Julio’s Bed and Breakfast (Loay, Bohol)

Posted on 2 July, 2022 by Benjie Layug — Leave a reply

Julio’s Bed and Breakfast

Our final stop in our Bohol culinary tour was at Julio’s Bed and Breakfast, a stone’s throw away from an exquisite shoreline, pristine waters and calming sunset view of Loay Bay.

Loay Bay

Upon arrival, we were welcomed by its eponymous proprietor, Mr. Pio Araneta and his wife Dra. Grace. The restaurant here is the highlight of our visit.

Mr. Pio Araneta explaining how a pasgong (traditional bamboo trap) works

At the restaurant’s kitchen, we first experienced how the popular siakoy (also spelled as syakoy, siyakoy and shakoy) snack, also known as lubid-lubid (“little rope”), was made.

Siakoy making demonstration

This long, braided, soft, puffy and airy pastry, with a similar taste to the sugary doughnuts sold on streetside bakeries, is traditionally made with flour, sugar, salt, and yeast and deep-fried and then sprinkled with white sugar.

Ready-to-eat, deep-fried siakoy

It was best paired with tableya sikwate, native hot chocolate made using the traditional batirol (wooden whisk), and latik (coconut caramel).

Siakoy is best paired with sikwate (hot native chocolate drink)

Pio then demonstrated how generations of locals in the area prepared nilubihang or ginataang kagang (land crab with niyog), an heirloom recipe which incorporated the fat of native land crabs (kagang) with fresh coconut meat and water plus herbs, vegetables and spices.

Nilubihang kagang ingredients

Pio cooking nilubihang kagang

While waiting for the kagang to cook, Ms. Lily Busano (president of the Albur Calamay Makers Association) showed us how kalamay, Bohol’s most popular pasalubong, was prepared and cooked.

Ms. Lily Busano (president of the Albur Calamay Makers Association) with finishe kalamay products

This sticky, sweet delicacy is made with grated coconut, coconut milk, brown sugar, muscovado sugar, peanuts and pilit (ground glutinous rice).

The thick sugary mix being stirred continuously in a giant wok

To create the smooth, sticky consistency, the thick sugary mix was stirred continuously in a giant wok for up to 8 hours. Upon cooling, the kalamay is then transferred, preserved and sold in a type of packaging is known as kalamay-hati, inside signature halved smooth mesocarp of coconuts, locally known as bagul or paya which are then sealed shut with a characteristic red papel de japon (crepe paper).

It can be eaten on its own or turned into a spread for bread or siakoy. The sikwate, siakoy and kalamay are perfect for breakfast, merienda and dessert.

Kagang (Land Crab)

Before we ate the nilubihang kagang, Pio checked out the pasgong, traditional handmade bamboo traps used for catching kagang. The mouths of the traps were previously poised outside the crab holes and left overnight.

Pasgong, a traditional bamboo trap used to trap kagang

Sure enough, two of the traps we observed had crabs caught inside them. There’s no need for bait for this quick and efficient process but each trap could fit only one crab.

Media colleagues try their hand at weaving pouches for puso (hanging rice)

Nilubihang Kagang

While waiting, cocktails were also served. Others also tried their hand in weaving a pouch of palm leaves for puso or tamu (hanging rice). Soon, the nilubihang kagang was done and this was eaten with puso and pork barbecue. Dessert consisted of turon (banana spring rolls).

Media group (L-R): the author, Mr. John Paul Dacuycuy, Mr. Nickie Wang (Entertainment and Lifestyle Editor, Manila Standard), Mr. Anton Delos Reyes (Writer, Malaya Business Insight). Ms. Raye Sanchez (Lifestyle and Entertainment Writer, Daily Tribune), Ms. Christine Alpad (Senior Reporter, Manila Times Lifestyle and Entertainment Desk), Mr. Alvin Alcantara (www.thediarist.ph), Ms. Lourdes Sultan (Travel Village Tours and Travel), Mr. Mario Alvaro Limos (Features Editor, Esquire Philippines), Ms. Roxanne M. Gochuico (Corporate Social Responsibility Manager, Cebu Pacific), Mr. Pete Dacuycuy (Publicist) and Mr. Pio Araneta

Julio’s Bead and Breakfast: Del Carmen St., Villalimpia 303, Loay. Mobile number: (0922) 515-7594.

Bohol Provincial Tourism Office: G/F, New Provincial Capitol Bldg., C. Marapao St, Tagbilaran City, 6300. Tel: (038) 411 3666. Email: inquire@boholtourismph.com. Website: www.bohol.ph.

Department of Tourism Regional Office VII: G/F, L.D.M Building, Legaspi St, Cebu City, 6000 Cebu. Tel: (032) 254 6650 and(032) 254 2811. E-mail: dotregion7@gmail.com. Website: dot7@tourism.gov.ph.

Bluewater Panglao Resort: Bluewater Rd, Sitio Daurong, Brgy. Danao, Panglao, 6340 Bohol. Tel: (038) 416-0702 and (038) 416-0695 to 96. Fax: (038) 416-0697. Mobile numbers: (0998) 843-0262, (0998) 964-1868 (Ms. Margie Munsayac – VP-Sales and Marketing), (0998) 962-8277 (Ms. Louee Garcia), (0919) 912-9663 (Mr. Manuel Sandagaon) and (0908) 890-9013 (Ms. Kate Biol). Email: panglao@bluewater.com.ph, resrvations.panglao@bluwater.com.ph, margie.munsayac@bluewater.com.ph, louee.garcia@bluewater.com.ph, manuel.sandagon@bluewater.com.ph and kate.biol@bluwater.com.ph. Website: www.bluewaterpanglao.com.ph. Manila sales office: Rm. 704, Cityland Herrera Tower, Rufino cor. Valera Sts., Salcedo Village, 1227 Makati City, Metro Manila. Tel: (632) 817-5751 and (632) 887-1348. Fax: (632) 893-5391.

Cebu Pacific Air currently flies seven times daily from Manila and thrice weekly from Davao City (every Wednesday, Friday and Sunday) to Bohol’s Panglao International Airport. Visist www.cebupacificair.com to learn about their latest offerings, safety protocols and travel reminders.

Asinan ni Tan Inong (Alburquerue, Bohol)

Posted on 2 July, 2022 by Benjie Layug — Leave a reply

Asinan ni Tan Inong

From Loboc, we proceeded to Alburquerque (Albur for short) where we visited a remote village to see how the legendary asín tibuok (literally meaning “unbroken salt” or “whole salt” in the Cebuano language of the Boholano people), a rare Filipino artisanal sea salt from Bohol, is made at the Asinan ni Tan Inong.

Made by filtering seawater through ashes, it is usually consumed by being traditionally dusted lightly over plain hot rice, with a few drops of oil, and eaten as is, it is also used to season sinangag (traditional fried rice). Asín tibuok could be grounded and used like regular table salt or chunks can also be broken off and dipped into stews and dishes. A variant of the salt, also known as túltul (meaning “lump”) in Guimaras or dúkdok (meaning “pounded” or “pulverized”) in Capiz, is made similarly to asín tibuok but is boiled with gatâ (coconut milk).

