"Magsama-sama Tayong Panoorin": A Creative, Collaborative, and Ongoing Ethnography with Sama Banguingui Women Dancing in the City of Manila

For the Sama-Bajau and Sama Banguingui women living in Manila, the traditional dance pansak (or igal) is a vital dimension of life. This paper focuses on Radzmina Tanjili, a Sama- Banguingui from Zamboanga, well-known in her barangay1 for her dancing. Her life as a dancer is filled with performance...

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Main Author: Bautista, Regina Salvaña
Format: text
Published: Archīum Ateneo 2024
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Online Access:https://archium.ateneo.edu/kk/vol1/iss40/11
https://archium.ateneo.edu/context/kk/article/2021/viewcontent/KK_2040_2C_202023_2011_20Forum_20Kritika_20on_20Dancing_20Democracy_20in_20a_20Fractured_20World_20__20Bautista.pdf
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Institution: Ateneo De Manila University
id ph-ateneo-arc.kk-2021
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spelling ph-ateneo-arc.kk-20212024-12-19T05:36:02Z "Magsama-sama Tayong Panoorin": A Creative, Collaborative, and Ongoing Ethnography with Sama Banguingui Women Dancing in the City of Manila Bautista, Regina Salvaña For the Sama-Bajau and Sama Banguingui women living in Manila, the traditional dance pansak (or igal) is a vital dimension of life. This paper focuses on Radzmina Tanjili, a Sama- Banguingui from Zamboanga, well-known in her barangay1 for her dancing. Her life as a dancer is filled with performance opportunities and cultural exchanges for her and the group of Sama- Bajau women and children who belong to the same NGO she volunteers for. She and the group perform for government, non-government organizations, and academic institutions. Apart from this, she also continues to dance pansak in its traditional improvised form at wedding ceremonies around Luzon. Underlying such creative and cultural pursuits, however, are the difficult realities she faces as a Muslim woman without a stable source of income living in a predominantly Catholic Christian city. This article takes a critical approach to dance studies and an engaged and collaborative approach in ethnography, which resulted in a creative project. It explores how to best articulate what it means for an indigenous Muslim minority group to be dancing their traditional dances in the predominantly Catholic and Tagalog-speaking city of Manila. The critical and engaged lenses are necessary to foreground the agency of the Sama Banguingui in their dancing, but at the same time draws attention to the complex position that they occupy and the realities they face as marginalized women belonging to the urban poor population. 2024-12-19T06:08:33Z text application/pdf https://archium.ateneo.edu/kk/vol1/iss40/11 info:doi/10.13185/1656-152x.2021 https://archium.ateneo.edu/context/kk/article/2021/viewcontent/KK_2040_2C_202023_2011_20Forum_20Kritika_20on_20Dancing_20Democracy_20in_20a_20Fractured_20World_20__20Bautista.pdf Kritika Kultura Archīum Ateneo dance ethnography pansak Manila Muslim Sama Banguingui
institution Ateneo De Manila University
building Ateneo De Manila University Library
continent Asia
country Philippines
Philippines
content_provider Ateneo De Manila University Library
collection archium.Ateneo Institutional Repository
topic dance
ethnography
pansak
Manila
Muslim
Sama Banguingui
spellingShingle dance
ethnography
pansak
Manila
Muslim
Sama Banguingui
Bautista, Regina Salvaña
"Magsama-sama Tayong Panoorin": A Creative, Collaborative, and Ongoing Ethnography with Sama Banguingui Women Dancing in the City of Manila
description For the Sama-Bajau and Sama Banguingui women living in Manila, the traditional dance pansak (or igal) is a vital dimension of life. This paper focuses on Radzmina Tanjili, a Sama- Banguingui from Zamboanga, well-known in her barangay1 for her dancing. Her life as a dancer is filled with performance opportunities and cultural exchanges for her and the group of Sama- Bajau women and children who belong to the same NGO she volunteers for. She and the group perform for government, non-government organizations, and academic institutions. Apart from this, she also continues to dance pansak in its traditional improvised form at wedding ceremonies around Luzon. Underlying such creative and cultural pursuits, however, are the difficult realities she faces as a Muslim woman without a stable source of income living in a predominantly Catholic Christian city. This article takes a critical approach to dance studies and an engaged and collaborative approach in ethnography, which resulted in a creative project. It explores how to best articulate what it means for an indigenous Muslim minority group to be dancing their traditional dances in the predominantly Catholic and Tagalog-speaking city of Manila. The critical and engaged lenses are necessary to foreground the agency of the Sama Banguingui in their dancing, but at the same time draws attention to the complex position that they occupy and the realities they face as marginalized women belonging to the urban poor population.
format text
author Bautista, Regina Salvaña
author_facet Bautista, Regina Salvaña
author_sort Bautista, Regina Salvaña
title "Magsama-sama Tayong Panoorin": A Creative, Collaborative, and Ongoing Ethnography with Sama Banguingui Women Dancing in the City of Manila
title_short "Magsama-sama Tayong Panoorin": A Creative, Collaborative, and Ongoing Ethnography with Sama Banguingui Women Dancing in the City of Manila
title_full "Magsama-sama Tayong Panoorin": A Creative, Collaborative, and Ongoing Ethnography with Sama Banguingui Women Dancing in the City of Manila
title_fullStr "Magsama-sama Tayong Panoorin": A Creative, Collaborative, and Ongoing Ethnography with Sama Banguingui Women Dancing in the City of Manila
title_full_unstemmed "Magsama-sama Tayong Panoorin": A Creative, Collaborative, and Ongoing Ethnography with Sama Banguingui Women Dancing in the City of Manila
title_sort "magsama-sama tayong panoorin": a creative, collaborative, and ongoing ethnography with sama banguingui women dancing in the city of manila
publisher Archīum Ateneo
publishDate 2024
url https://archium.ateneo.edu/kk/vol1/iss40/11
https://archium.ateneo.edu/context/kk/article/2021/viewcontent/KK_2040_2C_202023_2011_20Forum_20Kritika_20on_20Dancing_20Democracy_20in_20a_20Fractured_20World_20__20Bautista.pdf
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