ILOILO City — Under the thunder of drums and the blaze of colors that define Dinagyang, victories are often credited to spectacle: grand costumes, synchronized movements, and flawless execution on the streets. But behind two of Dinagyang 2026’s most talked-about triumphs — the grand slam of Maasin’s Tribu Tultugan Festival at Kasadyahan sa Kabanwahanan and the championship run of Tribu Salognon of Jaro National High School — stands a choreographer whose journey began far from the spotlight.
Steven Jacosalem did not emerge overnight as a festival powerhouse. Long before his name became synonymous with winning choreography, he was a dancer — one among many — absorbing lessons from different tribes, different masters, and different stages of Dinagyang. Today, he is the creative force steering two competing tribes to the top, an achievement that even he admits still feels unreal.
“Winning both Dinagyang and Kasadyahan is beyond what I ever dreamed of. Bringing pride to Tribu Salognon and Tribu Tultugan Festival is a blessing I will forever treasure. This victory is not mine alone — this belongs to everyone who sacrificed, believed, and stood with us all the way,” Jacosalem said in an official statement.
He was quick to redirect the applause to the youngest members of his teams — the dancers themselves — whom he called “the true heroes of this journey.”
“The long practices, tired bodies, missed rest, and endless discipline you gave showed your passion and love for the art. Your sacrifices turned dreams into reality,” he added.
One Choreographer, Two Worlds
Handling one Dinagyang tribe is pressure enough. Handling two — each with a distinct identity, mandate, and set of expectations — was a logistical and creative tightrope.
Jacosalem admitted the challenge was intensified by circumstances beyond artistry. Preparation for Tribu Salognon had to come first, largely because Maasin’s local government unit was preoccupied with its town fiesta last December 30, 2025, and later hosted the Third Congressional Meet. The result: no proper venue and barely any time for Tultugan Festival rehearsals.
In the end, Tultugan had less than two weeks to prepare.
Still, time constraints were only part of the equation. The bigger challenge was conceptual.
“It was difficult on our part because the concepts and choreography could not be the same. They really had to be different. But then again, we all know Dinagyang will always be Dinagyang. Kasadyahan is different because the province’s plan is really to promote what each town has,” Jacosalem said.
Pressure That Breaks—or Builds
The strain of juggling expectations took a physical toll. Four days before Kasadyahan sa Kabanwahanan, Jacosalem was hospitalized due to stress.
“The pressure we experienced was no joke. Four days before Dinagyang, I was hospitalized because the stress was overwhelming. You don’t even know anymore whether you should eat or sleep because everything is back-to-back,” he recalled.
Pressure came in different forms. With Tribu Salognon, the burden was aspiration. They were not the defending champions, but they were aiming high.
“You’re not the defending champion, yet you are aiming for something bigger — that’s what adds to the pressure,” Jacosalem said.
For Tultugan Festival, the pressure was heavier but more familiar. Maasin was gunning for a rare three-peat.
“The pressure in Maasin is already a given because we are aiming for the three-peat. With Salognon, the pressure was different because we were still aiming to win. Tultugan had to defend the title,” he explained.
Resources, too, told two very different stories.
“The big difference is that Maasin’s LGU has the funds, so we can pull off everything we want to happen. With Salognon, it’s about how the school can provide what the artistic team needs so we can present everything more clearly and beautifully,” Jacosalem added.
Shaped by the Masters
Jacosalem traces much of his creative depth to his years as a dancer under various tribes, including Tribu Paghidaet and Tribu Pan-ay of Fort San Pedro National High School, and to working alongside respected choreographers such as Romel Flogen.
“I’ve been through different choreographers who really honed me. It feels good because I’ve experienced both worlds. I went through everything, and maybe that’s what gave strength to my work. I’ve been exposed to the best, world-class choreographers, and I gathered all my learnings from them,” he said.
That exposure, he believes, allowed him to blend discipline with creativity — tradition with innovation — without losing Dinagyang’s soul.
Looking Ahead, Choosing Carefully
With Maasin’s Mayor Francis Amboy openly floating plans for Tultugan Festival to join the Ati Tribes Competition in Dinagyang 2027, Jacosalem inevitably faces questions of loyalty and choice.
He revealed that discussions with the mayor happened even before the plan became public, noting that Amboy has long admired the Ati tribes competition.
Jacosalem’s advice was measured and rooted in faith and timing: wait for the right moment.
He added that such a move would ultimately depend on divine guidance.
In the whirlwind of drums, cheers, and confetti, Steven Jacosalem remains grounded — a former dancer who climbed the ranks not by noise, but by discipline, sacrifice, and an unshakeable respect for the art that shaped him./PN
(caption choreographer Steven Jacosalem)
(Tribu Salognon – Ati Tribes Competition)
(Tultugan Festival – Kasadyahan sa Kabanwahanan)
Maasin, Iloilo’s Tultugan Festival dazzles the crowd at Kasadyahan sa Kabanwahanan, blending rural heritage and vibrant storytelling in a performance that sealed its rare grand slam under choreographer Steven Jacosalem.