Thursday, 14 October 2021


 ILOILO  CALLE REAL and its WEALTH OF BUSINESS
by PJ Arañador

Iloilo City being a  first class highly urbanized city in the Western Visayas region of the Philippines  is the center of excellence and  hub of education, culinary, religion, healthcare, tourism, culture, industry and economy in the south of the country rivalling closely with Cebu City.  

After the World War II, many from Mindanao, Visayas and Palawan did business in Iloilo.  Being one of the prime cities in the Philippines  second to Manila  (  later overtaken by Cebu at the turn of the century ), its economy  economy was prolific and diverse with foreign and local commercial establishments along the  whole stretch of  Calle Real which was lined with the most beautiful colonial buildings in the country. 

Smuggled goods from Borneo and neighboring countries in the south were rampant in Iloilo City  after the world war. Its  efficient ports and fine harbors  were stop over points from Mindanao to Manila allowed this so along with the backdoor shipping entries.  

Trading among the Muslims and the Ilonggos prospered as the latter acquired huge estates of land in Mindanao consequently became extremely wealthy through agriculture and dry goods trading. Iloilo boosted with the highest numbers of jewelry and pawn shops in the country, pioneering the selling and trading of gold and silver many of which sustained their turn of the century brand until today. 

To prosper the businesses,  Iloilo had already telephone network system, electricity and banks operating in the metropolis in 1894 and later railway trains in 1950's. Iloilo holds the highest number of "firsts" in country many were infrastructure to drive commerce aggressively. 

One of its major past industries was textiles, Iloilo was the first province to export textiles. It became the textile capital of the country during the Spanish period.  The textiles from cotton, abaca and pineapple fibers were handwoven in the districts of Molo, Villa, Arevalo and Jaro as well as the towns of Oton, Tigbauan, Miagao, Dingle, Badiagan, Janiuay, Calinog and many more and take to the British built Muelle Loney for exports. It produced the iconic "hablon" ( in photo), "jusi", "piña", abaca and cotton weave in "patadyong".

The decline of the  textile industry was attributed to the on-set of the lucrative sugar industry in Iloilo at the turn century as the British imported milled cotton to Iloilo, thus, competed with the local production. 

Iloilo's Calle Real will remain as the remnant of  the glorious  old business district of Iloilo. Even until today, it is teaming with commerce including migrant traders from Mindanao and foreign businessmen from India, China and Asian countries which replaced the Spaniards,  British and Americans.  

Iloilo is the last capital of Spanish Empire in Asia and the Pacific before the Philippines was ceded to the United States in 1898 through the Treaty of Paris.

TRIVIA.  By 1800's, Iloilo was probably already the biking capital of the Philippines during the Spanish Asia which title is more formalized to the city today. 

The city has the longest and most spacious bicycle lanes in the country. I am amazed with the turn of the century photo of Calle Real, the Escolta  of Iloilo City and known as the Royal Street of the city, with its already  wide street traversed with bicycles along with horse-driven calesas and luxury cars. 


PHOTO Textile design for hablon by PJ Aranador in indigenous geometric patterns  over red or  black base for an international runway virtual  show at Tenun Fashion Week for ASEAN countries.  

VIRTUAL SHOW DETAILS 
 Iloilo handloom textiles  hablon at the Tenun Fashion Week for ASEAN countries. Virtual World Premiere Oct. 16, 2021 7 to 9 pm GMT +8 in YouTube Channel: TENUN Fashion Week
https://www.youtube.com/.../UC.../channels
b) Facebook live on our Facebook page: TENUN Fashion Week

Designer Apparel and Accessories PJ Aranador
Artisans Salngan Multipurpose Coop Oton Iloilo Province Elsie Balidiong 
Marketing Arm Panublix Noreen Marian Bautista 
Photo Algie Casuela Panaguiton Jr. 
HMUA Benny Che 
Model Elisha Ackerman 

Thanks to Permanent Ambassador of the Philippines to the ASEAN Amb Noel Servigon 
Iloilo Provincial Office for Culture, Arts and Tourism Bombette Golez Marin  #hablon #tenun ,




LET THE YOUNG BE IN HABLON
by PJ Arañador 

Hablon is the indigenous handloom textile of Iloilo since the Spanish period in the Philippines for over 300 years. It is now much alive today.

