Category Archives: Metropolitan Manila

“Entwined Spheres: Mats and Baskets as Containers, Conveyors and Costumes” Exhibit (Manila)

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“Entwined Spheres: Mats and Baskets as Containers, Conveyors and Costumes” Exhibit

The “Entwined Spheres: Mats and Baskets as Containers, Conveyors and Costumes” Exhibit, inaugurated in 2017, is a project in partnership with the Office of Senator Loren Legarda.

It features one of the oldest and most diverse forms of craft work in the Philippines, the baskets and mat weaving, and showcases a huge collection of old mats from various indigenous groups in the country and baskets that are used by the natives in many different and surprising ways.

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It shows different mats and baskets and how they were used by our ancestors, whether being a simple accessory or costume piece, containers for both secular and sacred objects, for fishing, farming and in other aspects of life.

The exhibit also explores how different ethnic groups in the country are connected and are similar to each other through basketry.

Among the mats from the National Ethnographic Collection featured in this case, the oldest gathered from field research is a 1946 Tagbanua mat from the late anthropologist Harold C. Conklin.

The most recent are those collected last year from the weavers from Sama, Tawi-Tawi and Basey, Samar who came to the National Museum of Anthropology to give weaving demonstrations.

Bubu (Ibanag fish trap)

It also features the largest baskets in the National Ethnographic Collection: the 222 cm. long x 68 cm. deep bubu (fish trap) by the Ibanag tribe of Cagayan and the 150 cm. high x 200 cm. deep bukag (Tagalog rice storage),

A cradle from the Itawes tribe of Cagayan

It also displays the smallest, buon-buon (Hanunuo betel chew container), H 2 x D 5.5 cm, each strip measures 0.1 cm.

Woven Head Costume

“Entwined Spheres: Mats and Baskets as Containers, Conveyors and Costumes” Exhibit: 4/F, National Museum of Anthropology, Agrifina Circle (or Teodoro Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 (02) 8527-1232 (Ethnology Division) and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com and nationalmuseumph.anthropology@gmail.com. Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.

“Lantaka: Of War and Peace” Exhibit (Manila)

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The seldom-seen “Lantaka: Of War and Peace” Exhibit, inaugurated in 2015, commemorates the pioneering studies on lantakas and bells, particularly the collaborative research of W-A Miailhe De Burgh and Fe B. Mangahas as encapsulated in their publication entitled, Lantakas: From 16th to 19th Centuries, the first volume in Of War and Peace. The lantaka is cited by the National Commission for Culture and the Arts of the Philippines as an intangible cultural heritage of the country under the ‘Traditional Craftsmanship’ category that the government may nominate in the UNESCO Intangible Cultural Heritage Lists.

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“Lantaka: Of War and Peace” Exhibit

Here, we were offered an opportunity to view and examine the selection of lantakas from the National Ethnographic Collection and those confiscated by the Bureau of Customs and turned over to the National Museum of the Philippines in 2010.

The lantaka (a small bronze swivel gun), prevalent in 17th and 18th century Southeast Asia, is called the meriam or bedil in Indonesia and Brunei Darussalam and was often used by trading and raiding vessels sailing in Southeast Asian maritime routes and on walls and palisades of fortresses to protect communities against rampant raiding before the 16th century, and eventually to resist Spanish colonization.

On display are specimens from the National Museum Collection and the Miailhe de Burgh Collection, two of the three biggest lantaka collections hereabouts (the other is the Brunei Bedil Collection). They include distinctive ordnances, morteros, miniatures—regarded as “an exceptional selection” and considered important for their rarity, diversity and historical value.

“Lantaka: Of War and Peace” Exhibit: 3/F, National Museum of Anthropology, Agrifina Circle (or Teodoro  Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 (02) 8527-1232 (Ethnology Division) and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com and nationalmuseumph.anthropology@gmail.com.  Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free

“San Diego: A Homecoming Exhibit” (Manila)

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Scaled model of the galleon San Diego

The “San Diego: A Homecoming Exhibit” occupies the 4 seminar rooms at the ground floor (Cabinet Ladies Foundation, Nestle Philippines, SGV & Co. and the SSS) and at Asianbank Corp./A. Soriano Corp./Phinma Group Gallery at the second floor.    On display here are 5,000 artifacts that represent a time capsule of the known world at that time, recovered from the San Diego, one of 59 galleons that sank in Philippine waters and one of three (the others are the Nuestra Senora de la Vida and the San Jose) where artifacts have been retrieved.  Its recovery confirmed the Philippines’ reputation as a rich ground for underwater archaeology.

The San Diego, originally named the San Antonio, was a three-masted galleon, a trading ship plying the Manila to Acapulco (Mexico) route.  Said to be the first Filipino big boat, it was probably built in Cebu around 1590 and 1600 by Basque shipwrights, Chinese craftsmen and a big Filipino labor force.  Its weight was placed between 200 to as heavy as 500 tons, was between 35 to 40 m. long and 20 m. wide.  The San Diego had four decks and could hold about 700 tons of cargo.  Different kinds of heavy local wood (bitaug, apitong) measuring 35 to 40 m. long, 12 m. wide and 8 m. high were used for its construction.

Portrait of Don Antonio de Morga

As a merchant ship, the San Diego was, however, not designed for naval combat yet this reconditioned, 14-gun ship (under Vice-Governor Antonio de Morga) was engaged, together with the 200-ton and 12-gun San Bartolome (under the experienced naval officer Juan de Alcega), in a fierce, six-hour naval battle, on December 14, 1600, with the Dutch privateers Mauritius and Concordia under Admiral Oliver Van Noort off the Batangas coast.

The San Diego, as a result of damage by numerous cannonballs it had taken during the battle and a major leak discovered after the violent impact with the four times smaller Mauritius of Van Noort, was blown by a northeasterly wind, sailing 330 to 660 ft. (100 to 200 m.), nosed over and went straight to the bottom.  The San Bartoleme, on the other hand, chased the Concordia under Captain Lambert Biesman and, off Lubang Island in Mindoro, was boarded and captured.   Some 221 sailors died (109 Spaniards, 105 Filipinos and 7 Dutchmen).    Twenty-six Dutch men were wounded.

Paintings depicting the Galleon Trade

The San Diego remained underwater for almost four centuries, its location unknown because Morga’s account of the battle, in his self-serving Sucesos de las Islas Filipinas (“Historical Events of the Philippine Islands” (published in 1609), was incomplete and inaccurate.  In 1991, however, the wreck was discovered by Franck Goddio, a French underwater archaeology enthusiast, with the permission and cooperation of the National Museum, in near-perfect conditions, at 170 ft. (50 m.) deep waters about 900 m. northeast of Fortune Island, in an undisturbed, sand-covered valley.

Tools from the San Diego

From January 1992 to May 1993, at enormous expense and with modern and sophisticated underwater technology, a treasure trove of 34,000 archaeological items, including 14 bronze cannons, 1,500 pieces of intact Ming Dynasty porcelain ware and navigational instruments (a major scientific find as they represent a much delayed, but altogether appropriate, reply to Chinese inventions such as the compass, an 11th century Chinese innovation), were retrieved.

Statuary from the Intramuros Administration collection

After initial restoration in Manila, the artifacts traveled to Paris (France) for complete restoration and exhibition on September 1994.  Later exhibitions were done in Madrid (Spain) in 1995, New York (U.S.A.) in 1996 and Darhlen Museum in Berlin (Germany) in 1997 before  it returned to its new home at the Museum of the Filipino People (now the National Museum of Anthropology) in Manila.

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Piece of armor, shoulder and neck armor, breastplate

The exhibition gallery on the ground floor shows the wreck site.  Eleven of the 14 recovered cannons brought on board from the fortress of Manila are displayed at the museum’s ground floor and the rest at the second floor. Outstanding examples of bronze casting techniques, the cannons gave an excellent overview of artillery at the end of the 16th century.  Of the 14, 7 are dolphin-types (with handles shaped like dolphins), 2 are foot-types, 1 lion-type, 1 box-type and 2 are unidentified.  Their maximum lengths range from 208 to 359 cms., their mouth diameters range from 14.5 to 27.5 cms. and their bore diameters range from 7 to 18 cms.. They were fabricated in the Philippines, Flanders (Netherlands) and Portugal. Those from Portugal were more advanced and were called breech loaders.

