Love in the time of Bacunaua

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BY PETER SOLIS NERY
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  1. DANCE PARADE

The festival approaches its climax. Everyone is in a frenzy making the last hook ups. The moon is at its fullest. When the sun rises in the morning, everything will revert back to the dreariness of reality.

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A more organized parade of costumes danced its way into the auditorium.

Each group performed its distinctive choreography.

First, the red shrimp and lobsters with lots of leaping, claw movement, some sway balances.

Second, the blue-and-green bakunawas with Frankenstein walks and lunges, arms that seemed to grab and twist, footwork that seemed to step and squash something underfoot.

Third, the brown frilly dressed crazy women with stylized arm and leg movements based on the Ai Kahiko Hula dances.

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Fourth, the faux pregnant women with belly dancing, stylized Macarena, and other tummy-focused steps.

Fifth, men and women in white: women on the left, men on the right.

They perform some kind of a minuet: very seductive, very slow, soft, ceremonious, graceful steps.

Among the dancers were Matt and Dulce, making a pair.

(They had left the flatulent baby in the care of Bulak’s mother.)

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After these dancing groups, a float came with the uncrowned Festival Queen.

She had little shrimp and little bakunawas in her entourage.

Trailing behind the float was a menagerie of unclassified costumes: Zsazsa Zaturnnah, Darna, Zuma (with two-headed snake, one head on both ends, resting on his shoulders), Cleopatra, geisha, Las Vegas showgirl, Captain Jack Sparrow pirates, Peter Pan, Spiderman, Black Spiderman, Booba, Volta, tikbalang, Disney princesses, harlequins…

The parade was long.

The full moon, trying to get a better view, ascended over the tall kapok trees. (To be continued)/PN
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