In the beginning, “ hablon” was handwoven to make thick blankets. Ilonggo folks in the past interchanged the word “ habol” for blanket or the act of weaving itself. “ Hablon ” is the finished product. Its root word is “ habol”. 

The patterns are traditionally done manually on paper which is  tedious while today with computer aided design I create the patterns of  design with digital technology. This speeds up the process while  it relates to the Gen Z and the millenials. However, weaving is still handloom using the traditional footpedal  called the "teral" or " tedal" which preserves the charm of the old world craft.

Hablon is similar to Abel of Ilocos region.  Hablon usually uses a blend of polyester and cotton  today unlike the abel that remained using all cotton until today.  Perhaps with its promixity to the source of Chinese cotton  yarn or thread in northern Luzon. Although Iloilo still weaves blends including the luxurious and expensive "jusi" which is mixing silk and piña or pineapple fiber.

Habol  which means in Ilonggo to weave was all cotton in 1700's until the British  built the international port of Iloilo called Muelle Loney, named after the British investor who built it when England had its presence in Iloilo at the turn of the century,  who bought milled cotton to Iloilo and the industry declined drastically. 

The high profit in sugarcane business for Ilonggos, who were the first to export sugar to Australia, and the rest of the world, shifted the economy from textiles to sugar. At that time Iloilo was the textile capital of the Philippines which was from 1700's to 1900's.

Hablon is also refered as " Binisaya" or " Visayan" handloom textile using foot pedal unlike in Mindanao most of them uses the backstrap loom. My aunts in Badiagan Iloilo used to gift us with hablon and it was made of thick wool when the American missionaries in Iloilo bought wool yarn. We used them only as blanket. They were colorful.

Hablon can be refered to both "patadyong"  ( checkered print)  and "hablon" ( inserted pattern) or " turn of the century Filipino archetype Damian Domingo  stripes).  Patadyong was for everyday use in tube dresses while hablon for special occasion garments like terno or barong. 

While in the Cordilleras the inserts are usually after nature like rice, plants, mountains or animals, hablon has the more European prints that include fine suiting type pattern of pin stripes or bold nautical like prints. I made highly engineered pattern for my past collections now in my archive. 

 The one unique  charcteristics of hablon is that it is a chameleon fabric which means it changes its color ar different angles. 

PHOTO Textile design for hablon by PJ Aranador in indigenous geometric patterns  over red or  black base for an international runway virtual  show at Tenun Fashion Week for ASEAN countries.  

VIRTUAL SHOW DETAILS 
 Iloilo handloom textiles  hablon at the Tenun Fashion Week for ASEAN countries. Virtual World Premiere Oct. 16, 2021 7 to 9 pm GMT +8 in YouTube Channel: TENUN Fashion Week
https://www.youtube.com/.../UC.../channels
b) Facebook live on our Facebook page: TENUN Fashion Week

Designer Apparel and Accessories PJ Aranador
Artisans Salngan Multipurpose Coop Oton Iloilo Province Elsie Balidiong 
Marketing Arm Panublix Noreen Marian Bautista 
Photo Algie Casuela Panaguiton Jr. 
HMUA Benny Che 
Model Elmar Banate 

Thanks to Permanent Ambassador of the Philippines to the ASEAN Amb Noel Servigon 
Iloilo Provincial Office for Culture, Arts and Tourism Bombette Golez Marin  #hablon #tenun ,


 HABLON of ILOILO. Diversity in fashion. Least we forget. 
*Wovens that tell stories of far distant places. 
*Textiles that transgress various culture and beliefs.  
*Crafts that unites people.

