wo days ago, the streets of Iloilo City were agog with people from all walks of life, straining their necks to catch even a glimpse of their favorite tribal group and cultural ensembles strutting their wares and moves enroute to each of the reviewing stands where each of them exhibited the full scope of choreography all in honor of the Sto. Niño.

Several years back, the original staging of Dinagyang was done sparsely at the San Jose Church at Calasanz Street with a handful of people mostly Augustinian priests and members of the Cofradia. I should know since I was once a student of the late Father Sulpicio Enderes, OSA who was one of the priests who brought the statue of the Holy Infant from Cebu to Iloilo City way back in 1968.

The evolution of what was once a simple veneration became a mammoth event that not only the locals anticipated but a much sought event to be and enjoyed. Through the years Dinagyang developed from a simple procession of devotees to a grand parade of unfettered revelry.

It was an event that was in search of a name. Several tags were proposed but the entry of the late radio personality Pacifico Sudario won and the tag, Dinagyang sticked and is still faithful to the original meaning of the Ilonggo term, unfettered fun.

The two-day mega event started with a high mass at San Jose church. Afterwards competing cultural groups started presentation beginning at the Freedom Grandstand and culminating at the last reviewing stand located in the so-called Iloilo City Central Market. The second and final day is showcased by the interpretative dancing and chanting of besooted youngsters depicting the traditional Atis of Panay.

To some it is a hodgepodge of themes, color, costumes, and motifs borrowed from the Mardi Gras, samba parade of Brazil and Ati-atihan of Kalibo, they may be correct, they may have educated guesses. Whichever it is, it doesn't detract from the color, measured elegance and artistic restraint of the Dinagyang.