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Badju

Badju is a type of garment used by the ethnolinguistic groups of Tausug and Yakan. It has narrow sleeves and gold, silver, and bronze buttons, used by both men and women.

Baju Melayu is a traditional garment that originally originated in Malacca. It is also used in the countries of Brunei, Malaysia, Singapore, parts of Indonesia, and the southern Philippines. Badjuh Lapih (men’s upper garment) and Badju Lapi (women’s upper garment) are usually worn in Sawal, a pair of briefs made of Yakan cloth and with vertical designs. After that, it will be overwritten by Pinalantupan.

The gold buttons on the badju are called “batawi”. Its number and size serve as a symbol of the state in society.

Ang Badju ay isang uri ng kasuotan na ginagamit ng mga etnolinggwistikong grupo ng Tausug at Yakan. Ito ay may makipot na manggas at mga ginto, pilak, at tansong butones, na ginagamit ng mga lalaki at babae.
Ang Baju Melayu ay isang tradisyunal na kasuotan na orihinal na nagmula sa Malacca. Ginagamit din ito sa mga bansa ng Brunei, Malaysia, Singapore, ilang parte sa Indonesia, at katimugang Pilipinas. Karaniwang itiniterno ang Badjuh Lapih (pang-itaas na damit panlalaki) at Badju Lapi (pang-itaas na damit ng pambabae) sa Sawal, isang pares ng salawal na gawa sa tela ng Yakan at may mga patayong disenyo. Pagkatapos nito ay saka ito papatungan ng Pinalantupan.
Tinatawag namang “batawi” ang mga gintong butones sa badju. Ang bilang at laki nito ay nagsisilbing simbolo ng estado sa lipunan.

Source: Koh, J. Baju kurong. Singapore Infopedia. Retrieved from https://eresources.nlb.gov.sg/…/SIP_2013-09-06_173434…

Pasilan, E. (2011). The Yakans Of Lamitan, Basilan and The Evolution of their Traditional Costumes. Agham Tao, Volume 20. Retrieved from https://pssc.org.ph/…/4-The%20Yakans%20of%20Lamitan…

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Sa pamamagitan ng Museo ng Muntinlupa at UP College of Home Economics Costume Museum, ang glosaryong ito ay magtatampok ng iba’t ibang kasuotang Pilipino, magmula sa aksesorya ng ulo hanggang sa saplot sa paa.

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Kamisa de Tsino

On Lifestyle

The Kamiso de Tsino is said to have originated in China. It is a simple upper garment with two or three buttons and long sleeves. It is believed that this garment spread in the Philippines due to the influence of Chinese traders and travelers.

They are usually made of sinamay, piña, and cotton. It has also become a regular garment of Filipino workers because of its fresh and lightweight fabric.

Moreover, it was also used as an everyday garment during the Spanish period and is still used today as an interior. Over time, as the country changed the style of kamisa de tsino also changed. It has added a collar and other details so this is the origin of the idea of Barong Tagalog.

Sinasabi ang mga Kamisa de Tsino ay nagmula sa bansang China. Ito ay isang payak na kasuotang pang-itaas na may dalawa o tatlong butones at may mahabang manggas. Pinaniniwalaang ang kasuotang ito ay lumaganap sa Pilipinas dahil sa impluwensya ng mga mangangalakal at manlalakbay na Tsino.

Karaniwang gawa sa sinamay, piña, at cotton ang mga ito. Naging regular din itong kasuotan ng mga manggagawang Pilipino dahil sa presko at magaan nitong tela. Bukod dito, ginagamit din itong pang-araw-araw na kasuotan noong panahon ng Kastila at ginagamit pa rin ngayon bilang panloob.

Sa paglipas ng panahon, kasabay ng pagbabago ng bansa ay nagbago rin ang estilo ng mga Kamisa de Tsino. Nadagdagan na ito ng kuwelyo at iba pang detalye kung kaya’t ito ang pinagmulan ng ideya ng Barong Tagalog.

Source: Gonzales, R. (October 28, 2020). Journey of the Barong Tagalog, Spanish Colonial Philippines Part 12: the Camisa de Chino. Pineapple Industries. Retrieved from https://pineappleind.com/blogs/about-us/journey-of-the-barong-tagalog-spanish-colonial-philippines-part-12-the-camisa-de-chino
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Sa pamamagitan ng Museo ng Muntinlupa at UP College of Home Economics Costume Museum, ang glosaryong ito ay magtatampok ng iba’t ibang kasuotang Pilipino, magmula sa aksesorya ng ulo hanggang sa saplot sa paa.

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Dalantal

On Lifestyle

Dalantal is a clothing that resembles an apron and is joined by straps. It is usually worn by cooks and housemates as an outer garment.

Wearing a short apron became popular during the 1840s to 1860s. However, due to the reduction in the length of the aprons it became similar to the aprons worn by housemates. This was the reason why such attire did not last long.

During the Spanish period, the dalantal served as clothing for the wealthy and working women. Since then, aprons have become popular among wealthy mestizos.

Ang Dalantal ay isang tapis na may hawig sa apron at pinagdudugtong ng mga tali. Karaniwan itong isinusuot ng mga tagapagluto at kasambahay bilang pang-ibabaw na damit.
Naging popular ang pagsuot ng maiksing tapis noong panahon ng 1840 hanggang 1860. Ngunit, dahil sa pagbawas sa haba ng mga tapis ay naging kawangis ito ng mga dalantal na gamit ng mga kasambahay. Ito ang naging dahilan kung bakit hindi nagtagal ang ganitong kasuotan.
Noong panahon naman ng Kastila, ang dalantal ay nagsilbing kasuotan para sa mga mayayaman at manggagawang babae. Magmula noon, naging sikat na ang mga kasuotang tapis sa mayayamang mestiza.