 Iloilo handloom textiles  hablon at the Tenun Fashion Week for ASEAN countries. Virtual World Premiere Oct. 16, 2021 7 to 9 pm GMT +8 in YouTube Channel: TENUN Fashion Week
https://www.youtube.com/.../UC.../channels

b) Facebook live on our Facebook page: TENUN Fashion Week

Designer PJ Aranador
Artisans Salngan Multipurpose Coop Oton Iloilo Province
Marketing Arm Panublix Noreen Marian Bautista 
Photo Algie Casuela Panaguiton Jr. 
HMUA Benny Che 
Models Jared Las Elisha Ackerman Rochell Geron Elmar Banate Elijah Villarina 
Salngan Elsie Balidiong 
Thanks to Permanent Ambassador of the Philippines to the ASEAN Amb Noel Servigon 
Iloilo Provincial Office for Culture, Arts and Tourism Bombette Golez Marin #hablon #tenun ,


 The OLD WORLD &  CONTEMPORARY FASHION. Connecting the future with the past. 

The spot is the intersection of Calle Iznart, JM Basa and Ledesma in Iloilo City where  Plazoleta Gay is nested in downtown Iloilo City, Philippines
The old world ambience could have rivalled the iconic fashion streets of  Rue du Faubourg  and Rue Saint Honoré in Paris, France by the merits of its stunning visual background of outstanding colonial architecture. Afterall, Iloilo is dubbed as the Paris of the South in the past. 

Calle Real or the once known as the Royal Street  of Iloilo will always give us imprints of its glorious  history  imbibed with  international influences. 

The aristocratic air of the  “  La Muy Leal Noble y La Ciudad de Iloilo" por la Reina Regente de España ( "The Most Loyal and Noble City” or “La Muy Leal Y Noble Ciudad de Iloilo” by the Queen Regent of Spain) through which a Coat of Arms from the Royal Decree of 1896 recognized the  loyalty of the Ilonggos  to the Spanish crown, still remains in alleys of Calle Real lined with breath-taking colonial edifices. 

Plazoleta is Spanish for small square. Plazoleta Gay does not refer in honor of gay people but rather it was  named after the last Spanish Alcalde Mayor of Iloilo City, Jose Ma. Gay who resisted  the revolutionary forces and government of Governor-General Don Diego de los Rios which thus ended  the last duly constituted Spanish authority in the Philippines in Iloilo—the last frontier of the Spanish empire in Asia. 
Perhaps, Plazoleta Gay marked with an obelisk monument  can be the kilometer zero of the city much like the archaic women fountain in front of Casa Real, the kilometer zero of Iloilo province. 

Plazoleta Gay symbolizes the melting pot of foreign influences in the city—the coming of the Chinese as early as 1600’s  by which today the FIlipino-Chinese Arch was erected in the site. 
It also symbolizes the American settlers  in Calle Real at turn of the century bringing western style of  commerce including the first department store in the country down the street of JM Basa in Hoskyn’s  leading to Calle de la Rama and Muelle Loney where the British created pioneering industries and commerce ahead of any place in the country before the World War II. 

Ergo, Iloilo became part of the only important key cities in the country along with Manila and Cebu in 1900’s.  
Iloilo was the textiles capital of the Philippines during the Spanish period but when the British imported cotton at the international port of Iloilo at the turn of the century, the
handloom weaving  industry was replaced by  sugar  ending the exports of textiles and commenced the shipments of local sugar internationally which created so much wealth to the Ilonggos while the balance of keeping the huge weaving workforce  diminished which included the affluent districts of  Molo, Arevalo, Villa and Jaro in the city alone, not counting those in the suburbs such as Miagao.

Today, with the efforts of designers,  traders , government and NGO’s, Iloilo’s textile industry is on its way to its rehabilitation. 
Hablon is a prime textile representing Iloilo which takes another turn of international exposure within an organized and formal virtual  global commerce at the Tenun Fashion Week participated in by  ASEAN countries this coming October until December 2021. 

as written by
PJ Arañador

Photo: An iridiscent hablon contemporary column gown with  hand painted metallic ombre of silver and gold embellished on it ruffles. PJ Arañador is an international lifestyle designer whose design philosophy embraces a sense of origin, time and space. He is a social entrepreneur with his body of works murmuring the authenticity of traditional techniques in artisanal crafts while interpreting them in contemporary forms. 

