This paper establishes the meaning of the concept ginhawa within the context of Panay expressive culture. Using Kwabena’s nexus analysis (1990), the paper aims to explain ginhawa using discourse in medical anthropology, folk literature, and music theory. The paper also places gihawa within a broader context in relation to a Panay Bukidnon ideological construct called sibod, roughly glossed as synchronicity, harmony, and unity, in pursuit of mastering structure and play in music-making as well as in dance.