Cannons and cannon balls from the San Diego

There were 8 grades of caliber which required different types of ammunition.  There were 197 cannonballs recovered.  The iron cannonballs were for the smaller cannons and the stone for the bigger ones.  The cannonballs range from 6.5 to 14 cms. in diameter and weighed between one and 7 kgs..

Wooden angel and ciborium from the Intramuros Administration collection

The second floor gallery houses Metal Age artifacts from religious art (statuary, wooden angels, ciborium, etc.) from the Intramuros Administration collection.  A scaled model of the San Diego was done in 1995 by Robert Carpentier, with scientific supervision of G. Michel L’Hour and Michel Daeffer).

Kyle, Bryan and Cheska behind a scaled model of the San Diego

There are also eight 4 ft. by 7 ft. paintings depicting the Galleon Trade; annotated (by Jose Rizal) book copies of Antonio de Morga’s Sucesos de las Islas Filipinas (Historical Events of the Philippine Islands) and Johann Ludwig Gottfried’s Nene Welt und Amerikanishe Historien (New World and the History of the Americas); maps and colored photos of the recovery efforts.

Copies of Sucesos de llas Islas Filipinas

An old, bronze astrolabe, one of the most important treasures recovered from the San Diego, is one of only 67 that have been preserved and, more uniquely, 1 of 5 oldest as well as 1 of 6 or 7 known examples dating before 1600.  Called the oldest scientific instrument in the world, the astrolabe is used to determine latitude accurately by measuring the angle a heavenly body (sun or stars) makes with the horizon. It is derived from the planispheric astrolabe invented by Greek mathematicians in ancient Alexandria (Egypt).

The San Diego astrolabe

The astrolabe appeared in Europe in the late fifteenth century, first used in Portugal and adapted by nearly all Western mariners.  The San Diego astrolabe weighed 2,432 gms. and had a diameter of 182.5 mm. and was 17 mm. thick at the top and 18 mm. at the bottom.

The absence of a date and signature on makes it impossible to determine the astrolabe’s geographic origin or date of manufacture.  The instrument, however, bears a remarkable resemblance to the Valencia astrolabe at England’s Greenwich Maritime Museum (which almost certainly came from the Spanish Armada).  The only difference is that its spokes have footers and no handles.  Its similarities lead us to believe that they were made in the same workshop.

Astronomical ring

Another important discovery was a bronze astronomical ring, the only known example of this type, in terms of both mechanism and shape.  With three rings and central compass, it has a diameter of 22.4 cm. Its exact function has not been determined; although it is known that the position of the Philippines on the map was calculated using a similar instrument.  The compass was recovered with its glass intact and the original liquid still present inside the glass casing.  Other navigational instruments recovered include sounding weights and a ruler which were more suitable for reading charts and navigating in coastal waters than for open ocean voyages.

Rifle and arquebus

Aside from the cannons, little remains of ship’s offensive weaponry:  arquebuses, muskets and swords.  Arquebus spring shots (lead, brass or iron wire) range from 0.4 to 3.5 cms. in diameter.  Also found were a gunpowder shovel and cases for musket shot made of lead that were attached together by brass coil.

Sword handles

A glimpse of the soldier’s outfit came from 3 morions (military helmets of copper alloy), pieces of armor (shoulder and neck armor, breastplate), sword handles, belts and shoe buckles.  Also a ball mold to press musket and arquebus balls was found.

The 3 morions (military helmets)

The possibility of high ranking Japanese samurai (possibly mercenaries) on board the ship can be seen from a pair of recovered Japanese bushi swords, 2 dozen sword decorative elements, a writing set with a rare aubergine (fruit of the eggplant)-shaped porcelain water dropper and two stones for mixing ink.

Japanese katana

The San Diego was a galleon (trading ship) before she was pressed into service as a battleship by Antonio de Morga.  As preparations were being rushed to meet the Dutch, there had been no time to unload the bulky porcelain cargo in the main hold and these all went down with the ship.  To the Western world, Chinese porcelain seems to be the most accurate reflection of China and it was an important part of trade in Manila.

Dragon jars

The San Diego carried a cargo of assorted ceramic objects that survived in a much better condition than the metal objects. A majority of the recovered ceramic ware was intact and many pieces were restorable.

Blue and white Chinese porcelain

They include a precious cargo of more than 500 fine, exceptionally strong, blue and white China porcelain, of different shapes and sizes, with designs described to be of Buddhist and Taoist luck symbols. They date from the Wan Li Period (1573 to 1619) of the Ming Dynasty (1368 to 1644) and come in the form of plates, dishes, bottles and kendis (pitchers).

Dragon jars

This special class of pottery is made from kaolin from Jiangxi, near the city of Jingdezhen in China.  Their white background is decorated principally with cobalt oxide and applied with a brush under a glaze. The plates, bowls, cups and bottles  were mostly decorated with birds, cocks, geese and deer designs which were popular during the 16th century.

At Exhibit Gallery III, we took a look at some of the over 750 big Martaban, Chinese, Thai, Burmese and Spanish or Mexican stoneware jars used to store food (preserved fruits, sardines, salted meat, etc.), wine, vinegar, drinking water and cargo as well as serve as ballast.  They date from the sixteenth century and many have applied handles where a rope could be strung to secure and protect them from breaking.  Animal bones from preserved meats as well as coconut shells and seed (prunes and chestnuts) remains have been found inside the jars.

Kendis, earthenware pitchers with round bodies, wide neck and conical spout

There are also over 70 Philippine-made amphora-like earthenware jars influenced by European stylistic forms and types. They were originally used to transport olives and oil, but they also have been used to hold wine, preserved fruit or the tar used to caulk the ship.  Their capacity varied from 4 to 15 liters (4.2 to 15.9 quarts) and they weighed between 3 and 9 kgs. (6.6 to 19.8 lbs.).

Many recovered artifacts provide fascinating insights of life on board a galleon.  Recovered were a piece of rope made of Manila hemp; a wooden pulley; writing implements (3 inkstands, 2 powder cans with powder used to dry the ink, a metal pen, etc.); a silver candle snuffer; a bronze candlestick; ivory and wood chessmen; locks; keys; a well-preserved wood pole with a hammock tied to it; a hammer; a glass plate with wooden frame (probably from the captain’s cabin); barber’s kit (2 razors, various weights, remains of a beam balance); and a block of hardened resin that was noted, in historical accounts, to have been used in caulking and for making fire in stoves. Also recovered were two coral-encrusted iron anchors.

Rope and wooden pulley

A meager haul of 8 gold artifacts was also recovered.  They provide a rare look at ornaments of 16th century Philippines and, ultimately, an insight into the Spanish and Filipinos of that time.  One of the artifacts is an Asian coin while the rest are articles of personal adornment or functional objects crafted in gold: a neck ring of gold wire with scrolled clasp; a 78-inch long, multiple loop-in-loop necklace chain woven with fine gold wire; a dress ornament; a book clasp with pin for girdle prayer book; a ring with granulation; an oval document seal cap of Morga (which “seals” the positive identification of the wreck); and a rosary with ivory beads and an inverted crucifix and chain of gold wire.  None were stamped or hallmarked.

The rosary, girdle prayer book and the ring may have been made for women.  Were there women on board the San Diego? Initial studies on human bones recovered from the site indicate that some of them may have been females.  Or were they good luck keepsakes given by shore-bound lovers?  God only knows.

A total of 428 sixteenth century silver coins, as well as six small and one big cluster of cemented coins, were recovered.  Most are of uneven roundness and flatness and its markings and designs are unclear.  Struck the year before its sinking (either in Mexico or Potosi), the majority are 1, 2, 4 and 8 reales of American origin, an indication of the lively trade between New Spain (Mexico) and the Philippines.

“San Diego: A Homecoming Exhibit”: 1/F and 2/F,  National Museum of Anthropology, Agrifina Circle (or Teodoro  Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 (02) 8527-1232 (Ethnology Division) and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com and nationalmuseumph.anthropology@gmail.com.  Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.

National Museum of Anthropology (Manila)

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National Museum of Anthropology

I first visited the National Museum of Anthropology (Filipino: Pambansang Museo ng Antropolohiya), a component museum of the National Museum of the Philippines,  when it was formerly known as the Museum of the Filipino People (Filipino: Museo ng Lahing Filipino) in March 2002.  Fifteen years later, I brought now along my whole family to see its Ethnological and Archaeological exhibitions.

