Arts & Culture

Revelry of the Visayan People: Sinulog

In other parts of the Visayas, the Sinulog is also widely-celebrated in different ways.

In Cebu, the holiday season doesn’t end with celebrating the beginning of a new year. It stretches throughout the whole month of January for the annual Sinulog Festival, a celebration in honor of Cebu’s patron saint, Señor Santo Niño. It’s known for the colorfully-themed dancing and street parade, and is something that’s inherently Cebuano. But, did you know that in other parts of the Visayas, Sinulog is also widely celebrated?

Aside from Cebu, there are two places that celebrate Sinulog with their own touch of culture. These festivals are Aklan’s Ati-atihan Festival and Ilo-ilo City’s Dinagyang Festival. Let’s take a look at how these two celebrate the Sinulog in their own ways.

Ati-atihan Festival of Aklan, Panay Island

Although Cebu is widely known for its grander take of Sinulog, Kalibo-Aklan’s Ati-atihan Festival is said to be have inspired the Sinulog, and is dubbed as the “Mother of All Philippine Festivities”.

A version of its legend tells the story of an unnamed fisherman of Barangay Naile in the western part of the province who went to fish at the river, but he caught a piece of wood instead of fish. He tried to throw the piece of wood away, but it returned repeatedly to his net. He decided to bring the wood and used it as fuel to cook his meals. As the fisherman and his wife slept, they heard a beating sound nearby. When they looked where the sound came from, they found the wood with a carving of a child.

Seeing this, the fishermen decided to put it at their altar. The family received blessings from there, including bountiful catches. A few weeks went by and the fisherman decided to ask a priest for advice, and the priest told him to place the wood at the Ibajay Parish. Several days later, the residents wondered why the piece of wood always disappear and repeatedly found on top of the fisherman’s house. The residents of Ibajay interpreted this incident as a call for them to seek forgiveness of their sins, and part of their penance is to blacken their faces and body with coal and to dress in rags. After doing this, the wood no longer left the parish.

In June 11, 1871, a Kalibo priest signed a testament with businessmen in town to institutionalize the holding of the annual Kalibo Santo Nino Ati-atihan Festival. During those times, the tradition of its revelry was held every noon as a sign of penance while dancing in the streets. The National Commission of Culture and the Arts (NCCA) named the Kalibo Santo Niño Ati-atihan Festival as “The Mother of Philippine Festivals.”

Now, the phrase “Hala Bira! Pwera Pasma!” is associated with the Sto. Nino Ati-Atihan Festival as the revelers and devotees of some painted in coal, dancing to the beat of the drums while carrying their variations of baby Jesus statues. Festivities happen all over the town from morning to the wee hours of the next morning, rain or shine.

Dinagyang Festival of Ilo-ilo City

The word “dinagyang” was coined by Ilonggo writer and broadcaster Pacifico Sudario in 1977, and means “merry making”. It’s Ilo-ilo’s version of the Ati-atihan Festival. Started in 1968, a replica of the original image of the Santo Nino from Cebu was brought to Ilo-ilo by Fr. Sulpicio Enderez of Cebu as a gift to the Parish of San Jose, accompanied with several Cebuano devotees and received by the Ilonggos at the Mandurriao Airport.

The festival had 4 participating tribes then, but as the celebrations improved through the years, the number of groups and tribes participating increased as well. Like the Aklan celebration, the audience are encouraged to dance with the parade and join the participants, giving them room to forget their frustrations and bind faith with the Santo Nino.

It was also in 1977 where the government ordered the various regions of the Philippines to come up with festivals that could boost the tourism and development. Ilo-ilo CIty readily adapted Ati-atihan as its project as its festival reflects the Illonggo’s artistry, craftsmanship and creativity through their dances and costumes.

Since the 16th century, the great devotion to the Santo Niño in the Philippines had spread through the Visayas. Many people make their yearly journey to churches to join the procession and festivals, and this signifies the rejection of former animist beliefs. It transcends generation and it has improved the socio-cultural aspect of the region. There’s no topping the grandest festival called Sinulog.

Related Topics:ati-atihan festival dinagyang festival Santo Nino de Cebu Sinulog Sinulog celebration Visayan Celebrations

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Arts & Culture

Art Beat: Scenes From the Manila Art Fair 2026

photography by Doro Barandino

“Art is unpredictable and goes in different directions. I have no idea. I would rather live the present moment.” —Bencab, National artist of the Philippines.

Vinta by Protegeri, collaboration art piece by Leeroy New, Solenn Heuseff and Vito Selma

Q&A with interior decorator and jewellery designer Doro Barandino

Which of the participating art galleries had the most unified and exciting theme?
Leon Gallery had the most amazingly put-together collection. Though the gallery engaged various artists, the overall visual effect felt like one unified theme. Leon Gallery used a sack-like cloth (most likely raw linen) as the background for the booth, and it brought the collection together. It had an old-world feel in a chaotic setting.

Who were the artists that were the most visually engaging?
The works of Carlo Tanseco were definitely my favorite. The artist used an eye chart (Snellen chart) as the background for the image of Dr. Jose Rizal giving us the middle finger—such an “in your face” message. The concept of our national hero as a modern-day provocateur was a wake-up call to everyone. Very subversive and underground material. I was also attracted to the works of Japanese artist Tadashi Kogure; they’re very architectural.

Was the choice of venue and its layout helpful in engaging the whole art vibe?
What I noticed was that the masters like Juan Luna, Fernando Amorsolo, and Fernando Zóbel still attracted the most viewers at the art fair. People are naturally drawn to their masterful strokes and historical significance, or perhaps these artworks are not readily accessible for public viewing. Or maybe those booths that carried the masters’ works were strategically positioned right after the registrar.