VIRTUAL SHOW DETAILS 

 Iloilo handloom textiles  hablon at the Tenun Fashion Week for ASEAN countries. Virtual World Premiere Oct. 16, 2021 7 to 9 pm GMT +8 in YouTube Channel: TENUN Fashion Week
https://www.youtube.com/.../UC.../channels
b) Facebook live on our Facebook page: TENUN Fashion Week

Designer Apparel and Accessories PJ Aranador
Artisans Salngan Multipurpose Coop Oton Iloilo Province Elsie Balidiong 
Marketing Arm Panublix Noreen Marian Bautista 
Photo Algie Casuela Panaguiton Jr. 
HMUA Benny Che 
Models Rochell Geron IMG 
Salngan Multipurpose Coop 
Thanks to Permanent Ambassador of the Philippines to the ASEAN Amb Noel Servigon 
Iloilo Provincial Office for Culture, Arts and Tourism Bombette Golez Marin  #hablon #tenun ,

Tuesday, 6 July 2021

WATCH: A Journey on Wings on YOU TUBE Film + Cultural Identity

 INDIGENOUS CULTURAL IDENTITY : A Journey

by PJ Arañador
Photo: Culture masters and bearers of Panay Bukidnon Sulodnon of Iloilo
WATCH for the world premiere of "A Journey on Wings" a film on Panay Bukidnon Sulodnon on their crafts, music and dance. A documentary film by the National Commission for Culture and the Arts in celebration of the Dance Xchange in collaboration with Iloilo Dinagyang Foundation, Inc. PJ Aranador I Story writer and Film Director.
The cultural identity of Panay Bukidnon Sulodnon of Calinog, Iloilo, central of Panay Island, Philippines, can not be defined in compartmentalized elements but rather in a mix of attributes making it one of the richest cultures in the Philippines, if not,one in the world.
The mix is all about creative expressions of its people from its beginning preserved today in a modern world in its core relevance.
What are these mixes which form the distinctness of its cultural identify of Panay Bukidnon Sulodnon?
1. SENSE OF ORIGIN and PLACE.
Their identity has been defined from when it begun and where it started.
Its long history commenced from their pre-Spanish migration from the lowland of Panay to the uplands hinterlands and mountains of Central Panay, the geographical heart of the Philippine, archipelago.
It took along with them experiences along the river route and "katalunan” ( wilderness) , encounter with animals, foliage to eat, mysticism and the values in life and it's inter-relationships were synthesized and cleverly pictured into visual expressions in their music, folklore, beliefs and practices.
Therefore, the Panay Bukidnon identity is by itself a narrative of their ancient past and which they only know how to immortalize them into many creative forms such as in chants, songs, dances and storytelling.
2. SENSE OF DIVERSITY.
The Panay Bukidnon tribe is one of the most diverse in range of topics and interests, take for example, their “Sugidanon” with epics one after the another and takes over 20 days to deliver continuously, it is the second longest in Asia, and one of the longest chants in the world, worth a nod to be a world heritage.
It is so diverse in its stories that only people with sheer imagination can be gifted with.
3. SENSE OF SOUL.
They are very soulful which in this context is defined with the meanings of every art forms, everyday life and indigenous culture they can only manifest.
The soul of a culture is never expressed in statistics or data much more not with figures or reports, else everything will be excellent but rather they express their sensitivities to humanity, how they value themselves and how they accept and develop themselves not less than any person in the bigger arena of our society.
4. SENSE OF AUTHENTICITY.
Authenticity is defined as being true and real.
While sometime in the recent past the Panay Bukidnon culture was diminishing because its young people were introduced to modern, global and urban culture and mindset, the Panay Bukidnon as a cohesive tribe was able to rediscover its own identity.
Their elders refered to as cultural masters have consistently been teaching the young generation their formerly languishing arts and crafts which today have been fully restored as sparkling and living.
The wave of the recent sixth generations who are the younger set are now adept in carrying the torches as multiple culture bearers.
Take for example with the epic chants using a dialect that is no longer spoken, called "Igbok", yet this has been wonderfully conserved now and passed on to the next in line, at least in their most popular epic chants.
When it is authentic, the transparency of a culture shines. Why because it comes from the heart. It is felt immensely imbedded in their own blood.
5. SENSE OF GIFT.
The Panay Bukidnon peoples are highly intelligent and creative as well.
Education does not measure the cognitive abilities or mental faculties of anyone but rather on how these individuals and as a group of peoples, indigenous they may be, process their own beliefs and traditions while respecting the culture of their lowland friends whose measure of being learned men is often on academic grades and diploma earned.
With Panay Bukidnon, they have their own distinct system by which a member is recognized full of wisdom through immersion and passing on their ancient culture beyond themselves but to those who inherits tomorrow. One fine practice is the " Binukot" , one of the breath taking scenes in the film.
Once a member becomes an elder, his and her status in the community becomes the summit of wisdom the younger ones will emulate.
6. SENSE OF REFINEMENTS.
Their "Panubok " which is an ancient embroidery and the only heritage needlecraft in the Philippines, is a great example how their skills in highly refined crafts become unique.
With design motifs borrowed from nature, they create the most stunning embroidery pieces which rivals the microchips in computers in terms of how the mathematics in counting and proportioning the stitches to create harmony in the design.
Modern world has artificial intelligence, theirs is innate.
7. SENSE OF SUCCESSION.
The close knit tribal groups of Panay Bukidnon has been an opportunity for them to generously teach each one in all forms of their arts and traditional crafts.
The elders will always think of the young ones, thus, they do not work nor they create for themselves but for their children and grandchildren.
8. ORAL LITERARY TRADITION
Their deep penetrating chants, perhaps the most distinct cultural identity of the Panay Bukidnon Sulodnon, are like chirping mountain birds we all would like to listen to. Even we do not understand the spoken words but we are engaged with its melody and rythmn.
It sets them unique from our other indigenous peoples of the Philippines because few of their oral literature were written and recorded.

