In cultural festivities, using traditional terms and symbols often sparks discussions and sometimes controversies. The recent exchange of intellectual discourse surrounding the utilization of Ati-atihan terms, particularly 'sadsad', by Ilonggos during the Dinagyang Festival has brought to light deeper questions about cultural ownership, representation, and the dynamics of intercultural exchange.
This matter lies in the assertion by the National Museum-Western Visayas and Iloilo City Mayor Jerry Treñas that 'sadsad' is a generic term, devoid of exclusive rights held by Kalibo. This assertion challenges the perceived ownership of cultural elements, raising important questions about the fluidity of tradition and the complexities of cultural borrowing.
Kalibo, as the birthplace of the renowned Ati-atihan Festival, undoubtedly holds a special place in the cultural landscape of the Philippines. For decades, Kalibo's Ati-atihan has been celebrated as a vibrant expression of indigenous culture, drawing visitors and enthusiasts from far and wide. The festival's distinctive features, including the spirited 'sadsad', have become synonymous with Kalibo's identity, fostering a sense of pride and ownership among its people.
However, the notion of cultural exclusivity is a multifaceted issue, especially in a country as diverse as the Philippines. The dynamic interplay of cultures, histories, and traditions has led to a rich tapestry of shared experiences and practices. In this context, the appropriation of cultural elements is not merely an act of plagiarism but rather a testament to the interconnectedness of human experiences.
The Dinagyang Festival, rooted in Iloilo's history and heritage, represents a unique expression of local identity and community spirit. While it may borrow certain elements from other festivals, including the Ati-than, it does so not out of a desire to usurp or diminish another's cultural legacy but rather as a celebration of shared humanity and cultural exchange.
The controversy surrounding the use of 'sadsad' highlights the need for nuanced discussions on cultural appropriation and representation. While it is essential to recognize and respect the cultural origins of specific traditions, it is equally important to acknowledge the dynamic nature of culture itself. Cultures evolve, adapt, and transform, shaped by interactions and exchanges with other communities over time.
Instead of viewing cultural borrowing as a zero-sum game, we should strive to foster a spirit of mutual respect and understanding. Dialogue and collaboration between different cultural groups can lead to the enrichment of shared traditions and the cultivation of a more inclusive cultural landscape.
The dispute over the use of Ati-atihan terms by Ilonggos during the Dinagyang Festival underscores the complexities of cultural ownership and representation. While Kalibo's grievances are valid and deserve careful consideration, they should not overshadow the broader narrative of cultural diversity and interconnectedness. By embracing dialogue and embracing the fluidity of tradition, we can forge a future where cultural heritage is celebrated as a collective inheritance rather than a source of division.
Photo: Arnold Almacen
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