Dinagyang Festival
Sources: wowphilippines.com.ph, pia.ops.gov.ph
Merry mayhem breaks loose in Iloilo City during this weekend, when Ilonggos leave everything behind to join in the fiesta of the year. All inhibitions are dropped: boring everyday clothes are exchanged for "Ati" warrior costumes and black body paint. Shields and "weapons" are held amidst the pounding rhythm of drums, the costumed Ilonggos put their best feet forward in celebration of...Dinagyang!
The root word is dagyang . In Ilonggo, it means "to make merry". Dinagyang is the present progressive form of that Ilonggo word, meaning "merry" or "merrymaking."
Today, Dinagyang is associated with the annual, socio-cultural-religious festival of Iloilo City in January. Dinagyang was coined by an old-time Ilonggo writer and radio broadcaster, the late Pacifico Sumagpao Sudario, who first used the word to name the festival when it was launched in 1977.
Iloilo City's Dinagyang had its beginnings in 1968 when Fr. Sulpicio Ebderes, OSA brought a replica of the image of the Sr. Santo Niño from Cebu City to the San Jose Parish church with a delegation of Cofradia Del Sto. Niño Cebu members. The image was brought to San Jose Parish church and has been enshrined there since then where a novena in His honor is held every Friday. The first parish feast of Señor Santo Niño was celebrated in 1969, a year after His arrival in Iloilo City. The culmination of the nine-day novena was the fluvial procession. From 1969, the celebration was casually called "Iloilo Ati-Atihan " to differentiate it from that more famous Mardi-Gras -- like revelry of Kalibo, Aklan.
Through the years, the Dinagyang costumes became more ornate and fabulous. Designed, cut, and hand-sewn according to specifications, the costumes came out in a variety of forms and a kaleidoscope of colors. The costumes were made of indigenous materials like leaves and barks of trees, woven anahaw , buri or coconut palm fronds and husks.
Ingenuity in making use of the materials for costumes through assiduous research was undertaken by the competing "tribes," seeing to it that these were kept under wraps. Even the movements and frenetic dance steps as the tribes practiced were executed behind closed doors. Other paraphernalia like shields and spears were added to the costumes. Choreography was made a part of the criteria in both the Ati-Atihan and Kadsadyahan contests.
In 1976, a new feature was added to the festival. Following Kalibo's example, street revelry and audience participation were introduced and encouraged.
The celebration starts when the Santo Niño image is borne on a decorative banca in a fluvial procession, starting from the mouth of the Iloilo river at Fort San Pedro, winding all the way to the Iloilo provincial capitol which stands on the bank of the Iloilo river. Here, the hermano-hermana mayor , devotees, and Ati-Atihan tribes meet the Santo Niño. With the Santo Niño leading, the street procession starts, passing through the main roads of the city and ending at San Jose church, where a high mass is then celebrated.
The fluvial procession of the Santo Niño image on the Iloilo river was made a prerequisite to the Ati-Atihan foot procession, which has now evolved into a parade and competition.
In recent years, more and more tribes have joined the celebration that has, by then, grown more colorful and pompous. Foreign and local tourists now come to Iloilo in droves just for the festival.
From being mere spectators during the merrymaking of the various competing Ati-Atihan and Mardi Gras "tribes" and groups, the people now have a chance to dance and be merry, throwing all inhibitions to the wind. With soot painted all over the face and body, one can just fantasize on anything, dance to the cacophonous beat of drums in the streets, joining the raucous laughter of merrymakers.
Through the years, however, the Dinagyang festival has not only meant fun and laughter for the Ilonggos. It has also become a period of thanksgiving and offering for all the blessings received. Hala Bira!
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