa The Archipelago: Hammering the Arc kung saan
ikinuwento ni Bautista ang muling pagtuklas at pagsakop ng mga kolonyalistang Espanyol sa kapuluan
maging ang makasaysayang pagtatag ng Maynila. Sa dulo ng texto, dumagundong ang sigaw ni Vera
gaya ng sigaw ng pagbangon.

Ang Gawad CCP ay nagsimula noong 1977 bilang parangal para sa mga Pilipino at institusyong naging
susi sa pag-unlad ng kultura at sining ng bansa. Idinerehe ni Jose Estrella ang programa ngayong taon
sa disenyo ng entablado ni Ricardo Cruz at disenyo ng ilaw ni John Batalla. Nagbukas ang pagdiwang
saPrusesyonal Jubilate ng Pambansang Alagad ng Sining na si Lucio San Pedro na sinundan ng O
D’wata Holi Kemudung (Tagapaglikha, Gabayan mo Kami), isang mahalinang chant ni Grace Nono para
sa pagkakaisa, pagtutulungan at pagbabahaginan ng biyaya. Nagsara ang programa sa pagtatanghal
ng Basta’t Masasayawmula sa dulang Katy (Spotlight Artists Center Actors Studio East Production) at
ng Kulturang Pilipino Alay sa Mundo (musika ni Cayabyab at titik ni Herminio Beltran).#