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The museums Neo-Classical facade

Housed in the impressive, Neo-Classic-influenced, 5-storey former Department of Commerce and Department of Finance Building, this museum was the second building pledged (1990s) to the National Museum.  As a cultural center, it takes the lead in the study and preservation of the nation’s rich artistic, historical and cultural heritage in the reconstruction and rebuilding of our nation’s past.

Historical plaque

Built in 1940 on the same Federal architectural style concept of American architect and Manila and Baguio City planner Daniel H. Burnham, its construction was implemented by Arch. Antonio Toledo of the Bureau of Public Works who was responsible for the construction of Manila government structures (including the Manila City Hall, Bureau of Customs and Department of Tourism Building) under the American colonial regime.

Jandy in front of the Ifugao house within the courtyard

When World War II broke out on December 7, 1941, the building was barely finished and, during the Liberation of Manila, the building, because of its strategic location, became a Japanese stronghold that was intensely bombarded by the Americans.  On March 3, 1945, its recapture actually marked the end of the Battle of Manila.

Marble Hall

After the war, the trapezoidal building was rebuilt by the company of A.M. Oreta and, during the centennial celebration of Philippine independence half a century later, the building was refurbished and inaugurated to house the Museum of the Filipino People. At the open courtyard is an actual Ifugao House (Fhaley Ad Henenga) from Mayoyao presented by Petron Corporation.

Stairway

Since the creation of the National Museum of the Philippines, the Anthropology Division has started collecting ethnographic artifacts. Anthropologist Dr. Henry Otley Beyer began collecting cultural materials from the different peoples of the Philippines ranging from baskets, weapons, textiles, and wooden objects to various religious, economic and agricultural tools and implements, musical instruments and personal ornaments and adornments. During the World War II, these artifacts were distributed to friends and colleagues for safekeeping and, several years after the war, Dr. Beyer began to retrieve all these materials, finding most to be intact and in good condition except for some that were badly damaged.

My family (at extreme left, L-R: Kyle, Jandy, Grace, Cheska and Bryan) at one of the exhibition galleries

Ground Floor

  • Office of the Exhibition, Editorial, and Media Production Services Division
  • Office of the Museum Foundation of the Philippines
  • Office of the Archaeology Division
  • Office of the Ethnology Division
  • Office of the Maritime and Underwater Cultural Heritage Division
  • National Museum Library

Second Floor

  • Marble Hall- serves as the lobby of the museum
  • The San Diego: A Homecoming Exhibit
  • Garing: The Philippines at the Crossroads of Ivory Trade

Third Floor

  • Lantaka: Of War and Peace – inaugurated in 2015
  • Manlilikha ng Bayan Hall (National Living Treasure) – inaugurated last June 1, 2016
  • Lumad: Mindanao – inaugurated last December 12, 2015
  • Faith, Tradition and Place: Bangsamoro Art from the National Ethnographic Collection – inaugurated last October 2014
  • Kaban ng Lahi (Archaeological Treasures)

NOTE: On October 20, 2018, just about a year after my visit, the “Biyay: Traditional Ecological Knowledge among Philippine Negrito Communities” exhibit was opened in the third floor, the first exhibition, of this scale and depth, on the Negritos, the least understood Philippine ethnolinguistic group. Biyay is the Ayta term for “life.”

Fourth Floor

  • Reception Hall (Changing Gallery)
  • Rice, Biodiversity and Climate Change – inaugurated last December 17, 2013
  • Hibla ng Lahing Filipino: The Artistry of Philippine Textiles – inaugurated last May 18, 2012
  • Baybayin: Ancient and Traditional Scripts of the Philippines – inaugurated in 2013
  • Entwined Spheres: Mats and Baskets as Containers, Costumes and Conveyors – inaugurated in 2017
  • Office of the Museum Services Division

Fifth Floor

  • National Ethnographic Collection Repositories

A hagabi (rich mans bench)

Through the years, the ethnographic collection of the Anthropology Division continues to be augmented through field collection, purchase and donation. Presently, there are about ten thousand specimens on display in 15 galleries and in storage.

Check out “The San Diego: A Homecoming Exhibit,” “Garing: The Philippines at the Crossroads of Ivory Trade,” “Manlilikha ng Bayan Hall (National Living Treasure),” “Lumad: Mindanao,” “Faith, Tradition and Place: Bangsamoro Art from the National Ethnographic Collection,” “Kaban ng Lahi: Archaeological Treasures,” “Rice, Biodiversity and Climate Change,” “Hibla ng Lahing Filipino: The Artistry of Philippine Textiles,” “Baybayin: Ancient and Traditional Scripts of the Philippines,”“Lantaka: Of War and Peace,” “Entwined Spheres: Mats and Baskets as Containers, Costumes and Conveyors.”

 The ethnographic collection, systematically arranged according to groups and classified in terms of functions, is kept in storage where the temperature of the room is maintained through a 24-hour airconditioning system that helps preserve the physical condition of the specimens, and prolongs the lifespan of the specimens. Textile specimens are stored inside cabinets with series of drawers while wooden objects, baskets, ceramic and metal crafts are wrapped in acid-free paper, and stored in steel cabinets with series of panels.

National Museum of Anthropology: Agrifina Circle (or Teodoro Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 (02) 8527-1232 (Ethnology Division) and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com and nationalmuseumph.anthropology@gmail.com. Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.

“Baybayin: Ancient and Traditional Scripts of the Philippines” Exhibit (Manila)

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The “Baybayin: Ancient and Traditional Scripts of the Philippines” Exhibit, inaugurated in 2013, is the second permanent exhibit of the National Museum of Anthropology.  It showcases Baybayin, the ancient and traditional native Filipino script of the Philippines prior to the arrival of the Spaniards. It is an abugida system wherein consonant-vowel combinations are used, and it is different from alibata (although most people think they are one and the same).

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“Baybayin: Ancient and Traditional Scripts of the Philippines” Exhibit

This pre-Spanish Philippine writing system, a member of the Brahmic scripts of India, was recorded, by Miguel López de Legazpi, as being in use in the 16th century and continued to be used during the Spanish colonization of the Philippines up until the late 19th century.  Baybayin was largely used in Tagalog-speaking areas and the term baybay literally means “to spell” in Tagalog. However, it gained more prominence when it was used and spread by the friars to other areas and it was known in Visayan as badlit, as kur-itan/kurditan in Ilocano and as kulitan in Kapampangan. Hanunuo, Buhid and Tagbanwa are some of the writing systems that are based on baybayin.

One of the exhibit’s major displays is the majestic curtain written in Baybayin scripts and its Romanized translation, and the other one is the white table in which it teaches us on how to write Baybayin characters (Magsulat Tayo sa Ating Baybayin).

Baybayin Tattoos

Also displayed here are archaeological artifacts such as the Laguna Copperplate Inscription (said to be one of the bases of baybayin), the Calatagan Pot, the Intramuros Pot Shard, the Monreal Stones and some books loaned by the UST, NHCP and National Library. Also displayed are some tools, musical instruments, ornaments and pots with Baybayin inscriptions from indigenous tribes of Mindoro and Palawan.

Baybayin script

The Intramuros Pot Shard, one of 500 artifacts discovered 140 cms. below the brick floor of the San Ignacio Church ruins in Intramuros in 2008, is an archaeological piece most significant because it was the only artifact with ancient inscriptions recovered systematically. Associated with Ming dynasty ceramics dating back to 15th – 16th centuries A.D, the excavation was a joint project by the Intramuros Administration and the Cultural and Archaeology Divisions of the National Museum of the Philippines.

Intarmuros Pot Shard

Its discovery, showing the native Filipinos’ earliest form of writing, is an important milestone in Philippine archaeology as there were only few artifacts with ancient inscription recovered in the past: the Laguna copper plate (900 AD), Butuan ivory seal (9th to 12th centuries), Butuan silver strip (14th to 15th centuries) and the Calatagan Pot (15th century).  The inscription was later deciphered by Mrs. Esperanza B. Gatbonton, a Cultural Heritage Advocate, by comparing the scripts with Tagalog and Kapampangan and coming up with a tentative translation – pa-la-ki which can be interpreted as a-la-ke or alay kay.

The Monreal Stones (Filipino: Mga Batong Monreal), also referred to as the Ticao Stones, are two limestone tablets that contain Baybayin characters discovered by pupils of Rizal Elementary School in Monreal town on Ticao Island, Masbate, who had scraped the mud off their shoes and slippers on an irregular-shaped limestone tablet before entering their classroom.