Source: Coo, S. (2014). “Clothing and the Colonial Culture of Appearances In Nineteenth Century Spanish Philippines (1820-1896)”. Université Nice Sophia Antipolis. Retrieved from https://tel.archives-ouvertes.fr/tel-01126974/document

Gonzales, G., Higgins, Mark. (2015). “Fashionable Filipinas: An Evolution of the Philippine National Dress in Photographs 1860-1960”. Slim’s Legacy Project Inc. Suyen Corporation Inc.

Salvador, F., Encanto, G. (1992). “Patterns for the Filipino Dress From the Traje de Mestiza to the Terno (1890s-1960s)”. Cultural Center of the Philippines.

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Sa pamamagitan ng Museo ng Muntinlupa at UP College of Home Economics Costume Museum, ang glosaryong ito ay magtatampok ng iba’t ibang kasuotang Pilipino, magmula sa aksesorya ng ulo hanggang sa saplot sa paa.

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Fantoche

On Lifestyle

Also called talsok and tusok, Fantoche is a “U” shaped hair accessory. It is a silver clamp with small points.

Fantoches are usually decorated with gold, small pearls, or crystal. It is attached to the clamp with a spring that gives it a heart-shaped illusion.

Tinatawag din na talsok at tusok, ang Fantoche ay isang aksesorya pang-buhok na may hugis na “U”. Ito ay pilak na pang-ipit na may maliliit na tulis.
Ang mga Fantoche ay karaniwang may dekorasyon na ginto, malilit na perlas, o bubog. Idinudugtong ito sa pang-ipit gamit ang spring na nagbibigay rito ng ilusyon na hugis-puso.

Source: Gonzales, G., Higgins, M. (2015). “Fashionable Filipinas: An Evolution of the Philippine National Dress in Photographs 1860-1960”. Slim’s Legacy Project, Inc. Suyen Corporation Inc.

Bernal, S., Encanto, R. (1992). “Patterns for the Filipino Dress From the Traje de Mestiza to the Terno (1890s-1960s)”. Cultural Center of the Philippines.

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Ginalmadan

On Lifestyle

The ginalmadan is an accessory bracelet that is part of G’addang’s traditional attire.

To this day, the G’addangs still continue to maintain their traditional attire with amazingly decorated beads and precious stones.

In making the accessories, the G’addangs emphasize its design.

Ang ginalmadan ay isang aksesoryang pulseras na parte ng tradisyunal na kasuotan ng G’addang.
Hanggang sa kasalukuyan, ang mga G’addang ay patuloy pa rin sa pagpapanatili ng kanilang tradisyunal na kasuotan na may kamangha-manghang dekorasyong beads at mamahaling bato.
Sa paggawa ng ng mga aksesorya, binibigyang diin ng mga G’addang ang disenyo nito.

Source: Garra, A. (2016). Indigenous Garments and Accessories of the G’addang in Barangay Ngileb: Documentation on Production. Sampurasum e-Journal Vol 02, No. 01. Retrieved from file:///C:/Users/Museo/Downloads/125-1-315-2-10-20171122.pdf

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Art by Andrei Mendiola
Graphics by Xena Cabahug
Research and Text by Angelene Payte

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Church of San Andres Apostol

On travel

Church of San Andres Apostol

Sagñay, Camarines Sur Sagnay’s CHURCH OF SAN ANDRES APOSTOL was established as a Franciscan mission in 1684. Its church was probably the last of a series of several structures built during the Spanish era.

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Hilet

On Lifestyle

Hilet, or also called hilot, are an accessory tied at the waist with decorative brass bells. It originated in Lake Sebu and is commonly used by the T’boli ethnolinguistic group.

T’boli women often wear hilets when there are celebrations.

Ang mga hilet, o tinatawag ding hilot, ay isang aksesorya na itinatali sa baywang na may dekorasyong brass bells. Nagmula ito sa Lawa ng Sebu at karaniwang ginagamit ng etnolinggwistikong pangkat na T’boli.
Kadalasang isinusuot ang mga hilet ng mga kababaihan ng T’boli kapag may mga pagdiriwang.

Source: PASACAT Philippine Performing Arts Company. Spirit of the T’nalak. Retrieved from https://pasacat.org/tboli-1
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This project is in line with the observance of 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), by virtue of Proclamation No. 1128, s. 2021.
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Sa pamamagitan ng Museo ng Muntinlupa at UP College of Home Economics Costume Museum, ang glosaryong ito ay magtatampok ng iba’t ibang kasuotang Pilipino, magmula sa aksesorya ng ulo hanggang sa saplot sa paa.
Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

You may want to read:

Ikat

On Lifestyle

The dyeing technique that is used to produce designs on a fabric is known as ikat. This method is used in India, Indonesia, Japan, and Southeast Asian countries and was brought by traders to Europe and South American countries. Each weaving group has its own design, styles and color preferences.

In this method, bundles of yarn were tightly wrapped together and then dyed as many times as needed to create the desired pattern on the fabric. The weavers use skilled accuracy to line up the individual strands on the loom in order to produce the desired pattern. Warp ikat, weft ikat, and double ikat are the three different varieties of ikat weaving processes.

Ang Ikat ay isang pamamaraan ng pagtitina sa mga tela na may tatlong uri: warp ikat, weft ikat, at double ikat.

Source: Ross, C. (2015). All you need to know about Ikat weaving. The Sustainable Fashion Collective. Retrieved from https://www.the-sustainable-fashion-collective.com/2015/08/28/need-know-ikat-weaving
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Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Jusi

On Lifestyle

Jusi, or husi in Filipino, is a delicate Philippine vegetable fiber used in making Barong Tagalog and other dresses. Usually, jusi silk is thinner, more durable, and has a tighter weave than piña silk.

The pineapple plant produces a fine lustrous fiber from which the piña fabric is woven. Another fabric produced from this fiber and in combination of silk, cotton, or abaca is the jusi.

Banana leaf fibers were used to make the first Jusi fabrics in the Philippines. However, in the 1960s, China’s mechanically woven silks became the preferred choice of fabric. Since then, jusi fabrics made from banana leaf fibers were no longer made and jusi was incorporated into China’s silk organza.