Few have heard them sing while on their own upland settings, shown in the film, while they murmur to our ears in the same manner of enchantment as we heard them the last time, if ever one did as a privilege.
They are the songbirds of the uplands with their voices which echo the soul of many ancient inspiring stories for the listeners of the lowlands in a modern world which is the story of the film.
These are all encapsulated in the film "A JOURNEY on WINGS". Watch for it.
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PJ Arañador is the first Filipino international lifestyle designer. He is also a design-led product and merchandise development expert and branding consultant.
His body of works spans across 25 countries mostly in South and North America, Caribbean, Europe, Africa, India and SouthEast Asia.
He is a co-founder of the Fashion and Design Council of the Philippines.
Multi-awarded, the University of the Philippines Diliman, where he finished college, honored him with the Outstanding Professional Award in Arts and Letters.
He received the Golden Shell Award in Design Excellence, the highest of award bestowed by the Department of Trade and Industry.
He is a social entrepreneur, visual artist, fashion and design professor, slow food culinary enthusiast, blogger, documentary film maker, creative director, beauty pageant partner, grassroots mentor and business development coach in green tourism, wearable and homestyle industrial design.
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A JOURNEY ON WINGS A documentary film on Panay Bukidnon

A Journey on Wings is about the rediscovery of ancient attire and dance interwoven with its cultural heritage, beliefs, music, arts and crafts of Panay Bukidnon Sulodnon indigenous people of the highland of Calinog, Iloilo explored in real life by modern young people from the lowland. 

 Their story is a journey towards how young people with contemporary lifestyle will appreciate and help conserve the many wings of Philippine indigenous cultural diversities. There is a wing on storytelling and a wing in the appreciation for a distinct cultural identity on indigenous attire and traditional dance. 

From the story and direction of PJ Aranador. The film is in four (4) EPISODES. 

Link https://www.youtube.com/watch?v=Zb6W_zFsDv8 

 “Binanog” of Panay Bukidnon Sulodnon is a traditional dance what imitates the flight of Philippine eagle.The dance movements mimick the wings of the hawk while flying.The use of handkerchief has meaning to the courtship ritual.The wooing dance shows ethereal aeronautical movements through sprightly hand gestures while the steps are heavy and gravitational.