Coconut husks in special pits filled with sea water during the tides

Due to the time-consuming traditional methods of producing salt and the hard work that go with its manufacture, the passing of the salt iodization (ASIN) law (Republic Act No. 8172) in 1995, as well as competition with modern and cheap imported salts prevalent today in the Philippines, the tradition of making asín tibuok and túltul is nearly extinct as it placed further stress on local artisanal salt-makers, forcing many to give up the industry altogether. Today, only a few families make asín tibuok and túltul and, due to their rarity, are considerably more expensive than regular salt.

Coconut husks slowly being burned in a pile

Commonly sold for the tourist trade (for their novelty) as well as to gourmet restaurants that feature Filipino cuisine, the demand for asín tibuok and túltul is usually high but the supply simply cannot keep up. Offering an equally special flavor that undoubtedly makes it one of the rarest kinds of salt in the world, asín tibuok is now listed in the Ark of Taste international catalogue of endangered heritage foods by the Slow Food movement.

The funnel-shaped bamboo filtering device

At the Asinan ni Tan Inong, the 72 year old Nestor Manongas explained the unique and meticulous process in the manufacture of asin tibuok. The Manongas family is the only one family still upholding this tradition in Poblacion, preserving a part of their history that makes use of nature’s best without harming it.

Sea water storage tanks. Sea water is poured into the gasang to leach out the salt from the ashes

Firstly, for several months, coconut husks are left to soak in special pits continually filled with seawater during the tides so that they can absorb the natural sea minerals along the coastline, giving us an idea of how long it takes just to acquire the natural minerals required for asin tibuok’s unique taste which gives off a unique smoky and salty flavor which is tastier and sharper than the kinds of salt you would find in grocery.

The non-iodized salt ready to be packed

Next, the coconut husks are then chopped into small pieces and sun-dried for at least 2 to 3 days. After that, for about a week, these husks are slowly burned in a pile, strictly using native hardwoods such as ipil-ipil, mahogany and duhat, until reduced completely to an activated charcoal (called gasang) which are gathered into a funnel-shaped bamboo filtering device. Seawater is poured into the gasang, allowing the water to leach out the salt from the ashes. The brine or filtered seawater (known as tasik) is then collected into a hollowed out coconut trunk beneath the funnels. This coconut charcoal combination provides the unique aroma of asin tibuok.

Dinosaur-shaped clay pots

The tasik is poured into special dinosaur egg-shaped clay pots and hung in walls in a special furnace where it is boiled for a few hours. Once some evaporate, the pots are continually replenished with more tasik. As both the heat and salt must not be left alone, this final process requires focus and dedication. As more water evaporates, the sea salt gets harder and the process continues until the clay pot gets filled with hard rock salt.

Mr. Nestor Manongas with the finished product

Eventually, the pots will crack, revealing the solidified pinkish mass of salt which is initially very hot. After following this heating process all day, it then requires a whole evening before it will be cool enough to be handled. The finished product is a salt orb in various shades of white, grey and brown and weighing roughly a kilo. As they are sold along with the broken domed pots, they are given them the nickname, in international markets, “the dinosaur egg” due to their appearance. Only 120 pieces of asin tibuok’ are made per batch and these are usually sold out for weeks.

The packaged product

Asinan ni Tan Inong: Brgy. Eastern Poblacion, Alburquerque 6301, Bohol. Mobile number: (0907) 168-0961. Open Mondays-Saturdays, 8 AM to 5 PM.

Fox & Firefly Cottages (Loboc, Bohol)

Posted on 2 July, 2022 by Benjie Layug — Leave a reply

Fox and Firefly Cottages

Lunch during our Bohol Food Trip was to be at Fox & Firefly Cottages, a bed and breakfast place located in the forest areas of Loboc. Upon arrival, we were welcomed with organic, homemade kombucha, an effervescent, sweetened black or green tea commonly consumed for its purported health benefits.

Also on hand to welcome us was owner Ms. Joan Christine Soupart, one-half of the husband-and-wife team (the other is avid Belgian paddle boarder Frederic “Fred” Soupart) behind this quaint inn and its SUP Tours Philippines Sports Center. Joan is a registered Sivananda yoga teacher and ASI SUP yoga flow (Vinyasa) instructor.

Fred and Joan fell in love with the riverside town of Loboc, seeing it as an ideal place to exercise their passion for sports and adventure as well as to live with nature. They built a three-bungalow inn (initially called Paddle’s Up Guesthouse) beside the ever flowing Loboc River in 2013.

Front Desk

Here, they could operate stand-up paddling (SUP) tours. Now it is a favorite destination for adventure seekers, backpackers and nature lovers. According to Joan, the place was renamed (in 2014) after their beloved Pomeranian-Japanese Spitz dog Fox as well as the occasional firefly that flutter around amid the trees along the Loboc River at night.

Fox and Fable Restaurant (second floor)

Lunch was served at their in-house Fox and Fables (also named after their dog Fables) Restaurant along the banks of the Loboc River.

Vegan fare at Fox and Fables Restaurant

Here, they serve traditional, Western, vegetarian and vegan meals anytime of the day. We feasted on healthy meals and vegan dishes such as monggo soup, avocado salad, somtom (Thai papaya salad), talong salad, G-chili shrimps, maranding manok (dry coconut chicken curry), chicken halang-halang soup (a Visayan version of tinola with coconut leaves and moringa leaves) and their vegan kare-kare which was paired with a bagoong alternative made from locally sourced mushrooms.

Author (foreground) at Fox and Fables Restaurant

They also offer specialty beverages such as organic drinks and shakes, cocktails, wines and authentic Belgian beer.

The place also suffered during the onslaught of Typhoon Odette (international name: Rai) and, after repairs and renovation, reopened again on May 1, 2022.

We checked out one of the simply furnished, clean and comfortable cottages, one of 11, of this riverside accommodation facing a rice field.

Suite

Designed in the Filipino traditional architecture, with a modern but cozy feel, it featured a queen-size bed, a spacious patio with hammock, bamboo furnishings, fan (the cool, riverside breeze passes through naturally), mosquito nets and a private, nature-inspired outdoor bathroom.

Outdoor bathroom

Other facilities include a common lounge. They offer mountain biking tours and stand-up paddleboard activities. You may also practice yoga, join a class or meditate at their Santosha Yoga Shala.

Paddle boards for rent

Mountain bikes for rent

The inn also exhibit and sell artworks, inspired by nature and Boholano surroundings, by young Boholano artists. Proceeds from the sale go to a village livelihood program called “Build a Boat, Build a Barangay.”

Artwork of Boholano artists for sale along the hallway

Fox and Firefly Cottages: Barangay Rd., Brgy. Valladolid, Loboc 6316. Tel: (038) 537-9011. Mobile number: (0917) 713-7577, (0947) 893-3022 and (0917) 703-9979. E-mail: info@suptoursphilippines.com. Website: www.foxandthefireflycottages.com and www.suptoursphilippines.com.

Bohol Provincial Tourism Office: G/F, New Provincial Capitol Bldg., C. Marapao St, Tagbilaran City, 6300. Tel: (038) 411 3666. Email: inquire@boholtourismph.com. Website: www.bohol.ph.