The choice of venue at Center One was a good move—it created a total art vibe. Manila Art Fair remains the premier art fair in the country today, showcasing the finest modern and contemporary art while offering curated projects and immersive installations.

The Standard by Thai artist Pitchapa at the Triangular durational, performance art.

Bato Bato sa Langit by Filipino artist Carlo Tanseco

Stocking Proportions Menumpuk Proporsi by Indonesian artist Labadiou Piko

Untitled by Indonesian artist Yunizar

Filipiny, wool tapestry by national artist of the Philippines,Federico Aguilar Alcuaz.

Untitled by German artist Valentin Elias Renner

Interior decorator and jewellery designer Doro Barandino is also a regular contributor for zee.ph

Arts & Culture

Visayas Art Fair Year 5: Infinite Perspectives, Unbound Creativity

by Jing Ramos

This year’s Visayas Art Fair marks its 5th anniversary, celebrating the theme “Infinite Perspectives: Unbound Creativity.” The fair continues its mission of bridging creativity, culture, and community in the country. This milestone edition strengthens its partnership with the National Commission for Culture and the Arts and expands collaborations with regional art organizations and collectives—reinforcing its role as a unifying platform for Philippine art.

VAF5 features the works of Gil Francis Maningo, honoring the mastery of his gold leaf technique on opulent portraits of the Visayan muse Carmela, reflecting spiritual awareness.

Gil Francis Maningo is celebrated for his gold leaf technique.

Gil Francis Maningo’s recurring theme of his Visayan muse “Carmela”.

Another featured artist is Danny Rayos del Sol, whose religious iconography of Marian-inspired portraits offers a profound meditation on the sacred and the sublime. This collaboration between two visual artists sparks a dialogue on the Visayan spirit of creativity and resilience. Titled “Pasinaya,” this dual showcase explores gold leaf as a medium of light and transcendence.

Artist Danny Reyes del Sol

Danny Reyes del Sol’s religious iconography.

Now in its fifth year, the Visayas Art Fair has influenced a community of artists, gallerists, brokers, collectors, museum curators, and art critics—constructing a narrative that shapes how we approach and understand the artist and his work. This combination of factors, destined for popular consumption, illustrates the ways in which art and current culture have found common ground in a milieu enriched by the promise of increased revenue and the growing value of artworks.

Laurie Boquiren, Chairman of the Visayas Art Fair, elaborates on the theme, expressing a vision that celebrates the boundless imagination of unique artistic voices:

“Infinite Perspectives speaks of the countless ways artists see, interpret, and transform the world around them—reminding us that creativity knows no single point of view. Unbound Creativity embodies freedom from convention and controlled expression, allowing every artist to explore and experiment without borders.”

Laurie Boquiren, Chairman of the Visayas Art Fair has tirelessly championed the creative arts for the past five years.

Arts & Culture

Kultura. Kapital. Kasalukuyan: Art that Speaks of Today

by Jose Carlos G. Campos, Board of Trustees National Museum of the Philippines

The National Museum of the Philippines (NMP) and the Bangko Sentral ng Pilipinas (BSP) recently teamed up to prove that money isn’t just for counting—it’s also for curating! Their latest joint exhibition, Kultura. Kapital. Kasalukuyan: Contemporary Art from the Bangko Sentral ng Pilipinas Collection, is now open, and it’s a real treat for art lovers and culture buffs alike.

On display are gems from the BSP’s contemporary art collection, including masterpieces by National Artist Benedicto Cabrera (Bencab), along with works by Onib Olmedo, Brenda Fajardo, Antipas Delotavo, Edgar Talusan Fernandez, and many more. Some of the artists even showed up in person—Charlie Co, Junyee, Imelda Cajipe-Endaya, Demi Padua, Joey Cobcobo, Leonard Aguinaldo, Gerardo Tan, Melvin Culaba—while others sent their family representatives, like Mayumi Habulan and Jeudi Garibay. Talk about art running in the family!

Deputy Governor General of the BSP, Berna Romulo Puyat

Chairman of NMP, Andoni Aboitiz

The BSP Governor Eli M. Remolona, Jr. and members of the Monetary Board joined the event, alongside former BSP Governor Amando M. Tetangco, Jr., Ms. Tess Espenilla (wife of the late Nestor A. Espenilla, Jr.), and the ever-graceful former Central Bank Governor Jaime C. Laya, who gave a short but enlightening talk about the BSP art collection.

From the NMP, Chairman Andoni Aboitiz, Director-General Jeremy Barns, and fellow trustees NCCA Chairman Victorino Mapa Manalo, Carlo Ebeo, and Jose Carlos Garcia-Campos also graced the occasion. Chairman Aboitiz expressed gratitude to the BSP for renewing its partnership, calling the exhibition a shining example of how financial institutions can also enrich our cultural wealth.

Former Governor of BSP Jaime Laya

Governor of BSP Eli M. Remona and Chairman of NMP Board Andoni Aboitiz

Artist Charlie Co

Before the official launch, a special media preview was held on 5 August, hosted by BSP Deputy Governor Bernadette Romulo-Puyat and DG Jeremy Barns. It gave lucky guests a sneak peek at the collection—because sometimes, even art likes to play “hard to get.”

The exhibition Kultura. Kapital. Kasalukuyan will run until November 2027 at Galleries XVIII and XIX, 3/F, National Museum of Fine Arts. Doors are open daily, 9:00 AM to 6:00 PM. So if you’re looking for something enriching that won’t hurt your wallet (admission is free!), this is your sign to visit. After all, the best kind of interest is cultural interest.