It is performed with musical instruments like the “agong” or gong, the “tambur” or a drum and the “subing” or a bamboo wind instrument. Rennel is a dream catcher of his own heritage with the indigenous peoples of Panay Bukidnon Sulodnon of Calinog, Iloilo, central of the Philippines. Three of his lowland dwelling friends visit him in the upland. 

Rennel leads them to discover his own culture in their arts and crafts, traditions and beliefs, music and dance. Their curiosities initiate a journey in their own ancestral heritage within their perceptions in our modern time. 

 The time channels of Rennel’s elders imparting their way of life and beliefs to these young city dwelling generation, Rennel bridges them up graciously. The beauty, the message and the soul of ancient art forms unfolds right in their eyes much like a bird's eye view of an eagle in flight imitated in their dance from which the title of the film is inspired from. 

 Rennel’s journey stands strong from his own distinct cultural identity while his friends are transformed into understanding their cultural roots. They rediscover who they are, where they come from and where they are going.

 Ultimately, their dance expresses their soul to a celebration of life.

Produced by the National Commission for Culture and the Arts (NCCA) I Al Ryan Alejandre Executive Director I Marichu Tellano I Deputy Executive Director I NCCA International Dance Xchange 2021 Shirley Halili Cruz I Over-all Festival Director I Project Collaborator I Iloilo Dinagyang Foundation, Inc. ( IDFI) I Special thanks to National Commission on Indigenous Peoples (NCIP) CIP Region VI & VII Regional Director Agosto Maglunsod I Brgy. Garangan Tumadok Organization (BGTO) Garangan, Calinog, Iloilo. 

 DISCLAIMER. The production has ensured all staff and participants involved in the filming and general production was working in safe environment against covid-19 according to the official regulations of the health authorities and the government. It observed minimum health protocol requirements such as wearing of facemasks during off-camera takes, social distancing while filming, hand and alcohol disinfection and shooting outdoor.

