Arroyo Fountain, the logo for Panubli-on

After several years of dormancy, Panubli-on: The Iloilo Heritage Blog, will come back. To bring Iloilo’s rich cultural heritage and history into the cyberspace. Sharing the legacy of Iloilo’s glorious past and for a brighter future. Soon, we’ll be adding up articles, activities and a whole lot more. For now, a bit of tweaking in the blog is needed.

Steamed Talaba (Oysters) for only P30 per order

Oysters have been one of my favourite foods since college. Growing up deprived with eating talaba, I started eating it when I relocated in Iloilo not so long ago. I fell in love with it. Later on, I’ve got obsessed with it. I always go out with my family, classmates or barkada during free time or dinner time for one small batya of talaba for only PhP25! That’s incredibly cheap! Oysters are very cheap in the Visayas, particularly in Panay, since it is one of Panayanon’s staple seafood. When I moved back to Manila, oysters seemed to be more of a luxury rather than a staple. Known to have aphrodisiac properties, steamed oysters are offered in every town in Panay. They say, it’s a nice food to eat before “making love.”

It seems like a ritual pilgrimage for me to eat oysters, every time I go home to Iloilo. However, I was deprived of this last Dinagyang. It’s a good thing I went home last weekend. Tsansa ko na to! I have to eat talaba! I have too! I’m craving for it!!!

There are so many talabahans around Iloilo City and Province. Notable talabahans such as Allan’s in Oton and Nato and Helen in Bolilao or even the posh seaside restaurant Breakthrough or Freska. However, together with Marc of Explore Iloilo and Eric of Byahilo.com, we set our lunch at Stanley’s in Villa Beach in Iloilo City. The small payag-payag restaurant besides the sea offers a glimpse of Panay Gulf and neighboring Guimaras. Villa Beach is known to be a family hang-out place every Sundays and holidays. Who wouldn’t? Eating fresh seafood besides the sea with the gentle breeze touching your cheeks on a slow weekend would be relaxing, doesn’t it?

So, I went on. I indulged myself with one batya of steamed oysters. Fresh from Roxas City, Capiz Province. It was only P30 per batya! Cheap than those fancy baked oysters somewhere which costs P200+ for a measly 10 pieces of oysters! Now, that’s what I called sulit!

“High school pa ini ne,” Eric said. The first batch was a bit small, but we continued to eat more. Rice wasn’t enough. We ordered more! We later realised that the first oyster batch wasn’t enough. “Miga, tatlo pa ka order sang talaba palihog!” Whoa! We have our second batch! This time, these are “college-sized” steamed oysters! Yummy! Try dipping the oyster in soy sauce mixed with sinamak (spiced vinegar) and calamansi. Oooh! Yummy! There goes my craving!

Stanley's Talabahan at Villa Arevalo District in Iloilo City

Anyway, after we’ve finished our lunch, our bill amounted only to P300+! That’s already for three people for 2 batyas of oysters each, plus additional rice and drinks! Not only it is a food aficionado’s paradise, it’s also a Valhalla of wallets!

Oh well, looks like I’ll be enjoying talaba more next time. Life’s simple indulgences matter to me most.

P.S. For those who have hypertension, please eat moderately. Huwag kayong matulad sana sa akin.

More photos of the sojourn in Iloilo City: From Villa to Fort San Pedro here:

San Joaquin Church Rendicion d' Tetuan

Last week, we were in Batangas for a visita iglesia in Taal’s prominent religious structures—the Basilica Minore de San Martin de Tours and Our Lady of Caysasay Shrine. Today, we fly all the way to the Visayas to visit Iloilo. Our first stop would go all the way to the southernmost town of the province, San Joaquin. This town is known to be one of the landing sites of the mythical Ten Bornean Datus. However, the crowning jewel of this southern town would be its 19^th century church and its cemetery. The church however tells the story of the San Joaquin’s history, carved in stone.

San Joaquin Church is located a few metres away from the highway. It’s situated on an elevated hill near the coast. It’s pretty good location for a church. This greyish-white church was constructed under the supervision of the Spanish priest Tomas Santaren, together with Spanish and Mexican artists. It was built in 1859. Made with coral stone or limestone, egg whites, blood, sweat and tears by our ancestors, this church became a fort when the Moro raiders invade the southern Panay coast. According to Funtecha, the church became an evacuation centre during the Japanese occupation. However, Col. Macario Peralta, leader of the guerrilla resistance in Panay, ordered the church and the rest of the town to be burned to the ground in 1943 (talk about the burning culture). In 1948, a powerful earthquake toppled down the old belfry—yup, the same tremor that destroyed Jaro’s belfry and the magnificent old Oton Church!  Good thing though, the church facade remained intact. Later on, in 1974, it was declared as a national historical site by the National Historical Institute.