Jusi clothing has a traditional and elegant look, yet it is usually cheaper. When touching a jusi fabric, one will see its smoothness and translucency of it compared to other natural fibers.

Ang Jusi o Husi ay isang pinong hibla na kadalasang ginagamit sa paggawa ng mga Barong Tagalog at mga kasuotan.

Ang Pilipinas ay nakilála sa pamamagitan ng paggamit ng dahon ng pinyá na pinagmumulan ng himaymay para makagawa ng tela. Mamahalin ang telang hinabi sa himaymay ng pinyá. Isa pang telang likha mula sa himaymay nito ay ang jusi na kombinasyon ng pinyá, seda, cotton, at abaca.

Source: Traveler on Foot. Lumban Embroidery. Retrieved from https://traveleronfoot.wordpress.com/tag/jusi/

Pineapple Industries. Jusi. Retrieved from https://pineappleind.com/collections/jusi

Barong ‘R Us. (March 4, 2020). Knowing your Filipiniana Fabrics. Retrieved from https://barongtagalogstore.com/2020/03/04/knowing-your-filipiniana-fabrics/

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This project is in line with the observance of the 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), by virtue of Proclamation No. 1128, s. 2021.

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Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Kgal Nisif

On Lifestyle

K’gal nisif is a traditional clothing worn by T’boli women. The word “k’gal” is a T’boli term that refers to a blouse or shirt, while the term “nisif” pertains to the cross-stitch embroidery technique used on the cloth.

K’gal nisif is an artistically embroidered blouse with animal and human symbols represented by the colors red, white, and yellow. These blouses were initially made of abaca before the emergence of commercial cloth. Each k’gal nisif is one-of-a-kind, and while some of the patterns and symbols are repeated, no blouses are the same. The finer the stitching, the more intricate its art becomes.

Ang K’gal nisif ay isang tradisyunal na kasuotan ng kababaihan ng T’boli na ginamitan ng katangi-tanging pamamaraan ng pagbuburda bilang disenyo.

Source: PASACAT Philippine Performing Arts Company. Spirit of T’nalak. Retrieved from https://pasacat.org/tboli-1

Tboli Arts. Tboli Arts: An Appreciation. Retrieved from https://www.tboliarts.com/welcome.html

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This project is in line with the observance of 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), under Proclamation No. 1128, s. 2021.

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, Sophia Luces, and Angelene Payte
Text by Angelene Payte

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Lufid

On Lifestyle

Lufid is a traditional attire worn by females from Mountain Province. It is a native garment with a rectangular shape kept in place by a thick woven bark-fiber belt called wakes or bakget.

The lufid is made up of horizontal stripes with various forms and colors. Many of them contain white strips in the middle that stand out from the other strips. The garment’s main colors are white, red, black, and green.

Women wear several types of the lufid based on each occasion. Kinarchago is what they wear to work in the fields. At important gatherings, they wear an inorma, a longer and more intricate skirt. A dark-colored kayin skirt is designed exclusively for the deceased. The name of each type is based on the design’s most prominent characteristic.

Ang Lufid ay tradisyunal na kasuotan na hugis parihabang palda na isinusuot sa may baywang. Kalimitan itong ginagamit ng mga kababaihan ng Mountain Province.

Source: Nguslab, C. (2007). “Symbolic Meaning of Figures in the Bontoc Tapis”. Benguet Undergraduate Thesis. Benguet State University La Trinidad. Retrieved from www.digilib.bsu.edu.ph/greenstone/collect/undergra/ index/assoc/HASH9d77.dir/doc.pdf

Ramos, D. (March 10, 2021). 5 skirt-like garments that shine a light on pre-colonial Filipino women. CNN Philippines. Retrieved from https://cnnphilippines.com/life/style/fashion/2021/3/10/pre-colonial-filipino-women-dress.html

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This project is in line with the observance of the 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), by virtue of Proclamation No. 1128, s. 2021.

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, Sophia Luces and Angelene Payte
Text by Angelene Payte

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Kako

On Lifestyle

Kako

There’s more to Mayon than its perfectly-shaped cone! Today we learn about Bicol’s rich Natural Heritage as the National Museum of the Philippines Bicol introduces you to rare endemic carnivorous plant species of pitcher plants, or Nepenthes ventricosa of the Nepenthaceae family.

Documented growing in the Mayon Volcano Natural Park (MVNP), this pitcher plant is endemic to the Philippines, particularly in Aurora, Bataan, Cagayan, Ilocos Norte, Ifugao, Mountain Province, Nueva Ecija, Nueva Vizcaya, Quezon, Rizal, and in Bicol region in Albay, Camarines, and Sorsogon. This species thrives on lower mossy oak forests, from 1,000 – 2,000 meters above sea level.

Locally known as kako in Bicol, N. ventricosa is known for its hourglass-shaped pitcher; it is strongly narrowed in the middle as if forming a waist. They are either epiphytic (growing on trees) or lithophytic (growing on rocks). Read further about N. ventricosa’s distinct characteristics here: bit.ly/3FrhjDc

What makes pitcher plants like N. ventricosa more interesting is that they are carnivorous. But how exactly does this carnivory take place?

Pitcher plants belong to the genus Nepenthes. Their stems and leaves have no direct roles in carnivory, but their pitchers, which are found at the tip of the tendrils extending from the leaf blades, are lined with a collar-like structure called the peristome. Interestingly the upper part of the inner side of the pitcher is covered with slippery wax crystals; at the bottom, it is lined with glands that secrete acids and enzymes that help facilitate the digestion of the prey.

Pitcher plants thrive abundantly in the tropical forests of Southeast Asia, but they also have high species diversity in Sumatra, Borneo, and the Philippines. There are around 60 species of pitcher plants identified in the country. Check Philippine Nepenthes here: bit.ly/3FlO7gW

The N.ventricosa is classified as endangered per DENR Administrative Order 2017-11. Habitat loss and poaching are threats to this species population.

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Malong

On Lifestyle

The malong is a large, wrap-around skirt traditionally used by the Maranao and Maguindanao. It can be worn by men and women as formal wear and as a dress. The malong is traditionally woven by women using a backstrap loom.