Sunday, 13 June 2021

THE CHINESE HERITAGE IN ILOILO The Crazy Rich Ilonggos

THE CHINESE HERITAGE IN ILOILO The Crazy Rich Ilonggos Kung Hei Fat Choi! A tribute to our Filipino Chinese community in Iloilo in celebration of the Chinese New Year today. GUESS WHEN. Did you know the second oldest Chinese school in the Philippines & the first outside Manila was built in Iloilo City? Which school is this? Which year? EARLY SETTLEMENTS AND CHINESE COMMERCE When the Spanish settlements came to Iloilo so did the Chinese for which the Spaniards gave them commerce. Iloilo city commercial hub in “Calle Real”—known as the Royal Street- of Iloilo City at the turn of the century, was mushroomed with Chinese businesses. As such from panaderia, panciteria, farmacia to zapateria, the Chinese took Spanish words into their enterprises, well until the British and the Americans settled in Iloilo and when the Spaniards left the country from Iloilo, making Iloilo the last bastion of the Spanish empire in Asia. When the Spaniards left Iloilo in 1898, it commenced the "Americanization" of Iloilo, for example, creating the first ever mall- type department store in the country called Hoskyn's, named after the American owner Henry Hoskyn with partners including Gregorio Manuel Loring, the first American vice consul in Iloilo. Yet the Chinese merchants stayed on side by side with the Americans. RESTRICTION TO AMALGAMATION In the 1850’s the Spanish government restricted the enterprises of the Chinese except perhaps in Manila, Cebu and Iloilo –the three most important economic centers in the country at the time, which remains so these days. My mother shared stories with me that during the Japanese attack on Iloilo some Ilonggo Chinese went to Palawan, a nearby island. Her siblings relayed to her that even with those very far distant places there were Chinese merchants you will see them everywhere, never mind how remote. THE CHINESE SPANISH BRITISH AND AMERICANS IN ILOILO The Spanish Catholic church restricted the Chinese immigration to the Philippines, or their movement in the archipelago, because the church believed the Chinese will interfere with their mission. Eventually, the Roman Catholic converted the Chinese migrants called Chinese Catholic mestizos which, thus, allowed them to travel freely. In Manila, Cebu and Iloilo the Chinese developed a highly successful mestizo elite who were loyal Catholics and supporters of Spanish rule becoming also major contributors to the church. When the Americans conquered Iloilo they came bringing along Protestantism, many Chinese also became members of the church and today connected with Filipino-Chinese migration to the United States through Christianity as well as American schools in Iloilo established by the Americans themselves. Through the Spanish colonization, the Chinese in Iloilo, including those in all parts of the country, had to acquire Spanish first and family names. The wealthy and prominent López family of Iloilo descended from Basílio López (c. 1800–c. 1875), a Chinese mestizo who adopted the surname of his Spanish master, López, upon the latter's death. He married a Jalandoni, from another wealthy family in Jaro. Fernando Lopez, married to a Javellana of Jaro, served as Vice President of the Philippines under Presidents Elpidio Quirino and Ferdinand Marcos, an accomplishment for an Ilonggo. Don Eugenio Hofileña López Sr. was a leading figure in the Philippines & founder of the Lopez Group of Companies which includes ABS CBN, Sky able, Meralco, Negros Navigation, among others. EARLY CHINESE ILONGGO FAMILIES Most Chinese migration from China in Iloilo were men and settled in Molo , known as Pari-an at that time. They married native Ilonggas, most of them extremely good looking, educated and highly refined women in society and from "buena familia"--the Ilonggo aristocrats. Some of these women had either parents born in Spain, for example, the first ever beauty queen of the Philippines, Pura Garcia Villanueva of Arevalo ( competed in a pageant at the Carnival Queen circa 1900), whose mother was from Palencia, Spain. Sooner many of these Ilonggo Chinese men became taipans in the Philippines with descendants named Consing, Ditching, Conlu, Chuseuy, Tan, Ganzon, Guanzon, Jocson, Lacson, Locsin, Layson, Sianson, Yulo, Lopez and Yasay. The maternal family of Jose Mari Chan, Nikki Guanco Coseteng and John Gokongwei is of the Marquez Lim Iloilo genealogy. In the later years, wealthy clans of the Que, Ong, Dingcong, Chu, Ang, Ng, Po, So , Te , Woo, Yap, Sison,Uygonco families and Spanish metizo names such as Bautista, Conducta, Jardeleza, Juaneza, Madrigal, Magalona, Drilon and Santos build formidable influences and industries in Iloilo. More listings include family surnames Biazon, Espina,Cojuangco, Ganzon, Goson, Guason,Gamboa, Lacson, Layson, Limsiaco, Limjuco, Martinez, Ongpauco, Espinosa, Pechangco, Quimpo, Samson, Tancingco, Uygongco and Yapco. In the process, they were called the Chinese mestizos, assuming the Spanish names. I remember my mother, as a public health nurse, stood to so many Chinese as sponsor for their Filipino naturalization, attesting to their residency and allegiance and contribution to the community in