Monreal Stones

The larger, triangular stone, weighing 30 kgs., is 11 cms. thick, 54 cms. long and 44 cms. wide. The smaller, oval-shaped stone is 6 cms. thick, 20 cms. long and 18 cm. wides. On December 13, 2013, the National Museum of the Philippines held a Baybayin conference to present the Monreal Stones to the public. Due to the usage of the Baybayin vowel deleter introduced in 1621 by the Spanish friars, initial examination has revealed that the inscriptions could not have been made earlier than the 17th century.

The Laguna copperplate inscription (Tagalog: Kasulatang tansong natagpuan sa Laguna), the earliest known calendar-dated document used within the Philippine Islands, is an official document, more precisely an acquittance, inscribed in the Shaka year 822, a date, from the month of Waisaka, and the fourth day of the waning moon, from the old Hindu calendar, which corresponds to to Monday, April 21, 900 in the Julian calendar.

It was found in 1989, near the mouth of the Lumbang River, near Laguna de Bay in Wawa, Lumban, Laguna, by a laborer dredging sand to turn into concrete. Suspecting that the artifact might have some value, the man sold it to an antique dealer who, having found no buyers, eventually sold it to the National Museum of the Philippines, where it was assigned to Alfredo E. Evangelista, head of its anthropology department.

Laguna Copperplate Inscription

Referred to as the Laguna Copper Plate by the National Museum, it is a document demonstrative of pre-Hispanic literacy and culture and is considered to be a National Treasure.  The inscription on the plate was written in Old Malay using the ancient Indonesian script of Kawi, with numerous loanwords from Sanskrit and a few non-Malay vocabulary elements whose origin may be Old Javanese . After it was found, the text was first translated by Antoon Postma, a Dutch anthropologist and Hanunó’o script researcher in 1991.  The inscription documents the existence and names of several surrounding states such as the Tagalog city-state of Tondo.

Made out of copper, the inscription, measuring about 20 by 30 cms. (7.9 in × 11.8 in), with the words directly embossed onto the plate differs, in manufacture, from Javanese scrolls of the period, which had the words inscribed onto a heated, softened metal scroll.

The Calatagan Pot was, during the pre-Hispanic era, a ritual earthenware pot with thirty-nine syllabic inscriptions incised around its shoulder, representing one of the oldest surviving writing systems in the country. This artifact, with  a restricted mouth, an everted rim, and an indentation at the center base, measures 12 cms. in height, 20.2 cms. in width, with a rim diameter of 14.8 cms., and weighing 872 grams. The pot was given a relative age range of 14th to 15th century CE based on alleged associated artifacts.

Calatagan Pot

The artifact was found in Talisay, Calatagan, Batangas by farmer Feliciano Bugtong who sold it to the Research Foundation in Philippine Anthropology and Archaeology, Inc.  In May 1961, ithe foundation donated the pot to the National Museum of the Philippines.  In 2010, the Calatagan Ritual Pot was declared a National Cultural Treasure.

The pot was particularly used as native incense burner for the pag-ulî (return) ceremony rite to retrieve the soul of moribund victims of bugkut, disappeared persons believed to have been abducted by dwellers of the spirit world.  The inscription essentially provides the outline of a three-stage monologue, presumably elaborated by a babaylan (a native shaman and usually female) in a trance during the pag-ulî ritual.

The Doctrina Christiana (English: Christian Doctrine), an early book on the Catholic Catechism, written in 1593 by Fray Juan de Plasencia, is believed to be one of the earliest printed books in the Philippines. The title, literally meaning “The Teachings of Christianity” is, thus, the primary goal of the book was to propagate Christian teaching across the Philippine archipelago.

The book, printed using the xylographic technique (printing each page of text from one hand carved woodblock) on paper made from mulberry, consists of 38 leaves and 74 pages of text in Spanish, Tagalog transliterated into roman letters, and Tagalog in its original Tagalog Baybayin (Sulat Tagalog) script, under a woodcut of Saint Dominic, with the verso originally blank although, in contemporary versions, bears the manuscript inscription “Tassada en dos reales,” signed Juan de Cuellar. The size of the volume, which is unbound, is 9⅛ by 7 inches, although individual leaves vary somewhat due to chipping.

After a syllabary comes the basic prayers (the Lord’s Prayer, Hail Mary, Credo, and the Salve Regina) followed by Articles of Faith, the Ten Commandments, Commandments of the Holy Church, Sacraments of the Holy Church, Seven Mortal Sins, Fourteen Works of Charity, the Confiteor and a brief Catechism.

Hanunoo Mangyan script carved into bamboo

Also on display are musical instruments, containers and weapons inscribed with chants and messages. These bamboo strips were used to relay messages among members of Hanunuo and Buhid. Messages include invitation to wedding and special occasions and letters of request and notification, which were carried by anyone passing by or going to the destination of the message.

The members of Hanunuo, men and women, had an average of 4 bamboo lime containers. They were responsible for making, carving and designing their own container. Male young adults used to give bamboo lime containers to the females they admired and wished to be in a relationship with.

Tagbanua script carved into anitos (wooden idols)

“Baybayin: Ancient and Traditional Scripts of the Philippines” Exhibit: 4/F, National Museum of Anthropology, Agrifina Circle (or Teodoro Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com. Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.

“Garing: The Philippines at the Crossroads of Ivory Trade” Exhibit (Manila)

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Seized African elephant tusks (Tanzania, Africa)

The “Garing: The Philippines at the Crossroads of Ivory Trade” Exhibition supports the National Museum of the Philippines’ advocacy against ivory trade that has led to elephants worldwide becoming endangered.  Ivory or garing, in Filipino, is a hard white material derived from the teeth of animals, particularly from elephants.

Check out “National Museum of Anthropology“

Elephant tusks recovered from Lena Shoal Wreck off Busuanga, Palawan

On display are real African elephant (Loxodonta Africana) ivory tusks from Tanzania, Africa, seized by the Department of Environment and Natural Resources and donated to the National Museum of the Philippines.  There are also elephant tusks, among 5,000 artifacts (small bronze cannons and celadon greenware, 2,183 of which were recovered whole, 213 slightly damaged and 1,501 heavily damaged), dating from the 15th to early 16th century, recovered from the Lena Shoal wreck in Busuanga, north of Palawan in 1997.

Fragments of fossilized elephant tusks (Solana, Kalinga-Apayao, Bolinao)

Also on display are heritage ivory that were carved and installed in the faces and hands of statues of Roman Catholic saints as well as snuff bottles; fragments of fossilized elephant tusks recovered from  Cagayan (Taggat, Solana), Kalinga-Apayao and Pangasinan (Bolinao);. a fossilized ivory tusk of a Stegodon, an extinct species of proboscidean (the same family of species as the elephant and mammoth), recovered from the Kalinga–Solana area in the Cagayan Valley; sperm whale (Physeter macrocephalus) teeth (whole) from Torrijos,  Marinduque; model of a ship with ivory men; and wild pig (Sus philippensis) tusks from Penablanca, Cagayan.

Shell and Bone (Substitutes for Ivory)

Synthetic Ivory

There are also carvings made from ivory substitutes such as resins, compact bones (dahlite, protein, lipids)of domesticated animals; shells (calcium carbonate) of marine mollusks; vegetable ivory (cellulose) from the tagua palm tree (Phytelephas spp) found in South America;  the casque (keratin) above the beak of the Helmeted Hornbill (rhinoplax vigil); a shell pendant, bracelet and earring; bone letter opener with Carabao horn handle; bone chopsticks; snake bone headdress (Mountain Province); a cow bone carving; bone jewelry box with decorative motifs; an elephant bone with inscriptions; a boar tusk armband (Mountain Province) and bone pendants.

Blessed Virgin Mary (unknown artist)

“Garing: The Philippines at the Crossroads of Ivory Trade” Exhibit: 2/F, National Museum of Anthropology, Agrifina Circle (or Teodoro Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 (02) 8527-1232 (Ethnology Division) and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com and nationalmuseumph.anthropology@gmail.com. Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.