San Joaquin Church

Although architecturally baroque, the church has its own crown jewel—the Rendicion d’Tetuan stone relief (The Surrender of Tetouan) carved in its pediment. This obra maestra is one of its kind in Western Visayas, and perhaps the whole country, since this is one of the most militaristic motifs in any religious structure in the country.

The Agustinian Seal in San Joaquin Church

Depicting the Battle of Tetuan in 1860, the relief features Spanish forces defeating the Moorish forces in the siege of Tetuan—which resulted Spanish victory. The medieval town is shown on the upper part of the pediment while the Spanish forces moved in towards Tetuan. Horses, men with guns and a medieval city dominate the pediment. However, the lush tropical fauna was incorporated in the relief. The legendary Santiago Matamoros was said to have been included in the carvings. On top of the pediment, instead of a cross, a carving of Nuestra Señora de Angustias was installed.

The legendary Santiago de Matamoros?

Nuestra Señora de las Angustias at the top of the pediment of San Joaquin Church

The battle somehow reflects the Moro-Moro thinking during the Spanish colonial era in the Visayas, given that the Visayans were frequently raided by the Moros of Mindanao during three centuries that the Philippines was under the rule of the Cross and the Sword. Perhaps, it gave San Joaquinhons some boost in their morale during those times–a manifestation that San Joaquinhon Christians see their victory over the marauding Moros back then.

San Joaquin Church

The San Joaquin Church is a testament of the way our ancestors lived during the Spanish colonial rule. Behind the beautiful stone carvings of the church, lie the stories of the San Joaquinhons’ struggles, faith and victories.

More photos here:

Deco's La Paz Bathoy

I haven’t eaten La Paz Batchoy since…I don’t remember. Heck, I haven’t eaten Batchoy when I went home in Iloilo just a couple of weeks ago! Although there are batchoyans here in Metro Manila, but I wanted to taste something different from the usual batchoy (yes, Lucky Me! therapy! Haha!)

I just found out that Deco’s La Paz Batchoy has opened up its first branch here in Manila…even though if the outlet has been open since last year pa! It’s located in the newly-opened Southgate Mall near Magallanes Interchange in  Makati (for commuters, its the big blue building with a television on top…and its on “EDSA-Mantrade”…sabihin nyo lang sa konduktor na “Mantrade”).

Oops, Halfway Done!

Had my “Super Bowl” for about P70+. (The La Paz Batchoy comes in three sizes, I got the medium-sized “super” bowl). Quite expensive as compared to its counterparts in Iloilo (oh yeah, reality check, I’m in Manila pala!) but it still retains that authentic La Paz Batchoy back home. The usual meke noodles (You can choose your type of noodles: the original meke, bihon or sotanghon) with pork innards, chicharon and that caldo that I’ve been “slurping” eversince! Put some pepper on it and voila! I miss that pre-war pan de sal that they sell which is often partnered with the soup…or you can go puto Manapla instead (pasaylo sa mga kasimanwa nga ari diri sa Manila, wala pandesal ni Pa-a diri).

It was my dinner, and I’m satisfied already. Finally, more choices for the big Ilonggo population in Metro Manila. We got Teds La Paz Batchoy already in several key locations in the Metro, and Deco’s is out here to compete–the authentic La Paz Batchoy wars have finally reached Manila! At least, I got a taste of home, away from home.

Deco’s is open from 10AM to 8:30PM and it’s just beside Mang Inasal.
Location map courtesy of Google Maps:


View Deco’s La Paz Batchoy in Manila in a larger map

Wow…It’s been almost two weeks since the festivities and I still can’t get over the January celebrations either. That January though, I came home for somewhat like an annual pilgrimage for myself. I couldn’t resist the temptation of those throbbing drums pounding loud and hard in this southern Philippine city every January. I’ve been with this festival since 2003, yet it never failed to amaze me as it continually innovates itself year after year it is being celebrated by the Ilonggos. Outrageous and frenzy as some say it may seem but this is Iloilo’s grandest fiesta at its finest!

It was one crisp morning of January that the city streets were starting to feel the throbbing beat of the drums, as if Iloilo City’s core was a heart. As the sun shines in this central Philippine city, the crowd gradually increased to witness and enjoy Iloilo’s grandest fiesta, the Dinagyang Festival. Now, this is the time you’ll be seeing those dancers painted in dark brown (back then it was black…welcome to the era of political correctness, hehe!) with colourful costumes and choreography so agile and fast that you shouldn’t blink during their performance!

