VISAYAS Ati-Atihan = Their dance steps are straight forward and easy. It's as simple as two-steps forward, a step bac with and optional t!rn-aro!nd. "o synchroni#ation was necessary among the participants. Sin!log = The dance has $ basic steps. the nat!ral and the inampilan. The nat!ral step is the pop!larly nown two steps forward, one step bacward while the inampilan has one step right foot forward and one step bacward, while the left foot stays in place. %. The Street Sin!log &estial (ance - which is what yo! can see on the street d!ring the celebrations. Yo! can also see some modified )the basic dance with additional steps* ersions thro!gh the Sin!log &estial (ance +ontest. The steps are the same, b!t b!t the Santo "i� o image is held by by the &estial &estial !een and dances dances with it. $. The Traditional Sin!g (ance - which was danced for the orordo &amily in +eb!. This is still being presered een today by the +ASA //( 01S210 which is owned and managed now by the /A&I - /amon Aboiti# &o!ndation Inc.. The difference from the street dance is that instead of holding and dancing aro!nd with the holy image of the child 3es!s, the Image is instead placed in an altar lie place and then the dancers will will dance in front front of the Santo "i� o, lie in paying paying trib!te to a 4ing. 4ing. 5. The (ance for for the Santo "i� o - which can be seen in in the 6asilica 6asilica of the Santo "i�o danced by old ladies ladies in prayer. prayer. The difference difference of this ersion ersion compared compared to the preio!s ones is that, this can only be done in the 6asilica I beleie, since it is done in prayer to the 7oly 7oly +hild +hild 3es!s - Santo "i� o. (inagyang = In terms of (inagyan &estial its moements or its dance patterns are ery fast in tempo, the dancers moe their feets in a rapid motion while moing from place to place, the dancers also mae !se of their hands to depict something, b!t also their hands moes fast with the tempo itself, the dancers also has to gather or change to their ne8t formation fast. 0indanao 6inalbal = The dancers !se repetie moements lie moing their hands from side to side or moe their props side to side in a soft and fl!id moemnet of the hands. They mostly !se heay choreography s!ch as detailed moements of the dancers which leaes is!al hints of what the dancers are trying to portrait. They mostly change from position to position by gro!ps or depending on how m!ch they are. 7ermosa = The hermosa festial is elegant by itself beca!se of the way of how to dancers moe their hands !p and down in a fl!id motion )/epresents the waes* and how they !se their props creatiely, they form themseles into a !ni9!e array of shapes and !ses ill!sions that s!rprises the iewers s!ch as, the rhythmical moement of their hands and their body. They moe in s!ch a gracef!l way b!t moes or dances in a fast tempo, trying to eep !p with the m!sic itself. 4adayawan = In adayawan festial some of the dancers !ses tiniling and is presented infront while the other dancers !ses h!ge bamboo stics adorned with hanging clothes for bacgro!nd. while the dancers infront more of lie performs an improied tiniling !sing their wrists to mae circ!lar motions of their hands. They also hop or :!mp from side to side in a :oyo!s manner. ;!#on
!ses their wrists to mae a circ!lar motion with their hands, at some part of it, the dancers leans down and pretends they are haresting good harest from the feild.
