
@article {4680,
	title = {Celebration and Remembrance in Kalibo{\textquoteright}s Ati-Atihan: Mythmaking, Devotion, Cultural Memory},
	journal = {Asian Theatre Journal},
	volume = {41},
	number = {2},
	year = {2024},
	pages = {269-295},
	abstract = {The\&nbsp;Ati-Atihan\&nbsp;is a Philippine festival held every January in Kalibo, Aklan province on Panay Island, in honor of the town{\textquoteright}s patron saint, the Santo Ni{\~n}o (The Child Jesus) and, at the same time, a commemoration of the original settlers of the island, the dark-skinned Atis. The festival is believed to predate Hispanic colonialism. However, Spanish missionaries gradually added Christian meanings to it. The festival{\textquoteright}s origin is also linked to the epic\&nbsp;Maragtas, which tells the story of Ten Bornean Datus (chieftains) led by Datu Puti, who fled Borneo in the thirteenth century and landed on the island of Panay. The Borneans purchased the island from the Ati people. Feasting and festivities followed soon after the transaction, including a traditional Ati dance, which was mimicked by the Borneans as an act of appreciation. Today, the festival consists of religious processions and street dancing, showcasing groups and individuals wearing colorful and elaborate costumes and marching drummers. The street dancing, sadsad, is improvised where the foot is momentarily dragged along the ground in tune with the drummers{\textquoteright} beat. The essay interrogates the\&nbsp;Ati-atihan\&nbsp;Festival through its three components{\textemdash}a dance-drama called\&nbsp;Maragtas it Panay\&nbsp;(The Barter of Panay), the\&nbsp;sadsad, and the cultural dance competition. I argued that religion (Catholicism), cultural history (the\&nbsp;Maragtas), and the series of performances during the weeklong merry-making complicate the festival{\textquoteright}s ontology. Entangling these aspects, the festival is explored as a celebration and, at the same time, a repulsion of the foreign (colonial disposition), which leads toward an understanding of the festival as a concatenation of entanglements: devotion and entertainment, utopia and nostalgia, and history and mythmaking. In the end, the\&nbsp;Ati-atihan\&nbsp;invokes a communal identity, which may be asserted as a recuperation of a pre-contact collective identity that embodies a proposition signifying how the body remembers what the archives failed to record.},
	url = {https://doi.org/10.1353/atj.2024.a936937},
	author = {Tiatco, Sir Anril P.}
}
