By Raphael Lobrin
Photos by Evangeline Cua
If there is one trait common among the year-round festivities in the Philippines, it would be their imbibing their audiences with a sense of being part of something bigger than themselves. This is impossible to miss when you watch the Dinagyang Ati competition, held yearly under the bright January sun. As the tribes take turns performing in designated judging areas situated throughout the city, the crowds are kept in thrall. Is it because of the innovative sound of the drums and stories behind the chants? The hard work that went to the costumes of arresting colors, perhaps? Or the charm and zest of each tribe’s depiction of Ilonggo culture and way of life? On one hand, tourists might find the revelry vibrant and unforgettable. But Filipinos might as well be looking into a mirror, since the Dinagyang is a glimpse into the shared spirit of Filipino ingenuity, sense of initiative, and aspirations as large as life.
The Dinagyang Festival is a religious and cultural festival in Iloilo City, Philippines, which is roughly an hour by plane outside the national capital, a few hours by bus from Boracay. Held every January in honor of the Santo Niño (Holy Infant Jesus), the festival is a well-known tourism event in the country (Iloilo is home to some of the oldest Santo Niño images in the country). Dinagyang is a local term for “revelry or merrymaking,” and it was first used by Ilonggo journalist Pacifico Sudario in 1977. Since then, the festival has evolved into a big religious and cultural activity with backing from the public and private sectors.
TRIBAL Dinagyang street dancers mimic their warriors of old.
At present, the Dinagyang series of events usually consists of Ati-Ati Street Dancing, Kasadyahan Street Dancing, and the Miss Dinagyang contest.
The Ati Tribe competition, which many consider to be the main part of the festival, is usually groups of “warrior” dancers of a tribe and dancing in choreographed formations and patterns, often chanting in sync to loud drum beats and improvised percussion instruments. In the founding years, tribe-entries were organized by villages or communities around the city, but as the Dinagyang’s spirit of competition evolved, schools became the center point of creating and organizing tribes, forming dynamic dance patterns, and gathering, and organizing support and sponsors. Today, the festivities in Iloilo are sometimes compared to the much older Ati-Atihan Festival of Kalibo, Aklan, but both are must-see testaments to a vibrant sense of culture in their respective communities.
From time to time, the Dinagyang tribes’ artistic freedom has been the subject of debate. There is definitely a lot of continuous refinement of creativity, as organizers and tribes seek to emphasize the demands of mass entertainment. But it could be said that the original spirit is still intact even as Dinagyang tribes continue to be invited, and since 2004 has held the most number of championships, in the Aliwan Festival. The Aliwan is the so-called “Grandest Fiesta” of the Philippines, which invites representative presentations from all over the country. It is held annually in Pasay City, and organized by Manila Broadcasting Company (MBC) together with the Cultural Center of the Philippines (CCP) and the cities of Manila and Pasay.
Some of the Dinagyang’s performance innovations have endured throughout the years. Among these are Mobile Raisers, attributed to Tribu Bola-bola, which has enhanced the depth and choreography of the tribes. Dinagyang pipes were popularized by Tribu Ilonganon in 2005. Made of PVC, they are hit with rubber paddles.
It is worth mentioning that the Dinagyang is an important portion of the immersive Ilonggo experience. For example, a trip to Iloilo is even more memorable if you get to try local dishes in Tatoy’s or Breakthrough, or have a taste of local soups such as Pancit Molo and Batchoy, siopao made by the iconic Roberto’s. Dropping by the nearby island of Guimaras is a welcome detour, with its harvests of sweet mangoes and beaches of clear waters. Architecture aficionados will want to visit the all-male saints of Jaro Cathedral, the all-female saints of Molo Church (Jose Rizal is said to have had lively comments about the paintings inside the church), and the various heritage houses all over the city.
All in all, a well-planned two- or three-day stay in Iloilo might be enough to resolve all your thorough concerns: How much Biscocho House and barquillos for your officemates could you possibly fit in your luggage? Is there honest to goodness, factual, historical basis for Datu Paiburong and his Bornean datus, or is it too moot and academic anyway? How different is a fish soup’s taste with the irreplaceable and citrusy batwan? And, if in January (available hotel rooms permitting): Will the celebrated Bola-bola tribe or the Panayanon reign once more, or will another tribe re-invent the genius of Dinagyang?
To end, this article is not complete without a quick sampling of some Ilonggo words of greeting and parting. Take time to think which serves you and your listeners well. Whether it is time for “Hidlaw gid ko sa inyo!” (I missed you all!) Or “Sa liwat naman a!” (‘Til next time!), “Kitaay ‘ta!” (See you!).