Malacanang Museum and Library (Manila)

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January came and went without me visiting a notable Philippine museum and I wasn’t about to let February pass without visiting one.  It was with great anticipation that my family (wife Grace, son Jandy, daughter Cheska and grandson Kyle) and I was looking forward to visit the Malacanang Museum and Library, especially with my balikbayan aunt, Pacita B. “Paz” Layug, with Chinese-American friend Harold (a first-time Manila visitor), joining us, both on a short Manila stopover on their Asian cruise.  Also joining us was my sister Tellie.  We all met up at the Kalayaan Gate by 9:30 AM and our museum tour promptly started at 10 AM.

Malacanang Museum and Library

Malacanang Museum and Library

The Palace grounds, with its huge lawn and tress, and its buildings were truly imposing.  Behind it is the Pasig River. The handsome, arcaded museum, housed within the historic Kalayaan Hall (called Maharlika Hall during the time of Pres. Ferdinand E. Marcos), the old Executive Building designed by Ralph Harrington Doane in the elegant Neo-Renaissance style and built in 1920, had the ambiance of an old and grand ancestral house, but warm and homey.

Malacanang Museum and Library (4)

Relaunched in 2003, the museum was, for the most part, restored during the term  of Pres. Gloria Macapagal-Arroyo and has been open to the public since then.  Photography was allowed but only one camera is allowed per group booking, so we choose  Jandy’s Sony AR-3500 digital SLR. Stickers were used to cover our group’s Smartphone lenses.

Plaque installed by National Historical Commission

Plaque installed by National Historical Commission

At the lobby, we met up with Mr. Brian Paul R. Luna, our knowledgeable and lively museum guide.  With his assistance, we learned interesting facts, trivia and stories that add to the many narratives about the Philippine presidents and the Palace during our 2-hour tour. He shared with us the rich history of each of the 9 stately, historically important and architecturally significant rooms in the country displaying the impressive legacies of the nation’s past presidents.

The author and Kyle at the Old Executive Secretary’s Office

The author and Kyle at the Old Executive Secretary’s Office

The well-maintained museum is organized by theme and by period. It features galleries and exhibits showcasing the heritage of the Palace and the Presidency of the Philippines as well as a well-curated collection of  artwork and furniture from the Palace collections.  The exhibits include the history of Malacañang Palace, featuring gifts, relics, memorabilia, artwork and photographs, principally at the ground floor rooms which are dedicated to American colonial era.  Most are paneled in hardwood and sumptuously carved by Isabelo Tampinco, a renowned Filipino master woodcarver, who also carved the wood and plaster ornamentation.

Table settings, in a regal royal blue accented with gold trim

Table settings, in a regal royal blue accented with gold trim

The first room we visited was the Old Executive Secretary’s Office.  It is now a display room for First Ladies (the “Official Hostess of the Palace”), from the time of Manuel L. Quezon’s own first lady, Aurora, to Luisa “Loi” Estrada. However, there was no picture of First Gentleman Jose Miguel “Mike” Arroyo.  On the left is the portrait of the controversial Imelda R. Marcos (also the only one with a bronze bust on display), the country’s most beautiful First Lady.

The Order of Sikatuna

The Order of Sikatuna

Also on display is the Grand Collar of the Order of Sikatuna, Rank of Raja, usually conferred to Heads of State; table settings, in a regal royal blue accented with gold trim, used for official Palace events; and a sample guest book for official state functions and dinner (including the guestbook, encased in glass, signed by the late Pope John Paul II in 1972).

The guestbook, encased in glass, signed by the late Pope John Paul II in 1972

The guestbook, encased in glass, signed by the late Pope John Paul II in 1972

We all then went up a staircase to the Quezon Executive Office, said to be the first airconditioned office in the Philippines. First used by Pres. Manuel L. Quezon as his office, it was later used by Gen. Fabian Ver, the Chief of the Armed Forces of the Philippines under Marcos During Pres. Corazon C. Aquino’s administration, it was transformed into the office of the Press Secretary.

Quezon Executive Office

Quezon Executive Office

Inside is the original presidential desk, elaborately carved by Tampinco; and the first state portrait of Quezon on the main wall, done by Leon Gordon, which was first hung in the Palace Reception Hall from 1937 to 1979.  Now preserved as an executive office, national and presidential flags, as well as the seal of the president, are displayed in accordance with protocol.

The main wall with the first state portrait of Quezon, done by Leon Gordon

The main wall with the first state portrait of Quezon, done by Leon Gordon

From this room, we moved on to the Roxas Cabinet Room, easily one of the brighter rooms in the Palace, with windows that opened up into terraces.  Named after Pres. Manuel L. Roxas, who first used the space as the Cabinet Room, the administrations following him used it for meetings and as offices. In 1981, it was converted into into the control room for President Marcos’ television studio. It is interesting to note that the Seal of the Republic is engraved on the backrest of the 8 chairs.

The Roxas Cabinet Room

The Roxas Cabinet Room

Next room in line during our tour was the Quirino Council of State Room, colored a shade of ivory, windows draped with heavy curtains and with gold-gilded lanterns lining the wall.  Constructed in 1937-39 as the Council of State Room, it was where the newly-reconstituted Council of State during the administration of Pres. Manuel L. Quezon met, a practice kept until the Diosdado P. Macapagal Administration. It was also here that the National Economic Council, today’s NEDA, met. Pres. Manuel L. Quezon preferred to have his cabinet meetings in this room, as did Presidents Elpidio R. Quirino, Carlos P. Garcia and Diosdado Macapagal.

Quirino Council of State Room

Quirino Council of State Room

Presidents Roxas, Quirino, Magsaysay, Garcia, Macapagal, and Marcos also had important meetings in this room and it was here, until the Marcos administration, that officials generally took their oaths of office before the President of the Philippines. From the administration of Pres. Manuel Roxas until Carlos P. Garcia, all treaties and conventions entered into by the Republic of the Philippine and foreign governments were also signed in this room. Pres. Elpidio Quirino (on April 17, 1948, after the sudden demise of Pres. Manuel Roxas) and Carlos P. Garcia (on March 18, 1957, after the tragic death of Pres. Ramon Magsaysay) also took their oaths of office in this room.

Wall with portrait of Pres. Quirino painted by the late National Artist Fernando C. Amorsolo

Wall with portrait of Pres. Quirino painted by the late National Artist Fernando C. Amorsolo

During the administration of Pres. Ferdinand E. Marcos, cabinet meetings were transferred to the State Dining Room (now the Aguinaldo State Dining Room) in Malacañan Palace, and this room was turned into part of a television studio in 1981. It was restored to its original state in 2003 and, on November 16, 2003, was renamed after Pres. Elpidio Quirino by virtue of Proclamation No. 501. On display here are furniture original to the room (perfectly matching the drapes), a portrait of Pres. Quirino painted by the late National Artist Fernando C. Amorsolo and sculptures, from the Malacañan Palace Collection, by National Artist Guillermo E. Tolentino.

The Main Hall

The Main Hall

From these rooms, we proceeded to the Main Hall, formerly the site of guest bedrooms when the building was first constructed in 1920.  During the early years of the Philippine Commonwealth, it was transformed into offices to accommodate the growing bureaucracy. In 1968, upon the directive of President and Mrs. Marcos, the area was cleared and converted into the Maharlika Hall (Royalty Hall), a ceremonial hall where state dinners, large assemblies and lavish parties were held.

Presidential busts

Presidential busts

In 1972, it was temporarily used as an evacuation center for the victims of a typhoon that damaged a large part of Central Luzon. On February 25, 1986, the front west balcony of this hall was where Pres. Marcos proclaimed himself the victor of the 1986 Snap Elections, took his last public oath of office and delivered his farewell speech.

Balcony where Marcos declared himself the winner of the snap election

Balcony where Marcos declared himself the winner of the snap election

The hall now houses the Gallery of Presidents of the Philippines together with a display of selected  State and Official Gifts to Pres. Gloria Macapagal-Arroyo and the Special Exhibit of Campaign Posters of the 1965 Presidential Elections.

Diosdado Macapagal Gallery

Diosdado Macapagal Gallery

Each President in the Gallery has his own bust as well as as a suit or a dress they once wore.  The suits and accessories of presidents, from Emilio F. Aguinaldo to Quezon, is quite interesting as, aside from their other artifacts of clothing, there was the predominance of walking canes, a sign of social status.

Carlos P. Garcia Gallery

Carlos P. Garcia Gallery

However, it is worth noting that none of our presidents grew mustaches, another sign of social status which ilustrados (Spanish for ‘erudite’ or ‘learned ones’) such as José P. Rizal, Marcelo H. del Pilar and Graciano López Jaena all grew.