Dinagyang is Iloilo’s way to celebrate the arrival of the replica image of Santo Niño from Cebu and a way to thank the Almighty for the blessings that He has provided. The said event is held every 4^th weekend of January, a week after Cebu’s Sinulog  and the Ati-Atihan Festival of Kalibo in Aklan. Given one week interval, tourists and travelers should try extending their party extravaganza in the Visayas which always start during Christmas. It has recently been elevated into the “Hall of Fame” after being adjudged by the Association of Tourism Officers of the Philippines as the “Best Tourism Event” for three consecutive years.

The Ati-Ati competition is the highlight of the Dinagyang festivities. The celebration and competition is homage to the indigenous Ati people of Panay Island, the mythical event of the “Barter Trade of Panay” and the native’s conversion to Christianity. This is where you see those soot-covered warriors fiercely dancing to the beat of the drums and shout “Hala Bira!,” “Viva Señor Santo Niño!,” and occasionally “Pit Senyor!” (it is more synonymous to Sinulog of Cebu–which the Confradia and the devotees also shout during Dinagyang’s religious sad-sad). Borrowing from Jessica Zafra’s latest article, you might wonder that this is a result of Iloilo’s sweet delicacies to the warrirors…

Before we proceed, lets have a flashback on the origins of Dinagyang…

San Jose de Placer Parish Church, Iloilo City -- This is where the replica image of the Santo Niño de Cebu is enshrined during Dinagyang festivities

It was in 1968 when an Agustinian priest, Fr. Sulpicio Ebderes, OSA, brought a replica image of the Santo Niño  from the Basilica Minor de Santo Niño de Cebu. Brought by the mission of spreading devotion to the image of the Christ Child, the Agustinians, led by then San Jose Parish Priest Fr. Ambrosio Galindez, OSA–together with the Confradia de Santo Niño de Cebu-Iloilo chapter–celebrated it solemnly through a high mass and a fluvial procession from Fort San Pedro to the Iloilo Provincial Capitol through Iloilo River, then a foot procession back to San Jose de Placer Parish Church where it is enshrined.

The Replica Image of the Señor Santo Niño

At first it was solemn, a year later they started celebrating it at the streets with an Ati tribe brought from Kalibo.  Soot-covered men dancing to the beat of the drums celebrated the arrival of the image of the Santo Niño from then on. From that point on, it became synonymous as Iloilo Ati-Atihan.

Street Dancing at the historic Calle Real, Iloilo City

Back then, there were only a few tribes which would participate. Very simple and indigenous, it resembled Kalibo’s Ati-Atihan in a way that the dance steps are simpler and they only paraded in the streets of downtown Iloilo in the afternoon with Freedom Grandstand as the only judging station. Since then, the confradia has given up organizing the said festivity due to its increasing size and had it passed to the Iloilo City government.

In the 1970s, under Marcos administration, the Ministry of Tourism launched a program that propelled Iloilo’s citizens to think of an innovative idea in cultural presentation. In 1977, the late Pacifico Sudario, a radio personality at that time, coined the term “Dinagyang” for the Iloilo Ati-Atihan. The Hiligaynon term dagyang means “merry-making” or “to make merry.” The term was adapted to the festival and now it is called Dinagyang festival.

Fast Forward: Dinagyang 2010

I’ve mentioned earlier in a post that the annual cultural Mardi-Gras of Kasadyahan will be moved to a different date starting next year. Other than these developments, the celebration of the 42^nd year of Dinagyang has been generally peaceful. The streets are full of people from all walks of life. Stalls selling food, souveniers, tattoos and so much more line up the downtown streets. The now four judging areas are filled to the brim. So many activities have been going on in Iloilo City during those times.

Drum Beats Echo in the Streets of Iloilo City

In this year’s Dinagyang, the drum beats still never failed to amaze me. It still gives me goose bumps! The battle of the Ati tribes persisted the whole morning. Frenzied, I took out my camera and started taking those energetic moments while they are performing in our performance judging area at the Capitol area.

In my opinion, taking Dinagyang shots during their performance stint still holds as one of the most challenging subjects in festival photography in the Philippines. You’ll never know what the tribe’s next dance step is, as they are so fast and even furious…you’ll be overwhelmed by the energy the dancers display! Dinagyang is known for such hyper-frenzied and fast-paced choreography. From the simple steps of the Iloilo’s version of Ati-Atihan four decades ago, it has evolved with such lavish and complicated dance steps.  (For more of the choreography of the three major Santo Nino festivals in the Visayas, click here.)