Maranao and the Maguindanao’s malongs are made from silk (ceremonial occasions), or cotton (everyday wear). The malongs for everyday wear are usually a design of simple plaids and stripes. For special occasions, a more extravagant silk-made malong is worn. It can be in the color of red, purple, and yellow. Today, malongs with dark shades of red and magenta are preferred by men while women prefer yellow. Malong can be used as capes, cowl, bag, head gear, or curtain.

Ang Malong ay isang malaking uri ng pang-ibabang kasuotan na ginagamit ng mga etnolinggwistikong pangkat na Maranao at Maguindanao.

Source: Ayala Foundation Inc. (2016). The Art of Malong. Google Arts and Culture. Retrieved from https://artsandculture.google.com/exhibit/the-art-of-the-malong-ayala-museum/owKCDBBzFibtIg?hl=en

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This project is in line with the observance of 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), by virtue of Proclamation No. 1128, s. 2021.

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Naguas

On Lifestyle

Naguas, also known as enaguas in Spanish, is an undergarment worn beneath a skirt or saya. During the Spanish colonial era, upper-class women usually wore this clothing.

Enaguas are placed beneath the skirt to make it appear fuller while making the waist look smaller. These undergarments were mainly made of silk or cotton fabrics. Enaguas from the Philippines have embroidered petticoats and crocheted embellishments. It is an important element in the wardrobe of a wealthy woman in the Philippines.

Ang Naguas ay panloob na kasuotan na isinusuot sa ilalim ng mga palda o saya. Gawa ito sa sutla o koton.

Source: Coo, S. (2014). Clothing and the colonial culture of appearances in nineteenth-century Spanish Philippines (1820-1896). Université Nice Sophia Antipolis. Retrieved from https://tel.archives-ouvertes.fr/tel-01126974/document

Sison, S. (Sep. 14, 2019). Here’s Everything You Need to Know About the Filipiniana Attire. Preview Ph. Retrieved from https://www.preview.ph/fashion/filipiniana-glossary-everything-you-need-to-know-a1879-20190914-lfrm

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This project is in line with the observance of the 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), under Proclamation No. 1128, s. 2021.

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, Sophia Luces, and Angelene Payte
Text by Angelene Payte

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Oban

On Lifestyle

Oban is used by the Ifugao women to carry their children. It is a rectangular cloth that swings over a woman’s back and acts as blanket slings. As an acceptance for their paternal obligations, fathers are required to give mothers an oban blanket.

Adult Ifugao should also be carried in a spiritual blanket-sling by a certain class of ancestral deities who are summoned before embarking on a dangerous journey.

Ang Oban ay isang tela na ginagamit ng mga kababaihan ng Ifugao pampasan ng mga sanggol. Itinuturing din ito na mahalagang bahagi ng kanilang kultura.

Source: Milgram, L. (1992). “Narratives Of Action And Identity In Cloth: The Textiles Of Highland Luzon, The Philippines”. Textile Society of America Symposium Proceedings. Retrieved from https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1577&context=tsaconf
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This project is in line with the observance of 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), by virtue of Proclamation No. 1128, s. 2021.
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Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Ifugao House

Payneta

On Lifestyle

Payneta is an ornamental comb made of turtle shells, horn, and silver. These large decorative combs were usually worn under a mantilla or a lace headdress during the Spanish era.

Paynetas were once worn as an ornament for Filipino women’s perfect buns by the previous generations. Paynetas are more than just combs; they are also an indicator of one’s social status. The wealthier the wearer, the more bejeweled the comb.

Ang Payneta ay isang palamuting suklay na karaniwang gawa sa kala at pilak. Isinusuot sa ilalim ng mantilla o belo ng mga mayayamang India at Mestiza sa panahon ng kastila.

Source: Gonzales, G., Higgins, M. (2015). “Fashionable Filipinas: An Evolution of the Philippine Nationa Dress in Photographs 1860-1960”. Slim’s Legacy Project Inc. Suyen Corporation Inc.

Salvador, F., Encanto, G. (1992). “Patterns for the Filipino Dress From the Traje de Mestiza to the Terno (1890s-1960s)”. Cultural Center of the Philippines.
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This project is in line with the observance of the 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), under Proclamation No. 1128, s. 2021.
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Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Ramillete

Qipao

On Lifestyle

Qipao, also known as cheongsam, is a body-hugging Chinese clothing that originated in Manchu. During the 1920s and 1930s, it was known as the Mandarin gown until Chinese socialites and upper-class women in Shanghai modified it.

The qipao is a close-fitting, high-necked garment with the skirt slit halfway up the side. It can be seen to be worn by the Chinese in the Philippines as well as Manchu women.

Ang Qipao, tinatawag ding cheongsam, ay isang kasuotang pambabae na nagmula sa Manchu, China.

Source: China National Silk Museum. (2019). “Qipao: Carrier of Various CUltures”. Google Arts and Culture. Retrieved from https://artsandculture.google.com/story/qipao-carrier-of-various-cultures-china-national-silk-museum/

Coo, S. (2014). Clothing and the colonial culture of appearances in nineteenth century Spanish Philippines (1820-1896). Université Nice Sophia Antipolis. Retrieved from https://tel.archives-ouvertes.fr/tel-01126974/document
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This project is in line with the observance of 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), by virtue of Proclamation No. 1128, s. 2021.
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Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Rayadillo

On Lifestyle

The word “rayadillo” is a Spanish word that means “striped material”. In the mid-nineteenth century, it was a blue and white fabric used to manufacture military uniforms for Spanish colonial soldiers.

Veterans of the Philippine Revolution and the Philippine-American War wore rayadillo uniforms the most in the Philippines. These outfits were designed by the artist Juan Luna. He also developed the uniform collar insignia that distinguished the services: Infantry, Cavalry, Artillery, Sappers, and Medics.

Nowadays, the Armed Forces of the Philippines wear rayadillo-inspired ceremonial uniforms on national events.