Manuel L. Quezon Gallery

Manuel L. Quezon Gallery

Other clothing items on display include the riding boots of Pres. Ramon Magsaysay, necklaces of President Gloria Macapagal-Arroyo and more.  As the incumbent president, and entire division is dedicated to Pres. Benigno S. “Noynoy” Aquino III, complete with a life-sized image of himself which we took pictures with.

Posing with the life-size statue of Noynoy Aquino (6)

Posing with the life-size statue of Noynoy Aquino (6)

Also on display is the original, well-preserved blackboard, used by Gen. Fabian Ver and the other generals who were loyal to President Marcos, for planning their attack during the People Power Revolution.  It has a chalk-drawn sketch of the original plans, showing San Juan (Metro Manila), to diffuse the growing crowds along EDSA. On the right hand side is data with the names of Sen. Juan Ponce Enrile and Gen. Fidel V. Ramos.

State and Official Gifts

State and Official Gifts

Painting and sculpture that decorate Maharlika Hall are breathtaking, with pieces made of metal, bronze, and marble, mostly of Italian influence – Roman gods and goddesses or playful nymphs – all from the Marcos’ private collection.

“Nereids” (Las Nereidas) of Joaquin Sorolla

“Nereids” (Las Nereidas) of Joaquin Sorolla

Gifts and trinkets from visiting dignitaries are also on display.  There’s a statue of former Pres. Gloria Macapagal-Arroyo dressed as a ship captain, with her hands on the helm and,  in the background, what seems to be the spirit of Jesus Christ guiding her. There’s one thing wrong with this statue though, she’s a tad too tall. Some of the more impressive collections come from the Marcoses, such as the library the former First Lady Imelda Marcos bought from the estate of Marie Louise of Austria (a.k.a. Maria Ludovica Leopoldina Franziska Therese Josepha Lucia von Habsburg-Lothringen), the second wife of Napoleon I, Emperor of the French, and later Duchess of Parma.

Perseus and Andromache of Auguste Moreau

Perseus and Andromache of Auguste Moreau

There’s also the bronze statue“Perseus and Andromache” signed by famous French artist Auguste Moreau (1855-1919), and the painting “Nereids” (Las Nereidas) of Joaquin Sorolla y Bastida (1863-1923), donated by Alma le Normand de Bretteville Spreckels and conserved and restored by the National Museum, Union Fenosa and Cooperacion Espanola in 2001.

Southeast Gallery

Southeast Gallery

From the main hall, we proceeded to the Southeast Gallery which displays the memorabilia of the late Pres. Corazon C. “Cory” Aquino, the nation’s first female president and the incumbent president’s mother.  A humble housewife, Cory was the only president, thus far, who did not hold any public office prior to being elected the Chief Executive.

Portrait of Cory, by Filipino artist Vincente Lopez Vito, Jr., using nails

Portrait of Cory, by Filipino artist Vincente Lopez Vito, Jr., using nails

On display are some photographs, paintings (including a portrait of Cory, by Filipino artist Vincente Lopez Vito, Jr., using nails), the awards she received during and after her presidency, campaign materials, and other artworks evoking her life and achievements.

Osmena Room

Osmena Room

The more feminine-looking Osmena room was, in my mind, the most amazing. The walls here, decorated with cotton candy pink, were lined with Champagne yellow faux stone stucco with gold accents; the chandelier was impressive and the very masculine black and red dining table was huge enough to evoke a sense of power. It was easy to imagine the many critical decisions that must have been reached in that room.

Osmena Room Plaque

Osmena Room Plaque

The overhead cement French frieze, also done by Tampinco, featured different Filipino landscape scenes amid cherubs, eagles and sea lions.  Between 1921 and 1935, the Cabinet Room served as the meeting room of the Governor-General and his Cabinet as well as other bodies, such as the Council of State (which included Sergio Osmena), chaired by the Chief Executive. On September 9, 2003, the 125 birth anniversary of Osmena, it was renamed the Osmena Room by virtue of Proclamation No. 463.  Its restoration was completed in 2008.

The Old Governor-General's Office

The Old Governor-General’s Office

The Old Governor-General’s Office, used by the various U.S. governor-generals during the American occupation was, as far as I am concerned, the room to see.  It has nothing to do with its origin but, rather, what it holds inside. Inside is the actual furniture set, including the desk used by Pres. Ferdinand E. Marcos when, on September 21, 1972, he announced Proclamation No. 1081 declaring Martial Law, a grim date and an event that would forever alter Philippine history and the psyche of the Filipino people.

The desk used by Pres. Ferdinand E. Marcos when, on September 21, 1972, he announced Proclamation No. 1081 declaring Martial Law

The desk used by Pres. Ferdinand E. Marcos when, on September 21, 1972, he announced Proclamation No. 1081 declaring Martial Law

Here, we even watch the actual black-and-white clip of his TV broadcast on a 1970’s TV set.  Also on display is a reproduction of the text of Proclamation 1081, as well as facsimiles of important documents promulgated by former Chief Executives of the Philippines from Malacañang.

Reproduction of the text of Proclamation 1081

Reproduction of the text of Proclamation 1081

The Old Waiting Room, surrounded by old wooden hardwood panels and big mirrors from the Spanish occupation, with carvings of cherubs and eagles looking down from the walls,  showcases presidential campaign materials and paraphernalia dating back to the time of Manuel Roxas, the fifth president.

Old Waiting Room

Old Waiting Room

They include such items as the neon yellow Noynoy Aquino shirt, the bright orange “Erap Para sa Mahirap” (Erap for the Poor) jacket plus various materials from presidential candidates that didn’t win (posters of Jose de Venecia, Jr., Raul S. Roco, etc.). We also listened to “Mambo Mambo Magsaysay,” appreciating the rock ‘n roll element of this 1950s ditty that was Ramon Magsaysay’s famous campaign jingle.

The Presidential Studio

The Presidential Studio

Our last tour stop was the Presidential Studio, basically a function room that was officially last used in 2012 for the wake of the late Secretary of the Interior and Local Government Jesse M. Robredo.  Here, we had our picture taken behind the podium, carrying the official seal, which the President uses when he rehearses for the SONA (State of the Nation Address).

My family at the podium, carrying the official seal, which the President uses when he rehearses for the SONA (State of the Nation Address).

My family at the podium, carrying the official seal, which the President uses when he rehearses for the SONA (State of the Nation Address).

On our way out, we passed by the tiny souvenir’s booth near the exit door.  Here, you could buy some nice, affordable and unique souvenir items such as bags, mugs and T-shirts with palace’s logo, plus the usual stuff such as key chains and ball pens.

Our worthwhile tour, aside from showing us some amazing rooms and exhibits in the Palace plus some exquisite works of art, also added an insightful take into events that transpired within Kalayaan Hall, helping us  delve deeper into the symbolism and meaning of Malacanang Palace, a silent witness to the men and women who have led this nation, for better or for worse, for the past 100 years. Truly a tour for any history buff or for those who are simply looking to discover and learn.

Malacañang Museum and Library: Kalayaan Hall, Malacañang Palace Complex, 1000 J.P. Laurel, Sr.  St., San Miguel District, Manila. Open Mondays to Fridays, 9 AM to 12 noon and 1 – 3 PM.  Tel: (632) 784-4286 local 4945 or 4645.  Fax: (632) 784-4286 local 4722. Admission: PhP50 (PhP30 for students and senior citizens).  Website: www.malacanang.gov.ph.

Visits are strictly by appointment only and can be initiated by writing or faxing the Director at least seven days in advance.  The communication must contain the full names and nationalities (for foreign nationals, a photocopy of his or her passport main page must be attached to the reservation form) of all people included in the visit, as well as the desired date and time of the visit and contact information. This information is required for security clearance by the Presidential Security Group.  Once the communication has been received, the Visitor and Tours Coordinator at the Malacañang Museum will facilitate the request and confirm the visit. Confirming that the request has been duly received is the responsibility of the requesting party. Approval or denial of the request can be confirmed one day before the date of visit. Groups that are late by more than 30 minutes beyond their scheduled tour appointment shall not be entertained. They may, however, be moved to the next available slot by the Tour Coordinator.

Those not included in the guest list shall not be allowed entrance to the Palace grounds. Visitors to the Museum are advised to adhere to a smart casual dress code. Those wearing shorts, sleeveless tops, and slippers shall not be granted entry to the Palace grounds. All visitors are provided with a tour guide.