Cornerstone Pottery Farm (Silang, Cavite)

Posted on 28 May, 2022 by Benjie Layug — 1 Comment ↓

Cornerstone Pottery Farm

Part Five of “Drive, Dine and Discover” Cavite Caravan

From Likhang Maragondon, we made the long 36.2-km. (one-hour) drive to Silang’s charming Cornerstone Pottery Farm, a producer of world-class handmade stoneware using locally and internationally sourced clay. It was raining heavily when we arrived. Owner Mr. EJ Espiritu was on hand to welcome us. Their beautiful and unique wares can be found in your favorite neighborhood coffee shops, monthly bazaars, and yearly art fairs in the metro. Through the years, Cornerstone Pottery Farm has undoubtedly carved a name for itself in the local pottery business.

Check out “Likhang Maragondon Native Products & Pasalubong Center”

EJ Espiritu

It started from humble beginnings. EJ and his wife Eva, the brilliant minds behind Cornerstone, have created this whimsical space for creators and purveyors alike.

Workshop

EJ, who finished ceramic engineering at the Adamson University, worked with several ceramic companies for 10 years before going to the US, working as a rank and file employee – laboratory technician, section head, sales engineer for a ceramic materials company, then a plant manager for an export firm.

In 1996, as soon as EJ and Eva arrived from the US, where they tied the knot (they had a civil wedding in October 1994 in Wisconsin and a church wedding in June 1995), the first business that they ventured into was ceramics in the garage of the house that they rented at St. Joseph Subdivision in Bacoor, Cavite. After two to three months, as Cornerstone Ceramic Manufacturing, they were offered to be a subcontractor for an export company making ceramic items.

After four years of being a subcontractor in Cavite, they started making functional items and joined trade fairs. That really helped propel the business into the right direction. By year 2000, they started developing the stoneware product line.

An array of mugs of different sizes, colors and shapes

They were challenged to constantly develop new concepts and product lines, deal with clients and innovate. With the new lines they had, they were overwhelmed by the response of the market and they were able to meet some institutional buyers like Regalong Pambahay, Rust, Kultura and other stores and shops. In 2005, they opened their doors as Cornerstone Pottery Farm in Silang.

One of the shop’s three kilns

Before the pandemic happened, sales were very encouraging, with a lot of restaurants in Manila, BGC (Bonifacio Global City), Makati and Alabang actually getting from them like Rambla, Las Flores, Tomatito, James and Daughters, and Black Pig, to name a few. For nearly two decades now, they have also been making mugs for Bag of Beans in Tagaytay.

Showroom

Cornerstone Pottery Farm also had projects with The Fore of Kim Jones, and Tropa Lifestyle Store of Borgy Manotoc and girlfriend Carla Sison. Moreover, the pottery farm regularly joins Art in the Park, Artefino, the Gallery 9 exhibit and American Women’s Bazaar.

Celebrities, who got wind of their unique creations, have trooped all the way to Silang, Cavite to visit their factory and showroom where their handmade ceramic products, earthenware jars and stoneware can be seen.

An array of deformed pottery in the foreground

Normally, they post schedules of workshops that EJ occasionally conducts and people register online. Participants were people from the city who want to try their hands on pottery, learn new skills or make something with their hands (expats, a group of friends, office mates, etc.) or even like a team building exercise or amazing race type of exercise. Some, like Jericho Rosales and his wife Kim Jones, Melai Cantiveros, Drew Arellano and Andi Manzano, have even participated in the pottery workshop.

The production area is where they do the quite labor-intensive process by hand, starting from pouring the clay into the molds, down to assembling, drying, firing, and glazing the items.

Because of the lack of local suppliers of processed clay, they use only 10 to 20% of local materials, with the rest imported clay from a few of companies that import the materials and distribute locally as it is very hard to import materials on their own. Apart from the production area, you can also find the workshop area where EJ usually creates premium items and conducts pottery workshops.

For EJ, pottery, an intricate form of art and it takes a lot of effort to produce both a functional and aesthetic stoneware, let alone find authentic and handmade ones, is his profession, his means of income and his passion.

He takes charge of the technical and production areas in the factory and is also visible in manning the booths, every time they join exhibits and national trade fairs organized by the Department of Trade and Industry and the Center for International Trade Expositions and Missions and other exhibitions. Eva and Angelo, his son, also helps him. During exhibits, Angelo is also very good in talking with clients.

EJ kneading clay

EJ also does purchasing, delivery sometimes and meeting clients while Eva, a natural born artist, designer and IT expert, does the marketing, maintaining the social media presence, developing concepts and themes for upcoming shows or exhibit and designing the booths.

Shaping the kneaded clay using a potter’s wheel

At the shop, Mr. EJ Espiritu demonstrated, using his hands and an electrically driven potter’s wheel, the first two steps in pottery making. To prepare the clay for pottery, EJ kneaded (or wedged) it by hand to push the “air bubbles” out and make it pliable and clean, with an even consistency and right water content.

EJ explaining the pottery making process to Cavite Caravan participants

Next was the actual shaping (or “pinching”), with EJ inserting the thumb of his hand into the clay and lightly pinching with the thumb and fingers while it is rotating. Soon, a bowl came into shape. This was as far as he went. The succeeding steps involved a long drying process until the pottery is bone dry (to prevent cracking and breaking) before firing in the kilns (the shop has three) and glazing. The entire process takes about three weeks to a month.

After the demonstration, EJ ushered us to the showroom where all items on display are for sale. Here, you can purchase pots, hand rolled dinnerware, mugs (ranging from Php 350 to Php 750), tea sets, chimes, vases, sculptural pieces, centerpieces, table top fountains, incense chambers, oil burners and various other ceramic wares. All their glazes are food safe and lead free.

L-R: Arabelle Jimenez, Bernard Supetran, the author, Pam Lee and EJ Espiritu

Cornerstone Pottery Farm: Balubad 1 Cornerstone, B1084 Balubad 1st Road, Service Road, Silang, 4118 Cavite. Mobile numbers: (0919) 995-2022 and (0932) 851-6444. Open Mondays to Saturdays, 8:30 AM to 5 PM. Website: www.cornerstonepotteryfarm.com. E-mail: eve@cornerstonepotteryfarm.com. Facebook: facebook.com/cornerstonepotteryfarm. Coordinates: 14.1948235714, 120.950244642.

How To Get There:

By car: From Makati take the SLEX and turn right to Carmona Exit. From Carmona Exit, continue on Governor’s Dr. to Emilio Aguinaldo Hwy. Turn right at Balubad 1st Rd. There is a signage going to Cornerstone on the right side. Turn right and you’ll find Cornerstone Pottery Farm.
By public transport: From the Ayala triangle, take the Erjohn and Almark bus bound to Tagaytay and then get off at Balubad 1st Rd., then ride a tricycle going to Cornerstone Pottery Farm. Tricycle fare is Php 15 one way.

Automobile Association of the Philippines (AAP): AAP Tower, 683 Aurora Blvd., Quezon City 1112. Tel: (632) 8723-0808 and (632) 8705-3333. Website: www.aap.org.ph. E-mail: info@aap.org.ph.