Iloilo. Iloilo became a boom town beginning 1855, in which foreign ships docked at its finest harbour, while it was only Manila that enjoyed it. The Chinese mestizos in Iloilo focused their entrepreneurial adeptness, mostly from Molo and Jaro, first in textile manufacturing then on to planting sugar cane and buying sugar plantations in Negros and became extremely wealthy—the modern word refered to as “ the crazy rich Ilonggos.” One of these prominent Ilonggo Chinese mestizos was Aniceto Lacson y Ledesma from Molo, married to a Filipina Rosario Araneta, who governed Negros as leader of the Negros Republic in 1857. He was a schoolmate in Manila and a revolutionary colleque of Jose Rizal, a Chinese mestizo, who visited Molo, perhaps we now see the connection why Rizal visited Molo. Consequently, because of good business, many prominent Ilonggo Chinese mestizo sugarcane planters like the Ledesma, Lacson, Lopez, Lizares, Hilado, Cosculluela, Perez, Alvarez, Sotamayor and Escanilla families moved to Negros. At the turn of the century, with so much wealth, Iloilo along Calle Eugenio Lopez created the first millionaires row in the country lined with magnificent mansions many are as fabulous than Malacanang Palace in scale. BY GONE ERA It is written in Ilonggo history that it was only the Chinese who were allowed by the Iloilo government in 1890’s to operate opium dens in the city. Opium was authorized by the Spanish authorities, like the British did in China, as a source of revenue for its government. It was barred by the Americans when they settled in Iloilo. TRACING THE ROOTS How early did the Chinese set foot in Iloilo? Did they settle in before the Spanish period? Perhaps it is hard to tell. But the archaeologists and historians suggest that it started as early as 10th to 11th centuries because Panay Island had already a well established trade with the Chinese at that time, given the archaeological proof. It was 200 years before the coming of the ten Borean datus in Panay. That brings us back to the contact of the Ilonggos with the Chinese traders in Sung Dynasty which begun 960 A.D. until about 1280 trading through Molo which was the commercial port of Iloilo at that time. They bartered silk, porcelain, damasks textiles in exchange for bountiful sea, farm and forest products of Iloilo. CHINESE INFLUENCES IN ILOILO CULTURE TODAY 1. SUGAR, FOOD AND SWEETS. The Chinese introduced sugar in Iloilo with as variety called “sakara” which was from India, others said from Saudi Arabia, by which the Chinese taught the natives how to extract sugar juice into granules and prepared an Ilonggo delicacy from hardened sugar called “pinarak.” Aside from the “Pinarak”, the Chinese Ilonggos gave Iloilo batchoy, bihon, lumpia, pancit molo, siomai, hototai and siopao. The Chinese also introduced fermented food to Ilonggos such as patis, tuyo and even “fish ginamos” which really originated from ancient China. The famous family Uy of Jaro founded one of the oldest stone oven bakeries in Jaro Iloilo-- Panaderia ni Paa-- in 1898 and is still much well in business today. 2. CAMISA CHINO. Obviously referring to the Chinese mandarin collar in our Barong Tagalog. 3. MAHJONG. The recreational game which binds family members together and their neighbours which is also an exercise on sharping one's cognitive thinking. 4. FENG SHUI, the art of beliefs and practices on wellness although many modern Chinese don’t follow them as much as in the past. 5. FIRECRACKERS. Of course, to drive away bad luck and ill-spirits. 6. SCHOOLS. Great quality schools. I remember it was said, if a Chinese Cebuano is not toughened in Chinese schools in Cebu, they are moved to Chinese schools in Iloilo. 7. CHINESE WORDS. “ biombo” folding screen, “canton”, charola ( English charoll) for shiny surface, soja for soya and bonso referring to youngest kin, originally refered to as monks. My nephew from my uncle who is a Chinese Locsin from Molo was fondly called by our family in his Chinese name “Bonso”. Iloilo was founded in 1566 when the Spaniards established a settlement area between the towns of Oton and the city's present district of La Villa Rica de Arevalo (Villa de Arevalo). Iloilo City became one of the Royal Spanish Cities in the Philippines in the Spanish Asia along with Naga and Manila. An honorific royal title, "La Muy Leal y Noble Ciudad" ("The Most Loyal and Noble City") was given by Queen Regent of Spain, Maria Christina, through the city's loyalty to the Spanish crown during the Philippine revolution, the second city to have such byname in the country after the City of Manila in the Spanish colonial era Philippines. Part of building Iloilo was the role of the Chinese community which until today continues, be it in economic, social and philathrophic activities. With the rich history of Chinese mestizos in Iloilo, including the current ancestries who embrace and promote our local Ilonggo produce, culture, arts and crafts—the new generation of Chinese Mestizo Ilonggo, many raised to be highly educated, gracious and good looking, certainly will pass on their legacies to the succeeding generations of Chinese Ilonggo mestizos. As written by PJ Aranador February 12 2020 #iloilo #filipinochinese #pjaranador