Ang Rayadillo ay isang uri ng uniporme pang-militar na yari sa tela. Sa kasalukuyan, ginagamit ang puti’t asul na Rayadillo bilang ceremonial uniform.

Source: Desarollo. (2016). “Filipino Uniforms 1896-1902. Katipunan and Republican Army”. 1898 Miniaturas.Retrieved from https://www.1898miniaturas.com/en/article/filipino-uniforms-1896-1902/

Falanghe Filipina. (May 2, 2008). “Uniformology II”. Recuerdos de Militaires de Filipinas. Internet Archives. Retrieved from https://web.archive.org/web/20080502095850/http://falangefilipinas.4t.com/photo5.html
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This project is in line with the observance of 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), under Proclamation No. 1128, s. 2021.
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Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

You may want to read:

Umpak

On Lifestyle

The umpak is a clothing used by the ethnolinguistic group Bagobo. It is a closed-front upper garment for men. Shell disks solidly cover the entire front as well as the cuffs. This type of clothing is among Bagobo’s textiles dyed using ikat. It is made from abaca, cotton threads, natural and synthetic dyes.

Umpak ka bayi or “blouse with beadwork” takes three to four months to produce because the beadwork is hand-sewn. The designs of umpak are influenced by symbols from dreams and the environment of the Bagobo. Sewing umpak is passed down from one generation to another. Umpak is also used by the Lumad, Manobo, B’laan and Divavaan Mandaya.

Ang Umpak ay uri ng panlalaking kasuotan na yari sa abaka o koton. Karaniwang alinsunod sa mga panaginip at kapaligiran ng mga Bagobo ang disenyo ng pananamit na ito.

Source: The Field Museum. (2021). “12883, Coat Umpak”. The Field Museum Heritage Collection. Retrieved from www.philippines.fieldmuseum.org/heritage/catalogue/1030326

National Commission for Culture and the Arts. (2015). “Umpak Ka Bayi”. Retrieved from https://web.facebook.com/NCCAOfficial/photos/the-umpak-ka-bayi-or-blouse-with-beadwork-takes-three-to-four-months-to-finish-a/10153926079670283/
………

This project is in line with the observance of 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), by virtue of Proclamation No. 1128, s. 2021.
—–

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Kamuyot

Suklang

On Lifestyle

Suklang is a type of clothing used by Bontoc Igorot men. It is a basket-weave hat that is worn on the back of the head, kept in place by a cord, and is usually hidden by the front hair. It is made from rattan with red bamboo and yellow reeds as decorations.

The form and shapes of suklang varies. The design, materials, and style used in suklang signify the status of the Bontoc man in society. It is created in every pueblo in the Bontoc culture area, but it is not worn beyond the western border, as proven by the fact that it is not worn in Agawa, Mountain Province.

Ang Suklang ay isang kasuotang pang-ulo na yari sa yantok o kawayan at isinusuot ito ng mga kalalakihan na Ifugao. Nagsisilbi rin itong pamantayan ng katayuan sa lipunan base sa materyales na gamit.

Source: Jenks, A. “Bontoc Igorot Clothing: Man’s Clothing”. Retrieved from https://anthrosource.onlinelibrary.wiley.com/doi/epdf/10.1525/aa.1904.6.5.02a00070
………

This project is in line with the observance of the 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), by virtue of Proclamation No. 1128, s. 2021.
—–

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Maria Clara Gown

On Lifestyle

The Traje de Mestiza, commonly known as the Maria Clara gown, is an aristocratic version of baro’t saya. It is defined with a more voluminous bell-shaped sleeve with a fitted bodice and a more elaborated skirt with a short saya de cola.

As Americans emerged as a new colonial power at the end of the 19th century, Spaniards’ influence began to wane. With the influence of Hollywood’s latest fashions, traje de mestiza became the conventional clothing for females of all socioeconomic strata. Traje is a Spanish term meaning garment while Mestiza pertains to a woman with mixed ancestry.

Ang Traje de Mestiza ay isang pambabaeng pananamit na gawa sa mga katutubong tela alinsunod sa Europa ang estilo at silweta. Kilala rin ito bilang kasuotan ni Maria Clara.

Gonzales, G., Higgins, Mark. (2015). “Fashionable Filipinas: An Evolution of the Philippine National Dress in Photographs 1860-1960”. Slim’s Legacy Project Inc. Suyen Corporation Inc.
………

This project is in line with the observance of the 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), under Proclamation No. 1128, s. 2021.
—–

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Filipiniana Dress

Vestidos de Bautizo

On Lifestyle

Vestidos de Bautizo or Trajes de Bautismo

One of the many traditions of the Catholic religion is baptizing children at an early age. Traditional baptismal gowns called vestidos de bautizo or trajes de bautismo are long, white, gender-neutral garments worn by Catholic children. During the Spanish colonial period, it was commonly worn by infants from upper-class families.

Vestidos de bautizo are generally in white color, symbolizing the infant’s purity and his/her conversion to Christianity. It is usually made from luxurious fabrics such as piña and sinamay, with a cotton inner garment.

Ang Vestidos de Bautizo ay kasuotang ginagamit ng mga sanggol tuwing binyag. Puti ang kulay nito bilang simbolo ng pagiging dalisay ng mga sanggol. Pinalamutian naman ito ng mga burda at engkahe.

This project is in line with the observance of the 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), by virtue of Proclamation No. 1128, s. 2021.
—–

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Agujas

On Lifestyle

Agujas is a type of accessory used to pin mantilla or veils to the hair. These accessories have coiled and texture parts to keep the veils in place. Agujas is used also as a decoration to the hair. Usually it has gold, silver, and pearls as designs.

Ang Agujas ay isang aksesorya pang-buhok na ginagamit sa mga mantilla at belo na may palamuting ginto, pilak, o perlas.