AAP Lakbay, Inc.: G/F, Sea Tower Bldg., 332 Roxas Blvd. cor. Arnaiz St., Pasay City. Tel: (32) 8551-0025 and (632) 8403-543. E-mail: aaplakbay.caravan@gmail.com. Coordinates:
14.5456531, 120.9914728.

Likhang Maragondon Native Products & Pasalubong Center (Cavite)

Posted on 28 May, 2022 by Benjie Layug — Leave a reply

Likhang Maragondon Native Products & Pasalubong Center

Part Four of “Drive, Dine and Discover” Cavite Caravan

Before proceeding to Silang, we made another 1-km. drive, from Caingin Port (gateway to our Maragondon Cultural River Cruise), for souvenir shopping at Likhang Maragondon Native Products & Pasalubong Center, an award-winning native products enterprise which is helping revive the town’s age-old weaving tradition and bamboo craft by making them available to a bigger market.

Check out “Maragondon Cultural River Cruise”

Ms. Catherine “Therine” U. Diquit, Likhang Maragondon founder

Operating since 2019, it taps into the traditional craftsmanship of local-based and eco-friendly weaving and bamboo products made by 12 skilled Maragondon-based weavers and sewists, most of whom are housewives.

Their tagline is “Heritage in Your Hands, Crafted with a Purpose.” Upon our arrival, we were welcomed by a duo serenading us with native songs and Ms. Catherine “Therine” U. Diquit, the social entrepreneur and founder behind the business.

A duo performing native folk songs

They make all sorts of bamboo products such as lanterns (Php1,100); dinosaur lamps (Php3,000-3,500); dog lamp (Php2,200); hanging lamps (Php1,600); tube lamp (Php1,600); speaker calendar (Php1,500); 3-layer rack (Php3,500); trapezoid lamp (Php1,500); double rectangle lamp (Php1,650); double trapezoid lamps (Php1,600); vase stand (Php2,500); alcohol pump dispensers; planters (Php480); trio containers (Php380); trays (Php380); and frames (Php500). Their energy-saving and eco-friendly bamboo speakers (Php475) have a center slit where you can insert your cell phones and play music.

Other eco-friendly products include hand-painted refrigerator magnets (Php50); pins and key chains; vases; mugs (Php150) and crochet accessories.

Their very fashionable and comfortable handwoven Maragondon habing face masks (Php350 each), the first locally made mask to conform with the recommended minimum specifications, for non-medical masks for community use, of the Department of Science and Technology (DOST), Philippine Textile Research Institute (PTRI), Department of Health (DOH), DOST-PHST (who conducted several tests on the mask) and World Health Organization (WHO), are made by the last three weavers of Maragondon using antique wooden looms.

These face masks are composed of four layers, two inner made with hydrophilic materials, and two outermost made with locally hand loom-woven fabric made with 40% upcycled thread from garment factory rejects. These have been shipped to 13 Philippine regions and 21 countries, including North Africa, Australia, Switzerland, Japan and Canada.

A habing dress for sale

Other habing products include boleros (Php2,500-3,400); blankets (Php1,400); table runners (80” x 8.5,” Php395); throw pillow cases (18’ x 18,” Php800 for a set of 2), toiletry pouches (9.5 x 7,” Php780); pouches (Php270); refrigerator and water dispenser covers; passport/vaccination card holder (Php350); handbags (Php1,500); hair bun twist (Php280); hand towels (Php390 for set of 3); turbans (Php380); place mats (Php1,400 for 8 pieces); braided bracelets (Php120); tote bag (Php975-1,750); aprons (Php480); laptop/document bag (Php1,400); Amigurumi dolls (Php180-200); shades pouch (Php300); coin purses (Php225); clutch bag (Php1,250); kitchen towel set (Php350 for 2); wall mail organizer (Php320); accordion wallet (Php365); kimonos; ponchos (Php900); jackets (Php1,400); ribbon scunchies (Php80); scarves; key holders (5” x 1, Php280); etc.

Several local artists, such as Pastor Lito Gestiada (acrylic paintings) and Dan Turiano (oil pastel ‘Starry Night’ version of Mt. Buntis) have commissioned their masterpieces at Likhang Maragondon. Some artists have also painted the bamboo products to give more colors and design.

They also sell native delicacies such as delectable puto with dinuguan (Php600 for 20 pieces); peanut butter (Php250); yema (Php70); onde-onde; gourmet tinapa (Php250); chili garlic oil (Php120); adobong mani (Php110); biko; atsara (Php250); Ala Carding Backfat chicharon (Php110); Kusina ni Ingga vinegar (Php90-120); ube; flavored palitaw; etc.

Likhang Maragondon Native Products & Pasalubong Center: Brgy. Garita A, 4112 Maragondon, Cavite. Mobile number: (0995) 138-1813. E-mail: likhangmaragondon@yahoo.com. Website: www.likhangmaragondon.com.

Maragondon Municipal Tourism Office: G/F, Municipal Bldg., Brgy. Poblacion 1-A, Maragondon, 4112 Cavite. Tel: (046) 686-3139. Mobile number: (0926) 237-6537.

Automobile Association of the Philippines (AAP): AAP Tower, 683 Aurora Blvd., Quezon City 1112. Tel: (632) 8723-0808 and (632) 8705-3333. Website: www.aap.org.ph. E-mail: info@aap.org.ph.

Cebu–Cordova Link Expressway (Cordova, Cebu)

Posted on 23 April, 2022 by Benjie Layug — Leave a reply

The Php30 billion Cebu–Cordova Link Expressway (CCLEX), also known as the Cebu–Cordova Bridge and the Third Cebu–Mactan Bridge (colloquially known as the Third Bridge locally), is a toll bridge expressway in Metro Cebu which links Cebu City with the municipality of Cordova, Cebu. The artistically designed CCLEX, with its iconic crosses on top of the twin pylons, has now become part of Cebu’s iconic landmarks.

Cebu–Cordova Link Expressway (photo: Pete Dacuycuy)

Here are some interesting trivia regarding this bridge:

After the Mactan-Mandaue Bridge and the Marcelo Fernan Bridge, it is the third road link between Cebu and Mactan
At 8.9-kms. (5.5 mi.) long, it is the longest and tallest bridge in the Philippines, surpassing the San Juanico Bridge, which crosses Leyte and Samar, and the Candaba Viaduct along the North Luzon Expressway in Luzon.
It the longest cable-stayed bridge in the Philippines surpassing the Marcelo Fernan Bridge which also crosses the Mactan Channel.
It the first toll road project of Metro Pacific Tollways Development Corp. (MPTDC) outside of Luzon

Cordova mayor Adelino Sitoy first proposed the bridge to connect his municipality with Cebu City in mainland Cebu. After numerous studies were conducted, the local government of Cordova and Cebu City entered into a public-private partnership with Metro Pacific Tollways Development Corp. (MPTDC). Then chairman of the Regional Development Council of Region VII Michael Rama also lobbied for the construction of the Cebu-Cordova bridge. Rama later became Mayor of Cebu City when the Cebu–Cordova Bridge project was already awarded to a company.