Here are the Top 5 Dinagyang Ati tribes for this year:

Tribu Paghidaet of La Paz National High still reigns as the champion for this year’s Dinagyang.

Tribu Paghidaet of La Paz National High School

Tribu Bola-Bola of Iloilo National High on the other hand, landed as the 1^st runner-up for this year.

Tribu Bola-Bola of Iloilo National High School

Tribu Pan-ay (formerly Tribu ni San Pedro) of Fort San Pedro National High placed itself on the 2^nd runner up spot.

Tribu Pan-ay of Fort San Pedro National High School

Tribu Salognon (formerly Tribu Taga-Jaro) of Jaro National High School bagged the 3^rd runner up spot.

Tribu Salognon of Jaro National High School

Tribu Silak (formerly Tribu Lunok) of Iloilo City National High is on the 4^th runner up spot.

Tribu Silak of Iloilo City National High School

Nonetheless, this year’s performance overall was good. Mayor Treñas (in his last term as the mayor of the city) even stated that the 2010 Dinagyang was “the best so far.” The intense heat of the afternoon sun has dispersed the tribes and the crowd all over the city, but it has failed to lessen the crowd. The people, after witnessing and celebrating together with the cheers, are foraging for another Iloilo’s major attraction: food! As for myself and my companions, mission accomplished…and like others, I’m craving for food that I missed so dearly with Iloilo.

Visayans really know how to party, big time! The revelry that I see all throughout the islands manifests the love for life of the people, that’s why they were said to be one of the happiest peoples in the country. Faith and dance has always been part of the Visayan culture, even started before the Spanish colonizers came here. But in any case, the pagan rituals and mythical references was successfully merged with the new faith that the Filipinos accepted. Today, like Dinagyang, the Santo Niño festivities has and always be colourful and lively, all in the name of thanksgiving to the Almighty. I say, Hala Bira to life!

Tribu Kasag of Banate in Kasadyahan 2010

Magsinadya kita! That’s what we do during Dinagyang. Sadya is a Hiligaynon term meaning “happy, joy or fun.” The Dinagyang Festival street dancing starts not on the Ati-Ati competition but with the Kasadyahan Festival. Held on a Saturday before the Ati-Atihan highlight of Dinagyang, it is a cultural dance parade, contest and showcase of Iloilo’s kabanwahanan or towns and several institutions within the city and the province (and I heard it is also open to all towns in Panay Island as well!) You don’t get to see soot-covered Ati warriors dancing during Kasadyahan like what most of us know about Dinagyang though. By the beat of the music and interpretative dance, the contingents showcase a myriad of cultural topics that is incorporated in every Ilonggo, from history to current events.

Tribu Manurriaonon of Mandurriao Iloilo City

Because of its success in recent years, Kasadyahan became distinct from Dinagyang. With the increasing number of kabanwahanan contingents joining Kasadyahan, it has become a “festival of Iloilo’s festivals.” This year, it would be the last Kasadyahan to be held on a Saturday before Dinagyang…as it will be moved to a new schedule, perhaps coinciding Iloilo province’s foundation week or Semana sang Iloilo. And with its exit with Dinagyang, the contingents showcased their best through dance drama.

Tribu Tinu-om of Cabatuan

Most contingents this year interpreted in dance drama…nope, not your usual interpretative dance. But dance with drama…with music (pwedeng live or “canned”). Street dancing is still persistent in their presentation…they have executed their moves in swift and sometimes unpredictable dance. Anyway, this year’s performers were the most vibrant among I’ve seen in recent years. There was intense energy and emotions outpouring each and every presentation…and I guess four tribes were able to exhibit such anguish in their work that they may be put into a Broadway musical!

There were 9 tribes that joined in this year’s Kasadyahan and most of them are from the provincial towns of Iloilo.

Tribu Mandurriaonon featured the bounties and harvesting bananas.

Tribu Mandurriaonon

Tribu Tambobo of Ajuy and NIPSC featured the struggle of the Ajuynons during the marauding pirate raids and the use of tambobo or weaved container. Surprisingly, Captain Jack Sparrow was there!

Tribu Tambobo of Ajuy

Tribu Jimanban of New Lucena was reminiscent of the historical Kahilwayan of Santa Barbara…the fight for freedom against the Spanish colonialists and the series of events that lead to the “Cry of Jelucuon,” supposedly the first outbreak of Ilonggo revolt in 1898.

Tribu Jimanban of New Lucena

Tribu Tubong-Tubong of Tubungan meanwhile was more of a dramatic case of a disaster striking a community and its eventual recovery and displaying faith for the Almighty.