Source: Gonzales, G., Higgins, Mark. (2015). “Fashionable Filipinas: An Evolution of the Philippine National Dress in Photographs 1860-1960”. Slim’s Legacy Project Inc. Suyen Corporation Inc.
………

This project is in line with the observance of 2021 Year of Filipino Pre-Colonial Ancestors (YFPCA), by virtue of Proclamation No. 1128, s. 2021.
—–

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Salakab

On Lifestyle

Salakab

Salakab is a basket-shaped fish trap made up of bamboo sticks fastened by rattan ropes.

According to the book titled “An Evaluation of the Fishery Resources of Laguna de Bay” written by Medina N. Delmendo, a census made on the fishing activity in Laguna de Bay revealed that there were about 13,000 full-time fishermen that fish in the lake in 1963-1964. Because of that, the mechanization of fishing gear became prevalent.

An example of a traditional fishing instrument is a Salakab. It is used to catch fish in Laguna de Bay a long time ago. It is a basket-shaped fish trap made up of bamboo sticks fastened by rattan ropes. The wide ends of this instrument are buried in the shallow parts of the water to trap the fish while the hole on the top is where the fisherman inserts his hand to get it.

As fishing is one of the major parts of Muntinlupa’s common source of livelihood, Museo ng Muntinlupa’s building was inspired by the Salakab; designed by Arch. Beaudon Causapin, City Architect of Muntinlupa to showcase the rich culture and local history of Muntinlupeños.

Text by Denise Cerdeña.
Image by Xena Cabahug.

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Wakis

On Lifestyle

The women of Bontoc Igorot wear the wakis, a rigid, corded girdle with a long fringe.

The girdle is worn and used together with lufid clothing. It is about 4 inches wide and wraps around the waist twice.

It usually has a white base-color and designs in yellow, green, black and red. Lufid and wakis are said to be the extent of women’s ordinary clothing.

Sa pamamagitan ng Museo ng Muntinlupa at UP College of Home Economics Costume Museum, ang glosaryong ito ay magtatampok ng iba’t ibang kasuotang Pilipino, magmula sa aksesorya ng ulo hanggang sa saplot sa paa.

Source: Jenks, A. (1904). “Bontoc Igorot Clothing”. American Anthropologist, Volume 6. Retrieved from https://anthrosource.onlinelibrary.wiley.com/doi/epdf/10.1525/aa.1904.6.5.02a00070

Art by Andrei Mendiola
Graphics by Xena Cabahug
Research by China Ho, Dan Racca, and Sophia Luces
Text by Angelene Payte

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Tumbang Preso

On Entertainment

Tumbang preso tests your accuracy and hand eye coordination.

You will need a tin can and slippers to play.

Tumbang Preso Rules:

The taya” guards the tin can.
Players take turns trying to knock over the tin can.
When the tin can is knocked over, the taya must put the can upright while the other players try to retrieve their slippers, lest they be tagged as the next “taya”.

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Tiklaw

Makahiya

On Lifestyle

Makahiya (the shy plant) folds its leaves inwards when touched. The sense of touch (pansalat) is one way to celebrate Filipino culture.

Magandang puno ka nga
pero di tumulong sa kapwa
Ayan tuloy, nagalit si diwata
Pak! Isa ka nang makahiya.
Ang alamat ng makahiya, bow.

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Taguan

On Entertainment

Have you heard of the game Taguan?

Tagu-taguan is a timeless popular Filipino game that can be both played inside and outside the house. Three members or more are enough to enjoy this simple game. You can hide in every corner of the street or in every corner of the house. As long as the “it” won’t find you. Every kid will find this game intense fun.

How do you play taguan?

There should be 3 players or more. Anywhere is good as long as you can hide. Take out your hands, and then whoever’s hand is the odd one, They’re “it”. And then odd one out! That’s how they get their “it”. The “It” stays in a corner, eyes closed, and there he or she would count. Everybody run, go hide! After counting, seek them all. Whoever you see first, they’re the next “it”!

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Sipa

Graciano Lopez Jaena

On People

Graciano Lopez Jaena was born on 18 December 1856. He began his involvement in the propaganda movement at home in Iloilo, where he wrote “Fray Botod,” a satire on friars.

He then escaped to Spain where he became the first editor-in-chief of La Solidaridad. He also wrote various speeches and articles admired by his peers and sympathizers of the Filipino cause. He died in Barcelona, Spain on 20 January 1896.

Although his remains could not be located, he is remembered fondly through a holiday in Iloilo City and Province and a monument in Intramuros, Manila, and Jaro, Iloilo City. Through the efforts of the Dr. Graciano Lopez Jaena Foundation and the Iloilo City Government, a museum and library in his honor is set to rise on his birthplace.

Graciano Lopez Jaena
Ipinanganak noong 18 Disyembre 1856. Anak nina Placido Lopez at Maria Jacobe Jaena. Tumungo sa Espanya noong 1880 at naging tagapagtatag at unang patnugot ng La Solidaridad noong 15 Pebrero 1889. Sumulat ng mga lathalain sa iba’t ibang pahayagan sa Europa na nagtatanggol sa mga karapatang Pilipino. Nakiisa kina Rizal, Del Pilar at ibang Pilipino sa kilusang pagpapalaganap noong 1882. Mananalumpati at mamamahayag . Namatay sa Barselona, Espanya, 20 Enero 1896.

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Galicano Apacible

On People

On the 25th of June, 1864, Galicano Apacible was born in Balayan, Batangas.

Galicano Apacible was a doctor. He was also a propagandist in Spain who, with Jose Rizal and other Filipino leaders, co-founded the La Solidaridad. He served as its first president.

During the revolution, and then the war against the United States, he became the chairman of Comite Central Filipino in Hong Kong. He also served as a diplomat working for the recognition of Philippine sovereignty.

After the war, he entered politics. He was elected as governor and assemblyman in Batangas from 1907 to 1916. A year later, he was appointed as secretary of Agriculture and Natural Resources. Galicano retired from politics in 1921 and lived a civilian life until his death on 22 March 1949. He died at the age of 85 years old.

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Butaka

Who is Mamerto Natividad Jr.?