Here is the historical timeline of the bridge:

In January 2016, the Metro Pacific Tollways Development Corp.(MPTDC, the toll road arm of Metro Pacific Investments Corp. which is a publicly listed infrastructure company and a member of the Manny V Pangilinan Group of Companies), through a disclosure to the Philippine Stock Exchange, announced that the construction of the bridge that was to commence in 2017. In the same announcement, MPTDC said that they will be responsible for the construction and financing of the bridge and, once it is completed, its operation as well.
On March 2, 2017, the groundbreaking ceremony for the Cebu–Cordova Bridge was held.
On April 15, 2021, eight ecumenical “Iconic Crosses,” placed on the two main pylons of the bridge, were lighted during the 2021 Quincentennial Commemorations in the Philippines to highlight Cebu’s title of being the Cradle of Christianity in the Far East.
As of September 30, 2021, the bridge is 85.38% complete.
On October 5, 2021, the final concrete pouring in the main bridge deck was held effectively completing the main bridge deck. The entire expressway is expected to be completed in December 2021, with opening slated for the first quarter of 2022.

Designed by the Spanish firms Carlos Fernandez Casado (CFC) and SENER Ingeniería y Sistemas, the local firm DCCD Engineering Corp and the Danish firm COWI did the engineering works. Built by a joint venture between Spanish firm ACCIONA, and Philippine firms First Balfour and DMCI, the bridge was meant to serve as an alternate route serving the Mactan–Cebu International Airport.

The 390-m. long (1,280-ft.) cable-stayed main span of the CCLEX is supported by 145-m. (476-ft.) high twin tower pylons whose design was inspired by the historic Magellan’s Cross Pavilion. The main span of the 27–m. (89 ft.) wide bridge has a 51 m. (167 ft.) navigation clearance for maritime traffic which allows ships to traverse the bridge. Viaduct approach bridges and a causeway, as well as toll road facilities (its design inspired from the eight-rayed sun of the Philippine flag) on an artificial island, also form part of the CCLEX. It has two lanes in each direction, with a design speed of 80 kms. per hour allowing it to serve at least 50,000 vehicles daily.

The planned expressway extension to Lapu-Lapu City will have a direct connection to the Mactan–Cebu International Airport and will add roughly 5 to 8 kms. (3.1 to 5.0 mi.) to the expressway, and is estimated to cost ₱10 billion to ₱15 billion.

To provide safe and seamless travel between Cebu City and Mactan, which hosts the Mactan–Cebu International Airport, Mactan Export Processing Zone, and some of the country’s premier resorts and hotels, the CCLEX will use an all-electronic toll collection system. The toll plaza, with eight toll lanes (our lanes in each direction) will use radio-frequency identification or RFID electronic payment for toll collection.

Cebu Provincial Tourism Office: 3/F, East Wing, Capitol Executive Bldg., Capitol Site, Cebu City 6000. Tel: (032) 888-2328. E-mail: sugbuturismo@gmail.com.

Department of Tourism Regional Office VII: G/F, LDM Bldg., Cor. Legaspi and M.J. Cuenco Sts., 6000 Cebu City. Tel: (032) 412-1966, (032) 412-1967, (032) 254-3534, (032) 254-6650 and (032) 254-2811. Fax: (033) 335-0245. Email: phdot7@tourism.gov.ph. Airport Office Tel: (032) 494-7000 loc. 7548.

Cebu Pacific Air has daily flights from Manila to Cebu’s Mactan International Airport. It also has flights from Clark (Pampanga) and Davao City. Book via www.cebupacificair.com.

Archdiocesan Shrine of St. Anne (Taguig City, Metro Manila)

Posted on 16 April, 2022 by Benjie Layug — Leave a reply

Archdiocesan Shrine of St. Anne

The Archdiocesan Shrine of St. Anne, also known as St. Anne Parish Church or Santa Ana Church, is situated next to the Taguig River and across Plaza Quezon, where the statue of the late Manuel L. Quezon was erected when he was still serving as President of the Philippines. Saint Anne is the patroness of the church.

The church complex. On the left is the convent

This church, as well as the convent, was first built, in 1848, of nipa and bamboo by Fr. Diego Alvarez, O.S.A.. The construction of the present concrete church, from 1609 to 1611, was supervised by Fr. Hernando Guerrero, O.S.A..

The rightside of the church. On the foreground are statues of St. Lorenzo Ruiz and St. Pedro Calungsod

During the November 30, 1645 Luzon earthquake, both were considerably damaged and later repaired. Both survived the June 3, 1863 earthquake but the June 20, 1880 earthquake cracked the bell tower sending its bell crashing on the church roof, destroying the choir loft and part of its framework.

Bas-relief of St. Anne

In 1881, the reconstruction of both buildings was started by Fr. Patricio Martin, O.S.A. and, in 1885, continued by his successor Fr. Guillermo Diaz, O.S.A.. In 1898, the buildings were occupied by American soldiers and used as their headquarters. Both were restored by Filipino secular Frs. Vicente Estacio (1905 to 1916, he oversaw the installation of the church’s sawali ceiling) and Gerardo Maximo (1938 to 1951). The fence was left unfinished.

The four-storey bell tower

In August 1943, during the Second World War, hundreds of male inhabitants were incarcerated by the Imperial Japanese, for a number of days, inside the church. In 1987, in preparation for the parish’s 400th anniversary, more improvements in the edifice were undertaken by Msgr. Augurio Juta and Msgr. Emmanuel Sunga.

Historical plaque installed by the National Historical Institute (now the National Historical Commission of the Philippines) in 1987

On July 25, 1987, a historical marker was installed on the church facade by the National Historical Commission of the Philippines. The church was also declared and recognized by the government as a cultural property based on the official list provided by the National Commission for Culture and the Arts, National Historical Commission of the Philippines and the National Museum of the Philippines.

The church interior

AUTHOR’S NOTES:

The church’s barn-style Baroque facade has flat pilasters, a first level with a centrally located arched main entrance flanked by statued niches; a second level with a centrally located rose window flanked by semicircular arched windows and a triangular pediment with a centrally located statued niche.

The four-storey bell tower, on the church’s right, has a two-storey square base (with a bas-relief of St. Anne), an octagonal third storey (with semicircular arched windows) and a round upper storey topped by a dome.

The choir loft area

The church houses the Museo de Sta. Ana which contains religious relics and a repository of artifacts detailing the rich religious culture and history of Taguig since 1857.

The main altar area

Archdiocesan Shrine of St. Anne: 1 Liwayway St., Brgy. Sta. Ana, Taguig City 1637, Metro Manila. Tel: (632) 8642-4434. Fax: (632) 8643-5204. Feast of St. Anne: July 26.

How to Get There: Taguig City is located 16.3 kms.(a 45-min.drive) from Manila, 10.4 kms.(a 25-min.drive) from Paranaque City and 8.4 kms. (a 20-min.drive) from Makati City.

Diocesan Shrine and Parish of Our Lady of Light (Cainta, Rizal)

Posted on 14 April, 2022 by Benjie Layug — 1 Comment ↓

Church of Our Lady of the Light

This town’s original church (at the time was under the patronage of Saint Andrew the Apostle), designed by Fr. Juan de Salazar, S.J., was first constructed in stone by Jesuit Fr. Gaspar Marco in 1707 and completed in 1716, during the time of Joaquin Sanchez, S.J, while he was still the parish priest.