Photography is allowed, but is restricted to within the Malacañang Museum. However, taking video footage is prohibited without prior clearance from the Presidential Security Group.  All scheduled visits and tours are subject to rescheduling or cancellation on the advice of the Presidential Security Group.

Entrance is through the Kalayaan Gate. Visitors in private vehicles or by taxi can enter the Malacañang environs through either Arlegui Street or J.P. Laurel Street Entrances and either park or disembark in the Mendiola Street Car Park, after which a short stroll along J.P. Laurel Street will bring them to Kalayaan Gate. Visitors on foot can also arrive via the General Solano Street or San Rafael Street Entrances.

New Year Countdown at the Manila InterContinental (Makati City)

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Fireworks (12)

For the third time around (the first was in the iconic Manila Hotel, followed by the Dusit Hotel), my family and I decided to spend New Year’s Eve in a hotel and, this time around, we chose to stay at the nearby InterContinental Manila (colloquially Intercon/ICM).  This 5-star InterContinental hotel, part of the longest operating international chain hotel in the Philippines, holds the distinction of being the first 5-star deluxe hotel in Makati and the second InterContinental hotel to open in Asia.

InterContinental Manila Hotel

InterContinental Manila Hotel

Designed by my uncle, the late National Artist Leandro Locsin, this 14-storey landmark hotel opened on April 11, 1969 as part of the overall redevelopment plan for Makati.It is owned by Ayala Land Hotels and Resorts Corp., Ayala Land’s wholly owned subsidiary. Conveniently located within Ayala Center (Makati Commercial Center years before), opposite the Glorietta, it is walking distance to 5 big shopping malls (SM, Rustans, Landmark, etc.), great restaurants, an MRT-3 station (Ayala Station) and cinemas. It still exudes the charm and elegant atmosphere of the old Manila I am familiar with.

Cafe Jeepney

Cafe Jeepney

 This old but well-maintained hotel has won numerous awards such as the “Best Hotel Kikay Festival” for “Festival Gastronomique le Kikay Bleu” in 1982 and 1983; the Green Globe Award for Outstanding Environmental Programs in 1998; “Outstanding in Community Involvement for Southern Asia” among InterContinental hotels in 2002; and the TTG (Travel Trade Gazette) Travel Awards as the “Best City Hotel” in 2010, 2011 and 2013.

Hotel Lobby

Hotel Lobby

In 1997, the hotel also placed first in Asia Pacific and third in the world in the D’Richey Report and, in 2007, it was voted by readers of Business Traveler Magazine Asia Pacific as one of the three top hotels in the Philippines.

Cafe Jeepney (1)

Cafe Jeepney (2)

Cafe Jeepney dining area

We all checked in at a spacious and comfortable 2-bed De Luxe room (Suite 839), one of 332 guest rooms that were updated in 2006. Incorporating traditional and modern Filipino design infused with a refined European touch, each room had warm earth tones and rich, walnut wood finish. it features individually-controlled airconditioning, flat-screen LCD cable TV, work desk with lamp, in-room safe, IDD/NDD phone, coffee/tea making facility, mini fridge, private bathroom with bathtub and free high-speed wireless internet.

Double Bed De Luxe Suite (Suite 839)

Double Bed De Luxe Suite (Suite 839)

The staff was polite, efficient and attentive to our needs.  The presence of pretty Ambassador ladies greeting guests at the entrance was a nice touch.  They also offer valet, airport transfers, currency exchange, tours, concierge, car rental, laundry and room service.  InterContinental Manila has 4 restaurants and bars that offer a wide selection of food and wines to suit every taste and to match the occasion.

Gambrinus Bar

Gambrinus Bar

The Prince Albert Rotisserie, a fine dining restaurant, offers gourmet French and Continental fare, classic wines and is best known for its tableside preparation of US prime rib and Crepe Suzette. In addition to the main dining section, the restaurant boasts of three dining salons for guests desiring more privacy. During our stay, they offered a special New Year’s Eve set dinner menu (PhP2,990++ per person) which included veal, duckling, and morel terrine and roast prime rib of Aberdeen Angus beef with baked potato, buttered garden vegetables and red wine sauce. A special à la carte menu was likewise be offered. Its impeccable service has reaped prestigious awards and numerous citations including Ordre Mondial des Gourmets Gustateurs ‘Trés Belle Carte” (Best Wine List) Award.

Sol y Sombra

Sol y Sombra

Café Jeepney, a favorite meeting place and watering hole for people in the news and those who write about them, was where we had our breakfast.  The evening of our stay, they offered a buffet for PhP2,000++ per person. Themed around the world famous Filipino jeepney, it features a mouth-watering spread of Filipino and international fare, a la carte and buffet style, including live cooking and carving stations.

Function Room

Function Room

The ground floor Gambrinus Bar, a venue to meet family and friends amongst the view of the poolside garden, offers an appetizing selection of a la carte dishes, bar chows and cocktails while listening to live music in the evening.  Sol y Sombra offers savory snacks, tropical thirst quenchers and cocktails by the poolside or inside one of the “bahay kubos” (nipa huts).

Club Lounge

Club Lounge

The Club Lounge, where we had access, offered breakfast and snacks throughout the day as well as happy hour in the evening.  It had a stunning view of the Makati skyline.  The hotel also has an outdoor swimming pool (said to be the largest in Makati), an 800-1,000-pax grand ballroom, 7 meeting rooms (Bahia, San Lorenzo, etc.), business center, full-service spa (Suriya), sauna, gift shop, beauty salon and a gym (Gold’s Gym)..

Swimming Pool

Swimming Pool

Our room package (PhP9,888 net) also included a New Year’s Countdown for two, which started  8 PM onwards, at its Grand Ballroom, with free-flowing red and white wine, champagne, soda, iced tea, and a buffet spread of holiday favorites.

New Year Countdown (Grand Ballroom) (1)

 

New Year Countdown at the Grand Ballroom

New Year Countdown at the Grand Ballroom

Performing live music on stage was the all-girl (AJ Salvado, Jen Manalac, and Pia Diamante) Silk Band who rendered rhythm & blues and the best of OPM, from the 1970s to the present.  Right after the countdown, we watched the fireworks outside.

Family bonding at the InterContinental Manila

Family bonding at the InterContinental Manila

InterContinental Manila: 1 Ayala Ave., Ayala Center, Makati City, 1226 Metro Manila.  Tel: (632) 793-7000. Website: www.intercontinental.com/Manila.

The Chinese Compound (Pasay City)

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From My Mother’s Garden, we began the afternoon leg of our AAP-sponsored Pasay Media Familiarization Tour, proceeding, along F.B. Harrison St., to a compound where, upon entering its red main gate, I was instantly transported to another place and time smack in the middle of urban chaos, which makes for an interesting contrast.

The Chinese Compound

The Chinese Compound

Set amidst lush greenery is an interesting enclave of 15 post-World War II, medium-sized and nearly identical 2-storey houses.  All these houses, designed to facilitate air flow before the introduction of air-conditioning, have high ceilings, large windows and a second floor balcony.  Its floors are laden with Machuca tiles.

The boutiue hotel

The boutiue hotel

Formerly a residential abode for the Chinese owner’s large family (it is called the Chinese Compound), this tree-lined compound simply awed me with its old-world charm and serenity.  Some of these 1950s houses are just regular homes of people not connected to the artistic world  but several of the homes now house several interesting establishments such as the art gallery of Albert Avellana (Avellana Art Gallery), the atelier of top fashion designer Jesus “Jojie” Lloren and the furniture showroom (Artelano 11 Furniture Gallery- A11) of interior designer Eric Paras which occupies 2 houses.

Artelano 11 Furniture Gallery

Artelano 11 Furniture Gallery

Five of the houses are also being turned into a boutique hotel, an example of adaptive reuse.  It will have a swimming pool and a restaurant.  We all toured each of these establishments (save for the boutique hotel which was still being constructed) which made the compound an artistic hotbed ever since it was occupied by creative souls. All are filled with art, classic French crockery, rustic table settings and furniture and decor that channel everything from Art Deco to mid century to a more industrial style. The space is reputed to be a source for well-known interior designers all over the country.