Tribu Tubong-Tubong of Tubungan

Tribu Kasag of Banate depicts more on marine bounty most especially the town’s most famed product, the blue crab or kasag. By the way, they were the defending winner (and is still now).

Tribu Kasag of Banate

Tribu Pantat of Zarraga showcases its town’s main product, the pantat or catfish…from harvesting to the skewers over hot ember.

Tribu Pantat of Zarraga

Tribu Patubas of Barotac Viejo celebrates bountiful harvests of the Barotacnons.

Tribu Patubas of Barotac Viejo

Tribu Tinu-om of Cabatuan proudly displays their famed recipe, tinu-om nga manok (chicken tinu-om) from preparation to cooking and serving.

Tribu Tinu-om of Cabatuan

Tribu Tangyan of Igbaras depict the life of the Igbarasnons together with their culture along the River Tangyan and their struggle against a menacing snake . They have also showcased Iloilo’s very own weaving of patadyong…the gold mine way before the sugar industry came in this side of the country.

Tribu Tangyan of Igbaras

Joining the festivities were non-competing contingents:

Tribu Hubon Palayag of Buenavista, Guimaras – depicting the link between the Guimarasnons and the seafaring culture and the bounties of the sea. The group also presented the vestige of Moro-Moro play that was prevalent in the Visayas during the Spanish colonial era.

Tribu Hubon Palayag of Buenavista Guimaras

Tribu Binanog (?) of Lambunao displayed and performed in full cultural regalia of the Panay-Bukidnon indigenous people of Central Panay and its famed sugidanon and the tradition of binukot. They also performed a traditional dance of the Panay Bukidnon  called binanog, a dance depicting two eagles court each other in the sky and mate.

Tribu Binanog of Lambunao

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The winners for 2010 Kasadyahan Festival were:

For the minor awards, Tribu Kasag swept almost all of the awards including best in choreography and performance. Here’s the complete list:

• Best in Street Dancing – Tribu Patubas of Barotac Viejo
• Best in Costume – Tribu Kasag of Banate
• Best in Music – Tribu Kasag of Banate
• Best in Choreography – Tribu Kasag of Banate
• Best in Performance – Tribu Kasag of Banate

Major awards:

• Champion – Tribu Kasag of Banate
• 1st Runner-up – Tribu Tubong-Tubong of Tubungan
• 2nd Runner-up – Tribu Patubas of Barotac Viejo
• 3rd Runner-up – Tribu Pantat of Zarraga
• 4th Runner-up – Tribu Mandurriaonon of Mandurriao District, Iloilo City
• Consolation prize – Tribu Tinu-om of Cabatuan

More photos of Kasadyahan here:

Eversince I settled in the Visayas, I was exposed to these big festivals that the Visayans are very proud of. Reflecting its laid back yet devoted populace, the January festivities attract spectators by the millions…all in the name of Señor Santo Niño or the Holy Christ Child. Here’s the thing though on what I’ve observed on these big Santo Niño festivals when it comes to musicality, costumes and choreography. Each of them, unique in a way…well, in my observation.

The Waves and the Beat of Sinulog

I’ll still have to research on who originally composed the Sinulog beat…the base beat of every dance and music during street dance and performance at Abellana Sports Complex. It can be best described to have a mix of wind and percussion. The Sinulog dancers use drums for rhythm and music for the tempo (umm, music majors help me). The drums keeps its almost constant beat depicting the two steps forward and one step backward Sinulog dance. The trumpets on the other hand, are high-pitched…not your usual baritone or “tunog lata” as what some people say. It is near the sound of those wind percussion instruments used in Japanese imperial court ceremonies. The xylophone is also utilized as to depict lighter element of music within the dance.

On the other hand, Sinulog’s choreography is more of the gentleness and seemingly associates it with water’s movements. After all, Sinulog’s origins came from the motion of water in today’s Guadalupe River in Cebu City…wave two steps forward, one step backward. Somehow it gives the idea that Cebuano culture is closely related to the sea and the water surrounding the island of Cebu. Another feature is that the festival queen is the one who brings the image of Santo Niño…probably an off-shoot of Queen Juana’s love for the image of the Santo Niño de Cebu. The dancers also shout “Pit Senyor!” and some incantations. Another thing that I’ve observed is that Sinulog’s contingents perform in wide areas…maintaining the gentleness of the dance. In a way, I see Sinulog mardi-gras as somehow feminine…gentle like the wave swaying in devotion with the Senyor.

The costumes on the other hand is more of the Spanish influenced or sometimes influenced by our Malay-Visayan roots, whether indigenous or during the colonization of the Philippines. I love it when the female dancers twirl with their paldas unfolding like flowers.

