Sinulog 2026 Performance Reignites Cultural Appropriation Debate in Philippine Festivals
The spectacular winning performance by the Kalivungan Festival of Cotabato Province during last Sunday's Sinulog 2026 celebrations has drawn both admiration and critical questions about cultural sensitivity in Philippine cultural presentations. While the contingent's elaborate presentation captivated audiences and judges, concerns have emerged about whether the performance crossed into problematic cultural appropriation territory.
Defining Cultural Appropriation in Philippine Context
Cultural appropriation refers to the inappropriate adoption of elements from one culture by members of another, typically more dominant culture, without proper understanding, respect, or acknowledgment of their original significance. This issue has become increasingly relevant in Philippine cultural events where traditional elements from various ethnic groups are incorporated into mainstream presentations.
Echoes of Past Controversies: The CTU Incident
This current discussion brings to mind a similar controversy from two years ago when Cebu Technological University (CTU) faced significant backlash on social media platforms. Their dancers performed a Sinulog presentation while wearing traditional Muslim cultural attire, which many observers deemed "culturally insensitive" and disrespectful to Bangsamoro heritage.
The Bangsamoro Commission for the Preservation of Cultural Heritage formally demanded a public apology from the CTU contingent for presenting traditional Muslim dance elements in an event celebrating the Sto. Niño de Cebu. CTU subsequently issued an apology and committed to learning from the experience, vowing to prevent similar mistakes in future presentations.
Kalivungan Festival's 2026 Performance Elements
The Cotabato contingent's recent Sinulog presentation featured multiple elements associated with Muslim and indigenous cultures from Mindanao:
- Dancers wore traditional T'boli clothing with intricate beadwork and tribal design elements
- Textiles displayed geometric patterns in traditional tribal colors of red, black, and white
- Performers donned the malong, a wrap-around garment traditionally used by Maranao and Maguindanao communities
- Props included kulintang and agung percussion instruments typically used in Muslim ceremonies
- Dancers carried kudyapi pieces, traditional two-stringed lutes used in rituals by Lumad and Bangsamoro groups
What makes this case particularly noteworthy is that the Kalivungan performance appeared even more elaborate and extensive in its use of these cultural elements than the CTU incident from two years ago, yet has generated significantly less public criticism initially.
Questions of Context and Representation
The central question emerging from this performance is whether using choreography, attire, accessories, and instruments associated with Muslim and indigenous Mindanao groups in a dance presentation honoring the Sto. Niño constitutes cultural insensitivity. The Kalivungan contingent hails from Cotabato, a region with significant Muslim and indigenous populations, suggesting they might have deeper cultural understanding than previous controversial performers.
However, without proper explanation or contextualization from the contingent itself, observers might mistakenly conclude that freely using cultural heritage elements without regard for their original meaning is acceptable or even advantageous in competition settings.
Broader Pattern: Senator Imee Marcos' Cultural Appropriation Incidents
This Sinulog discussion connects to broader patterns of cultural appropriation in Philippine public life. Senator Imee Marcos recently apologized for wearing inappropriate attire to the Basilica del Sto. Niño, but this isn't her first controversy involving cultural elements. Two years ago, she wore traditional Cordillera attire complete with henna tattoos to the State of the Nation Address.
An advocacy group criticized her fashion statement as insulting to indigenous peoples, noting she allegedly wore the clothing improperly and misused tattoos that traditionally symbolize courage and honor within Cordillera cultures.
Moving Forward with Cultural Sensitivity
These recurring incidents highlight the ongoing need for greater cultural sensitivity in Philippine cultural presentations and public life. As the nation celebrates its diverse cultural heritage through festivals like Sinulog, participants and observers alike must remember that cultural elements carry deep significance for their communities of origin.
Proper respect involves understanding context, seeking permission when appropriate, and acknowledging the origins and meanings of cultural practices. By fostering greater awareness and sensitivity, Philippine cultural events can celebrate diversity while honoring the values, norms, and practices of all cultural communities involved.