An A 11 furniture showroom

An A 11 furniture showroom

The Artelano 11 Furniture Gallery, opened last January 2013, houses, in a home setting, many of Eric’s designer furniture plus some  items he brought in from elsewhere.  They include a double-tiered, mid-century side tables; metal-based furniture pieces such as an iron bed frame with a wood-framed screen upholstered in toile de jouy fabric; a mid-century ambassador’s chair finished in black; an antique writing desk refinished in a dark hue; table tops and shelving units with thick slabs of exotic wood; a 4-panel screen, hung with small artwork, made with old doors; low console table, for Eric’s line of lighting, made from an enormous wood column; a metal framed lamp, topped by a marble cylindrical shade, with geometric patterns; a marble wash basin filled with decorative woven rattan balls; a pair of side tables, topped with polished white marble, with hollowed wood bases etched with designs in a random pattern; a cylindrical center table base wrapped with metal strips in a loose weave pattern; and Eric’s collection of colorful ceramic accessories.

Another A 11 showroom

Another A 11 showroom

The Avellana Art Gallery, opened in 1997, specializes in eye-catching Filipino art. Its genteel old space was turned by Albert into a retro-modern gallery for the functional art.  The two floors are full of art, with the top floor being used for moving exhibitions, a perfect venue for new and more established artists.  At the entrance lobby is the sculpture “Love From Above” by Pidge Reyes.

Avellana Art Gallery

Avellana Art Gallery

Love from Above by Pidge Reyes

Love from Above by Pidge Reyes

At the atelier of Jojie Lloren, we were welcomed by the mild-mannered and pleasant designer himself.  We all listened to him at his spacious living room, sitting at contemporary chairs around an old round table. His atelier looks a bit French Art Nouveau, the compact space of his workshop made stylish and beautified, in the bayanihan spirit, by his close friends.

Listening to Jojie Lloren at his atelier

Listening to Jojie Lloren at his atelier

There were furniture pieces (couch, ceramic garden stools, etc.) from Eric Paras’ A11, a louver screen from Albert Avellana, a bird cage from designer James Reyes, and a chandelier from lighting designer Ricky David; all these things close to Jojie’s heart.  Jojie also added period pieces he bought from thrift shops along Evangelista St. in Makati. His display of Filipino religious includes antique Marian medallions ((that spell out his name) and modern Marian prints by Virgilio Aviado.  There are also paintings, including one from Popo San Pascual.

Reception area with a chandelier from Ricky David, couch from Eric Paras and louver screen from Albert Avellana

Reception area with a chandelier from Ricky David, couch from Eric Paras and louver screen from Albert Avellana

Despite the heavy Pasay traffic and braving the pollution and the gritty stretch of urban decay on that day, the sudden change of atmosphere, once inside this place of calm, was truly worth the extra effort.

Religious art collection of Jojie

Religious art collection of Jojie

Avellana Art Gallery: Unit A-19, 2680 F.B.Harrison St., Pasay City. Tel: (632) 833-8357. E-mail: avellana_gallery@yahoo.com.  Open Mondays to Saturdays, 10 AM to 7 PM.

Atelier of Jojie Lloren: Unit A-17 2680 F.B Harrison St., 1300 Pasay City.  Tel: (632) 556-4725, (632) 641-9347 and (632) 401-1194. Fax: (632) 896-7199. E-mail: lyorenne@hotmail.com.

Artelano 11 Furniture Gallery: Unit A-11, 2680 F.B. Harrison St., 1300 Pasay City.  Tel: (632) 832-9972.  Mobile number: (0917) 837-0115. E-mail: a_eleven05@yahoo.com.  

Automobile Association Philippines (AAP): 28 EDSA, Greenhills, San Juan City.  Tel: (632) 655-5889.  Fax: (632) 655-1878.  E-mail: info@aap.org.ph. Website: www.aap.org.ph.

AAP Travel: G/F, Sea Tower Bldg., 2332 Roxas Blvd. cor. Arnaiz Ave., Pasay City. Tel: (632) 551-0025.  Fax: (632) 551-0014. E-mail: info@aaptravel.com.  Website:www.aaptravel.com.ph.

Manila Bay Cruise

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I recently accepted an invitation from Mr. Roland J. Portes, Gen. Manager of Sun Cruises (who are behind the Manila to Corregidor ferry), to experience, with my family, their one-of-a-kind Manila Bay Cruise on board their newly refurbished M/V Spirit of Manila.  Launched in 2010, this double-decker cruise yacht is docked beside the Jumbo Palace, just after the Tanghalang Francisco Balagtas (Folk Arts Theater).   Joining my wife Grace, son Jandy, daughter Cheska, Marve, my grandson Kyle and I is Grace’s boss Engr. Eulalio “Loy” Ganzon, president of E. Ganzon, Inc., and her officemate Arch. Mamel Yap.

Sunset at Manila Bay

This world-class dinner cruise service, available for Filipinos and international tourists alike, has 3 sailing times – 4:30PM to 5:45PM; 6:15PM to 7:30PM; and 8 PM to 9:15PM.  We opted for the popular second schedule to catch the famous Manila Bay sunset as well as the 7 PM fireworks spectacle of the nearby SM Mall of Asia.  Even before the ferry left at 6:15 PM, the sun was already starting to set, fully round and spectacularly painting the sky with a reddish or orange hue.

MV Spirit of Manila

The M/V Spirit of Manila, which can accommodate between 90 to 120 passengers, has two decks with the dining room just about taking up all the decks. The lower deck is enclosed and airconditioned while the open-air, upper deck is for al fresco dining. Its crew appears to be professionally trained, as Sun Cruises’ parent company, the Magsaysay Group, is known for its training center for seamen.

The airconditioned lower deck

This extraordinary cruise, at a leisurely 13 knots, took at least an hour and fifteen minutes and the waters were calm during this pleasantly tropical Saturday evening.  The clean and seaworthy boat was generally stable throughout the cruise and we traveled between decks without any difficulty. Once we left the dock and got under way, our route across Manila Bay took us southwards, toward the vicinity of SM Mall of Asia, Asia’s third largest mall, before heading toward Roxas Boulevard then turning around and heading back to the dock.

The dinner buffet table

After the sun set, we were awed with the towering skyline of the Ermita and the Makati Business District, visible for a time, as well as Manila’s fine buildings such as GSIS and the Manila Film Center.  Not many get to see Manila’s skyline by the bay, one of the best natural harbors in the world.

Dusk at the Manila Film Palace

Then, as dusk fell, it started to fade as the garish and magnificent lights along Roxas Boulevard, seemingly more attractive when seen from a distance, came to life against the black velvet night sky, its reflection also seen on Manila Bay as we felt the sea breeze.  Come 7 PM, we were treated to a fireworks display set amidst the spectacular changing lights of SM Mall of Asia’s The Eye Ferris Wheel, truly a sight to behold.

The acoustic duo – Irene D. Uriat and Alfredo M. Ladera

An important and much anticipated part of this cruise is the sumptuous, full course (appetizer, soup, main course, dessert) gourmet buffet dinner of Filipino and international (Continental, Oriental and Spanish) cuisine that will surely satisfy anyone’s palate. Catered by Manila Catering Services, the official caterer of the cruise, Sun Cruises’ meals are cooked elsewhere then re-plated on board. The menu for this night consisted of an appetizer of tempura crackers; onion soup; four main courses (pancit bihon with chicharon, fish fillet with sweet and sour sauce, roasted chicken and pork Korean); and dessert of buko pandan and coffee jelly.

Sunset Over Manila Bay

The dinner cruise also included live entertainment in the form of the acoustic duo consisting of vocalist Ms. Faye Irene D. Uriat accompanied by guitarist Mr. Alfredo M. Ladera.  They added to an already relaxing, soothing and romantic atmosphere and, after singing a number of tunes, they gladly asked for the audience’s requests as well as serenaded birthday and wedding anniversary celebrants. It was all great fun.  This enchanting, exhilarating and romantic experience is ideal for those who want to have a quick but unforgettable getaway from the hustle and bustle of Metro Manila.

The garish and magnificent lights along Roxas Boulevard

Sun Cruises: Fernando Ma. Guerrero cor. Paseo Palisoc St., CCP Complex, Roxas Blvd., Pasay City. Tel: (632) 834-6857 to 58, (632) 966-9391 to 92 or (632) 527-5555.  Website: www.corregidorphilippines.com. Cost: Php550 per person (includes roundtrip fee, dinner and live entertainment, drinks not included). Ticketing booth is located at the entrance of the dock. They don’t operate during bad weather and typhoons.