In 1727, a painting of Our Lady of Light was brought in from the Kingdom of Sicily and was chosen as the new patroness of the church and, by 1760, the church was officially declared a separate parish.

NHI plaque

On February 23, 1853, the church building was damaged by an earthquake, both its roof and one wall collapsed while the walls of the parish rectory or convent sustained cracks. By 1884 the parish had been named Our Lady of Light (Virgen ng Caliuanagan or Madre Santissima del Lumen in Tagalog and Spanish languages), as attested in the August 5, 1884 letter by Don Mariano de San Juan (the pastor of Cainta) to Fray Pedro Payo, O.P., the Archbishop of Manila.

Church transept

In March 1899, during the Filipino-American War, the church and parish rectory, including the venerated Marian image within, were burned down. The stones from the church walls were later used to build roads. The monogram of the Holy Name of Jesus “IHS” (Latin: Iesus Hominum Salvator), attached at the top portion of the church’s façade, was the only mark left of its Jesuit beginning.

For 67 years, the church was left in ruins, without any significant restoration. On June 10, 1966, after Archbishop of Manila Rufino Cardinal Santos gave permission for the church’s reconstruction on February 15, 1965, the reconstruction of the church began. The facade was kept untouched. When one of the beams collapsed, the reconstruction was halted and further study was conducted to determine if it could withstand earthquakes.

The four-storey bell tower

On June 15, 1967, reconstruction resumed and it was completed and blessed by Rufino Cardinal Santos on February 25, 1968. In 1975, the administration of the parish was turned over, by the CICM Missionaries, to the Archdiocese of Manila, with Monsignor Alfredo Santa Ana, HP, as its first diocesan parish priest. Until 1998, the church was the sole parish in the entire municipality of Cainta.

Parola ng Panampalataya

In 2007, the church was declared as a historical site by the National Historical Institute (NHI), now the National Historical Commission of the Philippines (NHCP), for its significant role during the Philippines-American War.

Statue of Our Lady of Light

On December 1, 2007, the newly renovated altar and the new historical marker of the church were blessed. On December 1, 2012, an episcopal coronation, coinciding with the parish fiesta, was performed by the local bishop with the assistance of Ms. Henrietta De Villa, former ambassador to the Vatican.

Statue of Padre Pio of Pietrelcina

After the burning (during the Filipino-American war in 1899) of the original enshrined icon of the Blessed Virgin Mary (a painting of Our Lady of Light brought to Cainta in 1727 from Ferrara, Italy by Fr. Bartolommeo Cavanti, SJ.), the venerated Marian image was recreated by Philippine National Artist Fernando Amorsolo.

Old church bells

On December 6, 2017, the image was granted the papal bull of canonical coronation by Pope Francis and it was crowned on December 1, 2018, the first Marian image in Philippine history to be pontifically crowned as an artistic painting. On the same day as its canonical coronation, the parish church was consecrated and elevated into a Diocesan Shrine.

Bell inscribed with “Ano D 1835 – N.TRA SENORA D LALVZ” (Year 1835 – Nuestra Senora de la Luz”)

The original church, including the sacristy and rectory, measured approximately 44 m. (144 ft. long), 15 m. (48 ft.) wide and 11 m. (36 ft.) high. Made of stone and limestone (calycanto), its roof was tiled and had a dome (media naranja), transepts (crucero) and five buttresses (contrafuertos).

Old bell inscribed with “S. ANDRES APOSTOL – SIENDO CURA EL PRESVITERO D. AGUSTIN MENDOSA – SE PVNDIO ESTA ESQVILA MAYO 15 D 1847” (“St. Andrew the Apostle – When Don Agustin Mendosa was parish priest – who built this small bell on May 15, 1847”

The nave’s spacious presbytery had windows and skylight (claraboya) while the belfry had four bells, two of which were small bells rung by rotation (esquitas). The baptistery, with an arched ceiling, was situated at the bottom of the belfry.

Statue of Resurrected Christ

Flooring was made of wood. It also had a choir loft, communion rail, pulpit and three doors. Five retablos are found inside the church, with the original picture of the Our Lady of Light enshrined at the central niche.

Statue of the Crucifixion

The sacristy measured approximately 8.2 m. (27 ft.) long, 7.3 m. (24 ft.) wide and 5.5 m. (18 ft.) high. The parish rectory, with a kitchen, two brick chimneys, four rooms and offices, measured approximately 37 m. (120 ft.) long, 15 m. (48 ft.) wide and 7.3 m. (24 ft.) high.

Church interior

The larger reconstructed church measures 68 m. (223 ft.) long, with a transept 42 m. (138 ft.) wide, and with walls 10.5 m. (34.4 ft.) high. It has a semicircular arch main entrance and four lateral doors.

There are separate chapels for the Blessed Sacrament and for Our Lady of Light and Saint Andrew, both enshrined at the sides of the sanctuary.

Main altar

When we entered the churchyard from the main road, we only saw the side entrance near the altar. To see the beautiful façade, we had to first enter the church then go out the front door.

Side altar

It’s simple, two-level Early Renaissance façade, with superpositioned paired columns, has semicircular arch statued niches, a square window at the choir loft and a circular window at the tympanum of the triangular pediment. The attached four-storey bell tower, on the church’s right, has semicircular arched windows.

Choir loft

Church of Our Lady of Light: Andres Bonifacio Ave. (near Cainta Junction), Brgy. San Andres, Cainta 1900, Rizal. View Map>>> Tel: (02) 8655-0840. Feast of Our Lady of Light: December 1.

How to Get There: Cainta is located 29.1 kms. from Manila and kms. (a drive) from Antipolo City.

Immaculate Conception Cathedral (Pasig City, Metro Manila)

Posted on 14 April, 2022 by Benjie Layug — Leave a reply

Immaculate Conception Cathedral

The mother church and the episcopal seat of the Diocese of Pasig, the Immaculate Conception Cathedral, also called the Pasig Cathedral, is one of the oldest structures in the city. This church was first built by Augustinian missionaries in 1575. Initially consecrated to the Visitation of Our Lady (consecrated on July 2, 1573), on April 25, 1587, the parish was changed to Our Lady of the Immaculate Conception, the patroness of the Augustinian priests during that time.

The Neo-Classical and Colonial Baroque facade

The present structure, started before 1639, was said to have been finished during the brief British occupation of Manila from 1722 to 1747 (when it was converted into horses’ stables and served as the British military headquarters) and its belfry used as a watchtower against the Spanish defenders. In 1764, it underwent repairs.

Historical Plaque

The stone convent was built by Fr. Felix Trillo. In 1879, the church was restored by Fr. Simon Barroso who also replaced the roof with galvanized iron. From 1910 to 1979, the parish was administered by the CICM Fathers, after which the Filipino clergy took over the pastoral leadership of the parish.

The four-storey bell tower

In 2000, the Immaculate Conception Cathedral was declared one of the Jubilee churches in the Archdiocese of Manila (the parish was a part of this archdiocese until August 21, 2003 when the district was elevated as a separate and independent diocese on October 2001, with the elevation of the parish into the status of a cathedral).