On People

Mamerto Natividad Jr. was born on 12 June 1871 in Bacolor, Pampanga. At a young age, he showed his tendency to resist injustice. As a student in Colegio de San Juan de Letran, he became a student leader. He was also said to have fired a gun at at Spanish official who slapped his younder brother when he failed to salute a Spaniard and a priest. For this he was detained but escaped. He also shot but failed to kill a Spaniard who harassed his family.

Natividad’s family managed many farms in Nueva Ecija, some of which he managed as early as 13 years old. On 2 December 1893, he married Trinidad Tinio of Aliaga, Nueva Ecija. They moved briefly to Manila when Trinidad suffered a miscarriage but returned home to Aliaga when the Revolution broke out.

Unfortunately, Mamerto was captured by the Spaniards a few months later on 31 October 1896. He was incarcerated in the Old Bilibid Prison. When he was freed, his brothers joined the Revolution to avenge their father’s death. When the Spaniards retaliated by burning their house and sugar mills, they joined the revolutionaries in Cavite and were accommodated by Baldomero Aguinaldo in his home in Binakayan, Kawit, Cavite.

Natividad participated in various battles in Imus, Cavite; San Rafael; and in Baliuag, Bulacan. He also raided towns in Nueva Ecija. On 6 June 1897, he was designated as Lieutenant General. Upon Aguinaldo’s evacuation out of Cavite in June 1897, he was tasked with finding a new headquarters. He recommended Biak-na-Bato in San Miguel, Bulacan and prepared it.

When Aguinaldo arrived, he issued a proclamation written by Jose Clemente Zulueta and Mamerto Natividad. It called for the expulsion of friars, return of land to Filipinos, freedom of the press, religious tolerance, and legal equality.

Mamerto participated in various battleds while the Revolution was based in Biak-na-Bato. His forces became victorious in San Rafael, Bulacan (5-7 August 1897), Aliaga, Nueva Ecija (30 August 1897), and Karanglan, Nueva Ecija (9 October 1897).

On 1 November 1897, the Filipino revolutionaries adopted a Constitution with Natividad as one of the signatories. However, he opposed the ongoing negotiations for a truce; he was still passionate against the Spaniardswho destroyed their home and farms.

Negotiations would only proceed unimpeded when Natividad unfortunately died on 9 November 1897. After overwhelming the Spaniards at Entablado, Cabiao, Nueva Ecija, he was shot by a Spanish Sniper while the Spaniards were retreating.

Natividad was buried with military honors at a river near Biak-na-Bato. Aguinaldo and truce negotiator Pedro Paterno gave eulogies. His family later tried to find his tomb but changes in the landscape prevented them.

Natividad’s patriotism lived on in his family. His brothers rose among the ranks in the Filipino army; Benito and Salvador as general, Joaquin a colonel, and Francisco and Pedro as lieutenants. Salvador’s wife, Delfina Herbosa, would be among the makers of the first National Flag in May 1898.

His uncle was the propagandist and general Jose Alejandrino while Manuel Tinio, the youngest general in the revolutionary army under Aguinaldo, was a relative of his wife.

The town of General Mamerto Natividad in Nueva Ecija, General Natividad Street in Taguig and M. Natividad in Manila are named after him.

In 2007, the National Historical Commission of the Philippines unveiled a marker on his life in Cabiao, Nueva Ecija.

Juan Cailles Monument

On travel

Juan Cailles Monument

Yesterday, the National Historical Commission of the Philippines and the Provincial Government of Laguna led the celebration of Gen. Juan Cailles’ 150th birth anniversary.

A wreath was offered to Cailles’ monument by MGen Rowen S Tolentino of the Philippine Army who served as guest of honor. Messages were delivered by NHCP Chairman Dr. Rene R. Escalante, Laguna Governor Ramil L. Hernandez, and Santa Cruz Mayor Edgar S. San Luis.

Governor Hernandez and Director Melody Olavidez also presented a commemorative stamp to the guest of honor.

Cailles is best known for leading Filipino forces in Southern Luzon, particularly in Laguna, during the Philippine-American War. His most celebrated victory is at the Battle of Mabitac on 17 September 1900. After his surrender in 1901, he served in various government positions–the longest of which was as Governor of Laguna.

Juan Cailles
(1871-1951)
Makabayan, Rebolusyonaryo. Isinilang sa Nasugbu, Batangas, 10 Nobyembre 1871. Nagkamit ng Teacher’s Diploma, Paaralang Normal ng mga Heswita, 1890. Nagturo sa Baryo Amaya, Tanza, Cavite hanggang sa pagsiklab ng himagsikang Filipino, 1896. Umanib sa hukbo ni Heneral Emilio Aguinaldo at naging Brigadyer Heneral, 1897. Isa sa mga lumagda sa pagpapahayag ng kalayaan ng Pilipinas, 12 Hunyo, 1898. Itinalaga sa Laguna, 1899. Tinalo ang mga Amerikano sa labanan ng Mabitac, 17 Setyembre 1900. Sumuko sa mga Amerikano, 24 Hunyo 1901. Hinirang na Gobernador Sibil, 1902-1910 at nahalal na Gobernador ng Laguna, 1915-1925; Naging kinatawan ng lalawigan ng Mountain Province, 1926-1931; Muling nahalal na Gobernador ng Laguna, 1932-1938; Pangalawang tagapangulo ng Board of Pensions for Veterans, 1940. Inspektor Heneral ng Philippine Veterans Administration, 1941. Yumao 28 Hunyo 1951.

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William Henry Scott Historical Marker

On travel

Yesterday, 8 December 2021, the National Historical Commission of the Philippines unveiled a historical marker in memory of William Henry Scott at St. Mary’s School in Sagada, Mountain Province.

The event is part of the celebration of Scott’s centennial birth anniversary which coincides with the Year of Filipino Pre-Colonial Ancestors.

OIC Executive Director Carminda R. Arevalo represented the Commission in turning over the stewardship of the historical marker to the St. Mary’s School Sagada. Principal Ms. Racquel D. Killy accepted the marker in behalf of the school.