Here is a sample of music and choreography of Sinulog:

(I’ll be focusing more on Sinulog-based contingent: Tribu Sinanduloy of Tangub City in Sinulog 2009)

The mother that is Ati-Atihan

Deemed as “the mother of all Philippine festivals,” Ati-Atihan in Aklan has started it all…Street dancing and revelry started in Aklan since time immemorial (some theorized it started from the mythical ten Bornean datus).  And when it comes to music and dance, what makes Ati-Atihan differ is that there is no such thing as choreography. Dance and dance until your feet tire. All enjoying the simple yet very happy dance of the locals and foreigners in the name of Santo Niño and revelry–crowd participation is the highlight in this soot-covered Mardi Gras!

Kalibo Ati Atihan | Photo by Eric Dee of Byahilo.com

The drum beats are more constant in beat and rhythm unlike Dinagyang or Sinulog. Drums carry the beat and so the dance. On the other hand, the costumes of the participants vary from indigenous to modern. However, they are famed for those very heavy and big head dresses and indigenous materialsdepicting the Ati indigenous people of Panay Island. While people dance, they all shout and say “Hala Bira! Puwera Pasma! Viva Senyor Santo Niño!”

Here’s a sample of a tribe in Kalibo’s Ati-Atihan in 2008:

The Warrior Stance that is Dinagyang

While Sinulog utilizes bugle and drums, Dinagyang on the other hand is exclusively of drums and other percussion instruments. An offshoot of Ati-Atihan, Iloilo’s premiere festival has evolved itself and has been able to distinguish itself from its mother, Kalibo Ati-Atihan. I heard that in the past, the drum beats are somehow similar to that of Ati-Atihan…a steady rhythm of the drum beats that run all day long. However recently, even the drum beats themselves differ from time to time during a performance. It is the loud banging of the drums and the so-called “Dinagyang PVC pipes” that carry the musicality and choreography of the dance. It varies its tone using different kinds of drums and at the same time its speed. In other words, unlike Sinulog which has bugle, Dinagyang’s rhythm and beat is carried by the the loud beat of the drums itself.

Dinagyang Festival brought in Manila's Aliwan Fiesta

On the other hand, while Sinulog is more of its gentle in its dance depicting water and waves, Dinagyang has a very very fast choreography. In fact, if you’re not used to it, the choreography comes in surprises…ergo unpredictable. Don’t blink and you might miss the climax as one of my friends say. It poses a challenge to most photographers. While back then it was the simple stomping of the feet, today it has turned into a highly-choreographed presentation of Ati warriors while shouting “Hala Bira! Viva Senyor Santo Niño!”

Here’s a sample of Dinagyang music and performance. This was 2008 with Tribu Paghidaet

And while Kalibo’s costume is heavier, Dinagyang is somehow outrageous. The old heavy dresses of its Ati-Atihan past has evolved and is now lighter yet maintains its elaborate decoration. It somehow suits the high and fast choreography of the Dinagyang dancers as they perform  in four stages in downtown Iloilo City…not to mention, their street dancing as well.

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There are a lot of things to discuss about these festivals when it comes to culture and history. Maybe next time if  have ample time to write and research about it, hehe!! And I say, these are based in my observations and what I know about these feasts. Whatever the differences in dance or music, it just depicts on how culturally rich our country is. Talented even and also the love of life and the devotion to the Almighty. Let the drums roll and dance all day long! Hala Bira! Pit Senyor everyone!

Iloilo-Guimaras Investor's Forum in Manila Invitation

Due to its success in it’s first Investor’s forum in 2008, The Iloilo Economic Development Foundation, Inc. together with the city and province of Iloilo and the province of Guimaras brings you the Iloilo-Guimaras Investment Forum in our nation’s financial hub, Makati City in Metro Manila on September 04, 2009 at Hotel Intercontinental’s Ballroom.

Marketing the best and tackling the issues of socio-economic profile of Iloilo and the mango-island province of Guimaras, it has been brought to Manila as to bring Iloilo and Guimaras closer to the Ilonggos at the capital, and at the same time to the Manileños and a bigger market as well. Agri-business, tourism, ICT and all other economic prospects that would be tackled in this half-a-day forum.

Discovering the benefits, exploring the possibilities and investing in the central Philippine city of Iloilo, the province of Iloilo and Guimaras.

For more information and reservations, please call:  +63(2)426-0093 and +63(2)436-6581 or e-mail the secretariat at: meet[at]ibahn.net.ph. Only 200 seats available, reservations are made upon first come-first serve basis.

