Sinulog is a ceremonial dance performed by the 
	people of San Joaquin, Iloilo during the feast of San 
	Martin and wedding celebrations. The dance originated in 
	Sinugbahan, a barrio of San Joaquin. It was believed that 
	the image of San Martin was found at the edge of a beach, 
	and that it could not be removed until the people dance the 
	Sinulog. From that day on, every November 10th at the feast 
	of St. Martin, the people dance the sinulog before the 
	procession comes from the house of the bride to the church 
	and from the church to the bride's house to be met by the 
	Sinulog dancers who dance around the wedding party. After 
	coming out from the church, the "madrina" is asked to put 
	silver peso coin between the teeth of the captain. They all 
	shout and dance around. The movements of the dance depict an 
	imaginary combat to drive the evil spirits away.

		The dance was fashioned after the Suluan war dance 
	of the Sulu people, the native name of Sulu being Sulog which 
	means strong ocean currents frequent in Sulu.
 
	EQUIPMENT: A spear about six feet long with a red kerchief 
		   tied at the lower end; and a bolo about eighteen 
		   inches long.
	COSTUME: The male dancer wears any Filipino costume. The head is 
		 covered with a red kerchief. A red band is placed over 
		 the R shoulder knotted down to the L hips then the two 
		 ends tied over at the R hips the ends hanging at the 
		 sides.

		In his right hand, he holds the spear, with a red 
	kerchief tied at the lower end; in his L hand, he holds 
	the bolo.

	MUSIC is provided by men dancers who strike cans or kettles as 
	      they dance, or by some men sitting down, tapping the 
	      instruments alternately with two hands. The dancers 
	      are accompanied with the beatings of the drum.

	COUNT: One, and, ah, two, and, ah.

	FORMATION: There is no definite formation. Seven or more 
		   dancers may take part in this dance. 
 
	STEPS USED:

	I. Step on ball of R foot forward (ct. 1), step on ball of 
	   L foot backward (ct. and), step on ball of R foot forward 
	   (ct. ah), hop on R foot, raising L foot upward to extending 
	   it forward (ct. 2, and, ah) (1 M).

	II. Skip steps in any direction.

	III. Chasing steps forward, backward, or sideward on half 
	     knees bend position.
  
	IV. With one foot on the ground, raise the other and pivot 
	    one half of full turn, around, thrusting the spear 
	    forward right or left.

	V. Pivot turn with both feet flat on the floor.
 
I
Music Rhythm I.

	(a) The leaders enter with Step I. He holds the spear at 
	    about 1/3 of its length with his R hand, the end of 
	    the spear resting on his R shoulder. He holds the bolo 
	    with L hand placed under the spear. As he dances forward, 
	    he moves the spear forward, downward until the spear 
	    reaches his R armpit, then he moves it back to its 
	    original position. 

   	(b) Repeat (a) once or twice until he is in front of the 
	    bride and the groom.
 
II
Music Rhythm I.

	(a) With step I or II he dances around the bride and groom.

	(b) As soon as he turns out, back to the column of the 
	    dancers, the first two dancers meet him, all doing 
	    Step I, or Step II, they dance around the bride and 
	    groom.

	(c) With Step I or II, the leader leaves the two men and 
	    gets the next two dancers who join the first two. 
	    Meanwhile the first two men may do any of the steps 
	    in any order each wishes.

	(d) The leaders repeats (c) until all dancers are in.

	(e) All may perform Steps I, II, III, IV, V in any order, 
	    depending on the whims of the dancers. While doing the 
	    above steps they thrust their spears, and bolos and 
	    retreat as in combat, shouting to drive the evil 
	    spirits away.