Joining the program are Sagada Mayor James Pooten, Jr., NHCP OIC Deputy Executive Director Alvin R. Alcid, Sagada Parish Priest Fr. Constancio Naoy, St. Mary School Corporate Secretary Ms. Alma Louise B. Bagamo, Igorot Studies Center Officer-in-Charge Mr. Victor Ananayo, and officials of St. Mary School Sagada.

After the blessing and unveiling of the marker, Ms. Arevalo and the NHCP delegation visited Scott’s humble tomb and offered flowers as a tribute.

Born in Detroit, Michigan, U.S.A. a century ago, Scott came to the Philippines as a misionary of the Episcopal Church. He became known for disproving the Code of Kalantiaw and his works on pre-colonial Philippine history. He died in 1993.

William Henry Scott
(1921-1993)
Misyonero, Historyador, Manunulat, at Guro. Isinilang sa Detroit, Michigan, 10 Hulyo 1921. Nanilbihan sa Hukbong Dagat ng Estados Unidos noong ikalawang digmaang pandaigdig at digmaan sa Korea. Naging Misyonero ng simbahang Episkopal at guro ng wikang Ingles sa Tsina. Dumating at tuluyang nanirahan bilang misyonero at guro sa Saint Mary’s School, Sagada, Mountain Province, 1954. Nagsagawa at naglathala ng masusing pag-aaral tungkol sa mga sinaunang kasaysayan at kulturang Pilipino lalo na sa mga katutubong pamayanan ng rehiyong Cordillera. Naging Propesor at tagapanayam sa iba’t ibang mga pamantasan at dalubhasaan sa Pilipinas. Ibinilanggo sa paratang na Subersion nang ideklara ang Batas Militar, 1972. Pinawalang sala ng korte, 1973. Yumao sa Lungsod Quezon, 4 Oktubre 1993. Inilibing sa sementeryo ng simbahan ng Saint Mary The Virgin, Sagada.

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UST Restaurant to UST Health Service

On Lifestyle

BEFORE & AFTER: UST Restaurant to UST Health Service

The structure, originally intended as a restaurant, was built in the 1930s following the art deco style.

[Source: Nostalgic Thomasian]

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Plaza Calderon de la Barca

On travel

Plaza Calderon de la Barca | Plaza San Lorenzo Ruiz

Plaza Calderón de la Barca (1899)
Plaza San Lorenzo Ruiz (2021)

2 photos, different names, 1 location, 122 years apart.

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First United Building

On travel

SHORT HISTORY: First United Building, Escolta, Manila.

“When it was first built it was called the Perez Samanillio building. Designed by the architect Andres Luna de San Pedro (son of a painter, Juan Luna), it was and still is one of the most beautiful buildings on this street.

The Cojuangco family brought the building in 1964 and then opened the United Coconut Planters Bank here.
Because of that, the building’s name was changed to the First United Building. In 1979, it was brought by the Sylianteng Family who were running the Berg Department Store in the building then.

You can learn about this building by visiting it as there is an in-house museum. “

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The Aduana Building

Pantin

On travel

Trivia: The left side of the photo where the Manila Post Office is located up to the Arroceros was previously called Parián or Pantin, also Parián de Arroceros was an area adjacent to Intramuros built to house.

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Landscape by Dominador Castaneda

Opportunity Kauswagan Bank prohibited from doing business

On Business

Opportunity Kauswagan Bank prohibited from doing business in the Philippines

The Bangko Sentral ng Pilipinas prohibited Opportunity Kauswagan Bank from doing business in the Philippines.

The Philippine Deposit Insurance Corporation (PDIC) took over the bank on Dec 6, 2021, and assured that all valid deposits and claims will be paid up to the maximum deposit insurance coverage of Php 500,000 per depositor.

PDIC urges the depositors of the closed Opportunity Kauswagan Bank with balances of more than Php 100,000 to file their deposit insurance claims to start 4 March 2022 either thru email, postal mail, or courier, or personally at the PDIC Public Assistance Center on an appointment basis.

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Piko

On Entertainment

Piko

Happy weekend! Have you been stuck too long inside the house? Time to venture out to the backyard and teach your kids about traditional Filipino games! Not only are you stretching your muscles, you are also imparting an important part of Filipino culture to your children.

Piko is a game where the players draw a big image on the floor filled mostly of box-like shapes, which they will hop on and around using only a single foot.

When finished hoping around, he or she moves the “pamato” on the next box until it reaches the topmost box. The first to finish wins the game.

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Patintero

Sardinen

On Sports

Sardinen is like hide-and-seek.

Ever heard of a reverse version of hide-and-seek where only one player hides?

In this game, a kid is chosen to hide while the rest of the kids have to find him. We need to count to 30 while the kid hides.
Whoever finds the kid has to hide with him/her.

Why only one hides?

One after the one, the others join the first kid in hiding and everyone is together likes sardines in a can. But the last one who finds them loses.

That’s why its called “Sardinen” because of “Sardinas”. They look like sardines when hiding.

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The Philippine Bureau of Science

On Government

The Philippine Bureau of Science: “A lost Camelot of research and knowledge”

The Bureau of Science was a monument to the American colonial government’s efforts to systematize and standardize scientific research in the Philippines.

Designed in 1901 by the American architect Edgar K. Bourne in the California Mission style and inaugurated four years later, it once stood near the Philippine General Hospital between Calle Padre Faura and Calle Herran (now Pedro Gil St.).

Despite its colonial trappings, the Bureau of Science was state-of-the-art for its time: it had its own power plant, with facilities capable of delivering vacuum, air pressure, and steam to its research laboratories, as well as electricity from its Westinghouse generators to run lights, refrigerators, and other modern equipment.

Sadly, however, the halcyon days of the Bureau of Science would come to a cataclysmic end in the Second World War.

In the fight to liberate the city, the Bureau and all its contents were razed to the ground and lost forever.

Read more about this lost gem in our Manila Weekly article:

https:/renacimientomanila.org/2021/07/phsciencebureau/

Source: @rebirth.manila

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Bureau of Fire Protection Fire Alarm Levels

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