Porta Sancta

On December 7, 2008, the Solemn Canonical Coronation of its patron as Our Lady of the Immaculate Conception of Pasig was led by Edward Joseph Adams (the Apostolic Nuncio to the Philippines), the Bishop of Pasig, and the entire faithful in the diocese.

The cathedral interior

In February 2021, as part of the Celebration of the 500th year anniversary of the arrival of Christianity in the Philippines, the cathedral was named as a Jubilee Church in the Diocese of Pasig along with the Diocesan Shrine of St. Martha and Parish of St. Roch in Pateros and the Archdiocesan Shrine of St. Anne in Taguig City.

The choir loft

The main altar and retablo

On March 25, 2022, after a 7 year-long restoration and renovation of the cathedral (including the addition of ceiling paintings), the cathedral was inaugurated and blest by Bishop Mylo Hubert Vergara.

Ceiling painting

Its plain Neo-Classical and Colonial Baroque façade has triglyphs that separate the first level from the second and third level; semicircular arched doors and windows, and small rose windows and the Augustinian symbol of the stylized heart on the second level.

Left side altar

Right side altar

Its triangular pediment, with its centrally located statued niche and supported by slender Doric columns, is topped by a Renaissance-influenced min-balustrade lacing the raking cornice. The massive five-level bell tower is located on the church’s left.

Old church bells

Candle gallery

Immaculate Conception Cathedral: Justice Hubson St., Plaza Rizal, Brgy. Malinao, Pasig City 1600, Metro Manila. Tel: (632) 8641-1784 and (632) 8864-6197. Fax: (632) 641-3460. E-mail: iccpasigdop@gmail.com. Feast of the Immaculate Conception: December 8.

How to Get There: Pasig City is located 13.1 kms. (a 50-min. drive) from Manila, 8.7 kms. (a 30-min. drive) from Taguig City and 6.9 kms. (a 25-min. drive) from Mandaluyong City.

Carve, Mold, and Assemble: Modern Sculptures in the Philippines (National Museum of Fine Arts, Manila)

Posted on 1 April, 2022 by Benjie Layug — 1 Comment ↓

Carve, Mold, and Assemble: Modern Sculptures in the Philippines

Carve, Mold, and Assemble (Lilok, Hulma at Tipon): Modern Sculptures in the Philippines, a permanent exhibit at the fourth floor of the National Museum of Fine Arts, is dedicated to Philippine Modern Sculptures.

Check out “National Museum of Fine Arts”

Gallery entrance

Featured here are notable works of Abdulmari Asia Imao (1936-2014), National Artist for Sculpture in 2006; Arturo R. Luz (1926-2021), National Artist for Visual Arts in 1997; and Jerry Elizalde Navarro (1924-1999), National Artist for Visual Arts in 1999.

Sarimanok (Abdulmari Imao, 1996)

Imao wanted to improve, revitalize and popularize the sarimanok (an ornate chicken-like figure or a decorative bird notable in Maranao Art and considered to be as old as their epics) style and he produced a number of artworks of the indigenous motif from the Southern Philippines in various media.

Fishes (Abdulmari Imao, 1976, bronze)

His 1996 brass sculpture, entitled Sarimanok, a 2 m. high sculpture work of art, was given, through the Magbassa Kita Foundation, Inc., as a gift to the Filipino people by the family of the Late National Artist on July 23, 2015.

Sarimanok (Addulmari Imao, 1969, bronze)

Also in this exhibition gallery are his three bronze sculptures, two sculptures entitled as Fishes, dated 1976, and another Sarimanok (1969).

Study of Figura in Red (Arturo Luz, 2012, steel and acrylic paint)

Study of Homage to Antoni Tapies in White (Arturo Luz, 2012, steeland acrylic paint)

The works of Arturo R. Luz on display at the gallery are his experiment with sculptural abstraction using metal, concrete and wood which began in 1969.

Study of Homage to Eusebio Sempere (Arturo Luz, 2012, steel and acrylic paint)

Study of Homage to Fernando Zobel in Red (Arturo Luz, 201, steel and acrylic paint)

Study of Homage to Gerardo Rueda in Red (Arturo Luz, 2012, steel and acrylic paint)

As with his paintings, he continued the Neo-Realist themes and the linear simplicity and geometric form in his geometric sculptural work.

Study of Modula for the National Museum (Arturo Luz, 2012, stainless steel)

Study of Tribal in Rust (Arturo Luz, 2012, steel and acrylic paint)

The sculpture of Jerry Elizalde Navarro, an avid experimenter and versatile craftsman, are actually assemblages constructed out of found objects and discarded machine parts.

Desparecido (Jerry Elizalde Navarro)

Man and Woman (Jerry Elizalde Navarro)

His linear sculptures use rods, pipes and mixed media using plexiglass sheets. His wife, Virginia Ty-Navarro (1924-1996), is also an artist whose bronze and brass sculpture Taurus (1975) is also on display in the gallery.

Idiot Box (Jerry Elizalde Navarro, 1964, wood)

Taurus (Virginia Ty Navarro, 1975, bronze and brass)

Works of other renowned artists are also on display here. Lamberto R. Hechanova (1939-2014), reputed as an incubator of Modernist sculpture in the 1960s, introduced the combined use of aluminum with wood and plexiglass in his massive and innovative sculptures and assemblages.

Space Aura (Lamberto Hechanova, 1963, oil paint and various metal)

Allegory in Aluminum (1968, aluminum and glass), by Lamberto Hechanova, landed first place at the First Exhibition of Philippine Sculptors in 1968

Cestae III (Lamberto Hechanova, 1969, oil paint and various metals)

Renato Rocha (1937-2001) used acacia, molave and narra in sculpting abstracted figures of animals, family, women and other free forms as they were stylishly economical, glowing with mellow warm patinas and strong and lasting in character.

Air Flight (Renato Rocha, 1973, wood)

Two Figures (Renato Rocha, ca. 1964, wood)

Federico D. Estrada (1915 – 1999), a lesser known contemporary of Vicente Manansala, was the first Filipino to work at the atelier of Pietro Amberti.

Affection (Federico Estrada, 1963, narra wood)

World Brotherhood (Federico Estrada, ca. 1960, wood)

Holy Family (Federico Estrada, 1963, narra wood) bears three faces – the Mother, Father and Son.

Pietri taught him the secrets of synthetic marble, floating strips, spray dotting, molding and general sculpturing from 1932-1940.

Ramon Orlina glass sculptures. L-R: Lumba-Lumba (1988, carved green glass), Community of Joy (2020, carved peach amber glass), Gothic (1988, carved green glass) and Elegance in Simplicity (2020, carved green glass)

Ramon Orlina (b. 1944), who transfigured glass into art, was the first to carve figures out of blocks of glass using the cold method, cutting, grinding, and polishing his work with improvised tools and instruments, a feat at that time yet unreplicated even in highly industrialized countries.

Paglalakbay (Rey Paz Contreras, 1990, molave wood)

Rey Paz Contreras (1950 – 2021) worked with urban refuse and environmental materials as artistic media. He was inspired by the indigenous Filipino culture and created visual forms of contemporary images that explore a distinct Filipino aesthetics.

