DEFINING DINAGYANG

by Reymundo Salao
Oftentimes Disturbing
The Guardian, january 25, 2005

The clash of icons between Dagoy and the Sto. Niño does not necessarily exist as a contest to win the entire essence of the Dinagyang spirit
I believe that it is a futile argument because the two icons belong to two distinct and separate levels. While the Sto. Nino may actually hold the true essence of the festival, which is that of the spiritual aspect. It is undeniable that this same festival has given much benefit to the tourism and the commerce of the city. The Sto. Niño cannot, of course, represent this other aspect (of tourism and commerce), but it is a mere coincidence that such religious event could be so fruitful in the sense that the tourism power of the event is positively strong to attract tourists from the farthest of countries. Such tourism helps the local economy a lot, not to mention, let local businesses be positively exposed to foreign market as well. This aspect is and can only be represented by a separate icon, rather, a mascot in the guise of Dagoy.

However, Dagoy and what it represents has become more popular and more descriptive of the event than that of the religious aspect, which indeed many tend to forget and even, in an unpleasant manner, disregard. It is now the duty of the organizers and administrators of the festival to make sure that the religious aspect, which holds the original aspect of the festival, prevails and does not get drowned in the glitz of commercialism. In addition, it is inevitable that, even though we are, by majority, a Catholic group of people, there still is a large percentage of those who partake in the festival that are of different groups of religion. Many of which are the tourists of different cultures and races. Therefore, we should be open to the idea that the Dinagyang may also be a festival that is meant for its other interpretations.

Although originally a religious festivity, one cannot deny its dual interpretations of solidarity and thanksgiving. It is also interpreted as a season of hospitality not only toward tourists, but also with homecoming friends and families. Dinagyang is the "other holiday season" that we have in this city.

For obvious reasons, it is the perfect season to welcome summer. Perfect in the sense that Iloilo is where tourists would take the route that goes to Caticlan, and then, directly to Boracay, which is the most popular summer destination of the country. Being a well-urbanized city, Iloilo is a convenient waypoint with the accessibility of such establishments like internet cafes/stations and air and freight ports. This fact enhances the tourism value of the Dinagyang festival.

Much has been elaborated about the religious aspect, and even the beauty of such solemnity has been part of why it is so attractive to tourists. In fact, Dinagyang has that perfect blend of solemnity and a wild-party atmosphere. It is clearly depicted in the dancing of the tribes: In the middle of the tribal dance, there is always a moment of pause, when the tribesmen lay still and quiet. Then, they burst in glory hailing "Viva Señor Sto. Niño! Viva!" At once, the banging drums resume, and a wild revelry ensues.

But why the African and warrior-like appearance? If we would have to lecture back in basic history, we should understand that the Philippines was once inhabited by Aetas, dark-skinned natives, which ironically, have become the cultural minorities (mostly, the ones who are being scourged by poverty). Many skeptics may have argued that the incident depicted in the Dinagyang festival were not based on factual events. But in my personal interpretation of the Dinagyang festival, it is a festival that celebrates the introduction of Christianity, which is represented by the Sto. Niño, to the natives, and the conversion from their savage ways to become a people guided by the light of religion. It is the conversion of the misguided to the guided. From savages, to a people of purpose. It may even be a symbolism not exclusive to Christianity, but to any kind of theology. All in all, to sum up and deduct to what it defines, Dinagyang is revelry under goodwill and it can have many interpretations, many symbolisms, and many icons.