Iloilo-Guimaras Investor's Forum in Manila Schedule (To Zoom, click on the photo)

Calle Real, Downtown Iloilo City

Not so long ago, Iloilo City experienced surges of tourists flocking in to see it’s premiere festival: Dinagyang. However this is just once in a year…and the festival period of the city goes from 2nd week of January until mid-February, with Paraw Regatta closing the season. I laud the efforts of the City Tourism Office, the private sector and also DOT for the tireless effort in promoting Iloilo City as a tourist destination, despite Typhoon Frank and lack of attractions and amenities within the city.

Now, the city is also looking for a year round income-generator based on tourism. More tourists means more business. More business means brisker economy. Brisker economy means more jobs. More jobs in return makes one city livable. This simple domino effect understood by many policy makers, is part of what our capitalist world does. But what if one’s myopic interpretation of an ordinance may create a stumbling block for the economic take-off of the city?

Infante-StopLight Junction, Iloilo City (2 Years Ago)

I just read a news (and has long been already a news) that the Traffic Management Group of Iloilo City does not allow tourist buses inside the city because it is indicated in the Perimeter Boundary Ordinance (PBO) that buses are not allowed within city proper…what happens to those who serve special trips for fieldtrips, conventions and the like? Does it echo the “anti-tourism” or “anti-business” move?

In my opinion, PBO has done something to alleviate the traffic situation in the city…but like any laws or ordinances, there’s a loophole in it that is counter-productive to the booming business sector in the country today.

I agree with Director Trompeta of DOT Region 6 though that tourism is an income generator. If Iloilo City is indeed aiming to be part of the tourism map of the Philippines (which in previous years has been shunned), then how can the city help itself if they wouldn’t allow tourist buses and special trips inside the city? As if they do ply regularly like those artery-blocking cholesterol called “jeepneys-making-terminals-in-loading-and-unloading-zones.” PBO has indeed decreased the jeepneys plying inside the city but can they take a look on how some city-loop jeepneys are clogging the narrow avenues and streets of Iloilo City? That particular loophole in the PBO is counter-productive and very unfriendly to tourism business…somehow, the myopic implementation of the PBO has made a casualty for the city in terms of tourism.

Iznart Street, Downtown Iloilo City

How would the children on fieldtrips express their appreciation on Iloilo City’s rich heritage and culture when their buses are blocked upon entering the city? How would the city handle a party of Koreans or visitors without them transferring coaches? It’s not all the time that tourist buses enter the city…nor even they’re creating havoc on the traffic system…what do you expect? Truckloads of tourists like some out-of-town tribal contingent for the Kasadyahan?

I’m just a concerned citizen expressing my sentiments about this particular issue. I would suggest Mayor Jerry or the city council and the involved parties to sit down at the table, discuss about it and have a second look at the ordinance itself; make some revisions that would be beneficial to the tourism sector and aims of the city; make some exceptions for the special trips for buses or jeeps…perhaps an income-generator like issuing “field trip permits” for a minimum fee or better yet, no fees at all. And/or perhaps, they should impose stricter (and long-term) disciplinary actions and implementation for both the traffic enforcers, policy-makers, motorists and pedestrians. There are solutions for these issues, and I hope the city council wouldn’t turn blind with suggestions or open to some revisions…the ordinance has been tested for several years now.

There are solutions to the perennial problem of traffic in Iloilo City…but there are also solutions by not hurting the business sector that is helping Iloilo City and Province. I still believe in her potential, tourism is helping her out. We’ve seen investors flying away from the city…I hope we learn from this and do not cloister on established thoughts and sobra nga pagsalig. Let’s think out of the box. Tourism is one way we can show to the world of our culture and the best that we Ilonggos could offer for our pinalanggang banwa and our pinalanggang pungsod. One way in helping our fellow Ilonggos to generate more jobs which in turn…as I’ve said before, beneficial to the city and to us all.

This is my dos sentimos/salapi.

The International House (S.Villanueva Bldg) of Calle Real

Originally published at Cebu Daily News on May 29, 2007

Time stood still amidst the hustle and bustle of downtown traffic of modernity. Decades old establishments still stand against the test of time, reflecting the glorious days of commerce and trade of what was then, the Queen City of the South.

From its humble beginnings as a fishing community along the swampy riverside, Iloilo grew up to be one of Philippine’s premier cities when in 1855, the Spanish colonial government opened the sea port of Iloilo to international trade, and with the introduction of modern sugar farming by the British Vice-Consul Nicolas Loney. Calle Real is the manifestation of Iloilo’s glorious past. The street itself is a museum of old edifices that survived the onslaught of war, elements and time.