Supine (Ting Ping Lay, ca. 1995, bronze)

Early Spring (Ting Ping Lay, ca. 1990, plaster of paris)

Filipino-Chinese sculptor Ting Ping Lay’s (1927 – 2021) simple, minimalist, and semi-abstract works features figures that are quietly and gently contorted, placed in poses that are restrained, dignified, and mature. His two sculptures (Early Spring and Supine) were donated by his son Lionel Ting on December 18, 2020.

Eshu (1997, cold-cast marble and volcanic cinder), a floor piece by Agnes Arellano, was created for the Sixth Biennial of Havana and was exhibited there. Eshu, the “Lord of the Crossroads,” the mediator between men and the gods, is shown with two pairs of feet and three hands. He holds a cigar, a trident and a wine bottle.

Agnes Arellano (b. 1949) works primarily in plaster, making life-size figure sculptures. Her work explores women’s issues relative to the portrayal of women in traditional Asian sculpture by reinterpreting local myths.

Mother and Child Fusion MSeries’19 (Jose Datuin, 2019)

Gemini (Jose Datuin,undated, wood and brass)

Jose F. Datuin (b. 1956) is known for his ability to use lightly visualized symbolism with stainless steel as his material. He is also known for circular abstractions which demonstrate unity, both in material and form.

Balut Vendor (Idefonso Marcelo, 1982, adobe)

Father and Child (Idelfonso Marcelo, 1982, adobe)

Ildefonso Marcelo (b. 1941) is known for using blocks of stone in creating figures that connote strength and permanence.

Doxology (Julie Lluch, terracotta and acrylic) consists of two life-size works representing the two selves of the same woman. One is sprawled on the ground, cold and lifeless, while the other is alive.

Julie Lluch (b. 1946), a self-taught sculptor, became seriously involved in art in 1976. Working in terracotta, stone, ceramic and bronze, she is known for her life-size portraits and groups that present satirical commentaries on the relationship between the sexes.

Portrait of Celia Molano (Julie Lluch, 1996)

Eduardo Castrillo (1942 – 2016), considered to be the most avant-garde sculptor in the Philippines, he created, with the help of a group of assistants, sculptures by hammering, cutting and welding metal, especially brass, bronze and steel.

Success (Eduardo Castrillo, 1980, bronze)

The Martyrdom of Dr. Jose Rizal (Eduardo Castrillo, 1991, bronze)

He also incorporated other materials (wood, plastic, plexiglass, ivory, neon lights, etc.) into his works and his oeuvre included free-standing abstract pieces, functional art pieces, art jewelry, body sculptures and liturgical art.

Jade Carrier (Solomon Saprid, 1989, metal and jadeite)

Solomon Saprid (1917 – 2003) was best known for his Brutalist School bronze sculptures. He welded scraps of metal together and the intricately sculpted brass details produced a characteristic jagged effect.

Poseidon (Solomon Saprid, 1981, black metal)

Duddley Diaz (b. 1947) created a powerful body of work that defies categorization, with sculptures that challenge notions of identity, sexuality, culture, and history.

Pagsilang (Duddley Diaz, 2006, wood and acrylic)

Departing from the impersonal and rationalist aesthetic of academic art, his work daringly combines the values of classical Renaissance sculpture with atavistic sources of inspiration in the figures of ancient mythology and Christian liturgical art.

Bloom (Rosario Bitanga Peralta, 2005, stainless steel and resin)

Rosario “Charito” Bitanga Peralta (b. 1934) is the Philippines’ first and foremost woman abstract artist. Her creative sculpture, consisting of metal and terracotta pieces, was predominantly inspired by the 1950s Abstract Expressionism and Minimalism.

Mother and Child (Francisco Cruz, 1967, adobe)

Excessive Machine (Ruben de Vera, ca. 1969, wood)

Bust of Edgar Allan Poe (Ricaredo Demetillo, 1969, adobe)

Other artists featured include Francisco Cruz, Rosalio Alcala, Jr., Ricaredo Demetillo (1920 – 1998), T. Rivera, Roberto Balajadia (b. 1945) and Ruben De Vera (b. 1942).

Weight and Balance (T. Rivera, undated, adobe)

Modernization of Manila (Rosalio Alcala Jr., undated, adobe, cement, concrete and metal)

Homage to Botong (Roberto Balajadia, 1989, adobe)

Carve, Mold, and Assemble: Modern Sculptures in the Philippines: Gallery XXIX, Philippine Modern Sculpture Hall, 4/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100. Email: inquiry@nationalmuseum.gov.ph. Website: nationalmuseum.gov.ph. Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free. Coordinates: 14°35′13″N 120°58′52″E.

This travel blog, a diary of the author’s local and international travels, aims to provide the reader with news and information on people, places and events that would interest the avid traveler and tourist. But, it also aims to be much more, providing insights on the wonders of this beautiful country, as well as the world, beyond the strict confines of the city. Have a BLAST seeing old churches, exotic temples, educational museums as well as palm-fringed islands; white sand beaches; thundering waterfalls; placid lakes; fiery sunsets; turquoise seas; cathedral-like caves; swirling rivers; majestic mountains; stupendous, amphitheater-like rice terraces; awesome volcanoes and the like. Get to know the movers and shakers in the tourism industry; find out where to titillate the palate; rejuvenate your body; feed your adrenalin, unwind and relax; satisfy your craving for history and culture; and find out what's being celebrated and where.

BENJAMIN “BENJIE” LAYUG, an architect by profession (he finished his B. S. Architecture degree from the University of the Philippines Diliman in 1982), is also a copy editor for two publishing houses; travel writer; blogger; architectural historian; author; concert. movie and musical reviewer (for www.pep.ph); and a motivational speaker.

As a free-lance travel writer, he has, in the past, contributed articles to Travel Update, Philippine Daily Inquirer, COLORS, TODAY, 7107 Islands Magazine, Business Day and Bluprint. He currently writes for Artplus Magazine and the Business Mirror.

He is also the author of the following travel books:

A Philippine Odyssey (New Day Publishers, 2005)
Pathfinder’s Travel Guide: Boracay (Great Books Trading, 2006)
A Tourist Guide to Notable Philippine Churches (New Day Publishers, 2007)
A Tourist to Notable Philippine Historical Landmarks, Monuments and Shrines (New Day Publishers, 2010)
A Tourist Guide to Notable Philippine Museums (New Day Publishers, 2012)

Some of his books now appear in the local library shelves of the National Library of the Philippines, De La Salle University, Ateneo de Manila University, University of Sto. Tomas, U.P. Diliman, Centro Escolar University, San Sebastian College, Miriam College, Silliman University, to name a few, as well as internationally at the National Library of Australia and the University of California Berkeley Library.

Now a senior citizen, he is probably one of the oldest, if not the oldest, active travel blogger in the country today. He also has a lifestyle blog called F.Y.I.:Firing Your Imagination (www.firingyourimagination.blogspot.com). Benjie has traveled to two-thirds (53) of the country’s 81 provinces and over 20 countries in 4 continents.