| Title |
Hala, ang Yawa! The Devil as Pop Icon in Iligan City Diyandi Street Dancing Festival |
|
Authors |
Amado C. Guinto, Jr |
|
Publication date |
2018 |
|
Chapter of the book |
Sining at Kultura: A Compendium of Studies on Philippine Arts and Cultures: Traditions and Innovations |
| Pages |
279-291 |
| Publisher |
National Research Council of the Philippines |
| Abstract |
The tourism-driven Diyandi Street Dancing Festival of Iligan City and its carnivalesque and subversive economy projects a political register through the popular culture industry of festivals and disrupts the hegemonic order through the performance of the yawa during the city fiesta. The yawa is an important fixture in the street dancing festival to provide contrast against the San Miguel figure and fulfill the proselytization efforts of Catholicism. However, the performance of the yawa by the effeminate bayot also interrogates power relations in a patriarchal, heteronormative, and dominantly Catholic society. These issues may be viewed through the critical lenses provided by a) Mikhael Bakhtin in his work on the carnivalesque; b) Theodore Adorno's view on culture industry; c) Walter Benjamin芒聙聶s thoughts on the use of popular art to emancipate the masses; and d) J. Neil Garcia芒聙聶s points on Philippine gay culture to zero-in on the bayot芒聙聶s participation in this popular phenomenon. |
| Index terms / Keywords |
yawa, Diyandi, bayot, carnivalesque, counterhegemony |
Mindanao State
University - Iligan Institute of Technology