Old establishments still stand up to this very moment, still vibrant with commercial and vehicular traffic. JM Basa Street (and also Iznart St.), or known popularly as Calle Real is referred as the “Escolta” of Iloilo City. Named “Calle Real” or “Royal Street”, it spans from Plaza Alfonso XII (now known as Plaza Libertad) all the way to Plazoleta Gay and the location of commercial establishments, the Casa Real (Iloilo Provincial Capitol) as well as the residences of the Ilonggo elite.

Cine Regent

Reclaimed from the swamps, the street became the central business district since the opening of the city to international trade, it has experienced construction boom while riding along with the economic reaping of harvest from the sugar trade. Most of the commercial and residential establishments are of one or two-story buildings which display European and American of the late 19th and early 20th century influence such as art-nouveau, art-deco, baroque, Venetian-inspired or platoresque. The first levels are used as shops or stores and the second level are used as either offices but mostly as residential spaces.

Most of the heritage buildings were constructed during the late Spanish colonial era all the way to the 1930’s, which made this street the shopping district and a center for commerce and entertainment of the region. The first department store in the region is also located here which was owned by an Englishman Henry Hoskyn, nephew of Nicholas Loney.

Javellana Building and JM Basa Street (formerly Calle Real)

The Elizalde and Company building, which is now the City Hall Annex, used to sell foodstuffs and benefited from the sugar trade, manifested its plateresque architecture with the usual balay-nga-bato feature of stone walls in the first level and wood in the second level of the establishment. Cine Palace (1928) and Cine Eagle, which are, located just a few meters away from Plaza Libertad, were once the witnesses to bodabil, theatrical plays and movies, one of the most modern cinemas outside Manila during the early 20th century.

View Calle Real of Iloilo City in a larger map

The Masonic Temple on the other hand was once Iloilo Lodge No. 11 was finished in 1928 that faced the Catholic Church of San Jose de Placer across Plaza Libertad and it was made a headquarters of the Japanese Imperial forces for Iloilo.

Locsin-Cosculuella Building

On the southern end of Calle Real lies Plaza Libertad, formerly known as Plaza Alfonso XII. Surrounded by the old buildings such as the Masonic Temple, Lacson Ancestral House, the ruins of Botica Lacson and Iglesia de San Jose de Placer, it has been the witness of the dusk of the Spanish power in Asia as the last Spanish Governor General Diego de los Rios surrendered to the Ilonggo revolutionaries led by General Martin Delgado in Christmas Day 1898. Iloilo was the last Spanish colonial capital in the Philippines after they have surrendered Manila to the Americans in August 1898.

Iloilo's "Passad" Jeepney in Calle Real

On the northern end of the street are the Casa Real (Royal House) or the Iloilo Provincial Capitol and Arroyo Fountain. The former was built from wood and stone in 1840, which features Greek columns dominate the facade. The once flagpole in front of the Casa Real was torn down in 1927 to give way to Arroyo Fountain, with its caryatids carrying a basin with fish gargoyles that sprout water. The fountain was dedicated to Senator Jose Maria Arroyo who created the Iloilo Metropolitan Water Works.

Commonwealth-era establishments lined up not just the main street of Calle Real, but also its branches of Aldeguer, Iznart and Guanco Streets. The Public Market of Iloilo for example displays predominantly of art deco in design. But damages from wear and tear of the time, World War II, the great earthquake of 1948 and the the big conflagration in the downtown area has left the old buildings to be neglected, mismanaged and left to decay. In April 2000, the Local Cultural Conservation Ordinance was enacted by the City Government of Iloilo to prevent further destruction of heritage sites in the city, preservation of the establishments and to be reused again for commercial, tourism, educational or institutional functions.

Cine Regent, Iloilo Central Trading (Jamandre Building) Bldg and Javellana Building

The ICCHCC or Iloilo City Cultural Heritage Conservation Council is the overseer of the heritage conservation efforts in the Calle Real area. Today, educating the citizens and efforts from the building owners themselves for preserving or restoration the cultural heritage structures of the establishments has been gradually being implemented. As these old edifices of art and labor stands mute against time and the noise of the city, the edifices of Calle Real has shared its experiences with the Ilonggo people, from the glories to tragedies. The legacies that the old Iloilo left, reminded every Ilonggos of its regal past and its contribution to history of the Filipino people.

Arroyo Fountain, Iloilo City

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Acknowledgement to Center for West Visayan Studies (UP Visayas), Prof. Henry Funtecha and Prof. Melanie Padilla, Iloilo City Cultural Heritage Conservation Council, Mr. Butch Peñalosa, Mr. Scott Sarria and Museo Iloilo.

More photos of Calle Real Central Business District here: