Folk Dance of the Philippines: La Jota Cagayana

During the Spanish regime, the Jota dances were among the most popular dances in the Philippines. It is a gay lively dance. Undoubtedly, all the Jota dances of the Philippines are adaptations from Spanish Jotas as performed by the early Spanish settlers in the Philippines.

In the 1700s, the Spanish brought the flamenco-inspired dance known as La Jota Cagayana to the Cagayan people. The little, rustic village of Enrile is home to one of the many variations that still exist today. European dance moves like the mazurka, polka, and waltz have a strong influence on the symbolic courtship dance that a couple performs. Because of the quick speed, the two travel virtually at a gallop. The 18th-century painter Damian Domingo served as the inspiration for the costumes, which feature women wearing untucked skirts and blouses with sleeves made of leg-of-mutton. In turn, the males are dressed in matching top hats and dress tails.

This is accomplished by stomping or stepping heavily on each waltz step measure's feet. Women dress in camisas and maskotas with Maria Clara dresses or stiff pañuelos. Men dress in dark or black pants and a barong tagalog.

The town of Enrile in Cagayan is the origin of the dance that is explained below.

COSTUME. Girl wears maskota skirt, and camisa with stiff pañuelo or Maria Clara costume. Boy wears Barong Tagalog and black or dark colored trousers. 

MUSIC is divided into nine parts: A, B, C, D, E, F, G, H, and I.

COUNT one, two, three to a measure.

FORMATION. Partners stand about eight feet apart. Girl stands at partner's right when facing audience. One or more pairs may participate.

NOTE: The Accented Waltz used in this dance is done with stamping or stepping heavily on ct. (count) 1 of every measure (of every waltz step).

INTRODUCTION

Music Introduction and A

      Partners turn R (Right) shoulders toward each other.

      (a) Execute a three-step turn right to meet at center, finish facing each other. Arms down at sides (cts. 1, 2, 3).  ________________________________________________ 2 M

      (b) Boy starts with L (Left) and Girl starts with R foot. Take sixteen accented

waltz steps going to any direction. Finish at starting place. (If many pairs are dancing, a definite direction should be taken). ____________________________________ 16 M  

      (c) Release hold. Take three-step turn to proper places (right turn for Girl, and left turn for Boy). __________________________________________________________ 2 M

I

Music A

      Partners face each other. Partners tilt head and look at each other throughout this figure.

     (a) Starting with R foot, take four big, accented waltz steps forward following a semicircular line (like a half-moon). See diagram A below. Bend trunk slightly to the left side. R arm in reverse "T" position. L arm bent forward at chest level, both hands kumintang  (ct. 1). Raise elbows gracefully upward (ct. 2), and downward (ct. 3) of every measure.  ---________________________________________________________________ 4 M

     (b) Turn left about and repeat (a) going to proper places by retracing steps. Reverse position of arms.  ________________________________________________________________ 4 M

     (c) Turn left about. Repeat (a) and (b). ______________________________ 8 M

II 

Music B

      Partners face each other.

      (a) Starting with R foot, take two big waltz steps forward to meet at center. Arms in lateral position, moving sideward right and left at shoulder level. Hands kumintang (ct. 1), elbows slightly moving upward (ct. 2) and downward (ct. 3) of every measure. _________________________________________________________________ 2 M

      (b) Girl turns right about. With Girl leading and starting with the R foot, take six big waltz steps forward moving around clockwise. Arms position and movements as in (a) _________________________________________________________________ 6 M

      (c) Turn right about. Repeat (b), moving counterclockwise, Boy leading 6 M

      (d) Repeat (a) moving forward to proper places. Finish facing partner, turning right about _________________________________________________________________ 3 M

III

Music C

      Partners face each other.

      Repeat Figure I (a) four times following directions in Diagram B on page 14. Girl follows arrows 1, 2, 3, 4 while Boy follows arrows 3, 4, 1, 2. Finish in proper places. Partners always face each other throughout this figure. R arm is always in reverse "T" position. L arm bent forward at chest level with same movements. 16 M

IV

Music D

      Partners turn R shoulders toward each other.

      (a) Execute a three-step-turn obliquely forward right. Arms down at sides (cts. 1, 2, 3). Stamp L foot close to R, R arm in reverse "T" position. L arm bent forward at chest level (ct. 1), hop on R foot (ct. 2), raise L foot off the floor after stamping, pause in this position (ct. 3). Partners are in back-to-back position after the turn. ____________________________________________________________________ 2 M

      (b) Repeat (a) going to proper places, starting with L foot. Reverse turn and position of arms ____________________________________________________________________ 2 M

      (c) Repeat (a) and (b), three more times ________________________________ 13 M

      (d) Execute a three-step turn right in place. Arms down at sides ______________ 2 M

V

Music E 

      Repeat Figure III ____________________________________________________ 16 M

VI 

Music F

      Repeat Figure IV _____________________________________________________ 18 M

VII

Music G

      Partners face each other

      (a) Girl starting with R foot and L for Boy, take two big waltz steps forward to meet at center. Arms in reverse "T" position, moving sideward right and left 2 M

      (b) With Boy leading and moving backward and Girl moving forward, take six big waltz steps going around clockwise. Girl starting with R foot and Boy, with L foot. Arms in reverse "T" position with arms of Boy spread out wider to enclose arms of Girl as they move their arms sideward right and left alternately from Girl's side 6 M

      (c) Repeat (b) moving counterclockwise, Girl moving backward and Boy moving forward. ____________________________________________________________________ 6 M

      (d) Repeat (a) moving backward to proper places _______________________ 2 M

VIII

Music H

      Repeat Figure I _______________________________________________________ 16 M

IX

Music I

      (a) Repeat Introduction (a) and (b) ___________________________________ 18 M

      (b) Join R hands, free hands down at sides. Girl makes a three-step turn right in place passing under arch of arms (cts. 1, 2, 3), close L to R foot and pause (cts. 1, 2, 3) ____________________________________________________________________ 2 M

      (c) Bow to partner, R hands still joined ______________________________ 1 M

      (d) Release R hands, face front and join hands, free hands in second position. Bow to audience. ____________________________________________________________ 1 M

La Jota Cagayana Music

Dinagyang History: Champion Tribes Street Dance and Introduction Movements Through The Years

 

These are the different street and introduction movements of Dinagyang champion tribes through the years.

Video courtesy of: FESTIVALicious Facebook Page

Unknown Filipino Hero: Antonio Ledesma Jayme

Antonio Ledesma Jayme

Patriot and Fourth Civil Governor of Negros Occidental

(1854 - 1937)

A Filipino lawyer, revolutionary hero, assemblyman, governor of Negros Occidental, and founding father of a revolutionary nation, Antonio Ledesma Jayme (July 24, 1854 – October 19, 1937) was also a legislator and a signatory to the constitution of a nation-state.

Early Years and Education

On July 24, 1854, Antonio L. Jayme was born in what is now Iloilo City's Jaro district. He was the oldest of Aguedo Gamboa Jayme and the former Sabina Lopez Ledesma's seven children.

When Jayme was a little boy, his family moved to Silay City, Negros Occidental. This happened at a time when inexpensive imports from mainland China were forcing the Chinese mestizos of Jaro and Molo on Panay Island to look for better economic prospects outside of Iloilo's dwindling textile sector. This interest among Jaro's businesses to settle in adjacent Negros Island was fueled by the prospect of enormous reward provided by the high price of world sugar. The Jaymes converted a plot of land into a plantation, or hacienda, and followed sugar-based agriculture like the other immigrants in the wave.

Jayme received an early education by traveling across the Guimaras Strait to attend the Seminario de Jaro, often known as the Jaro Seminary, as was typical of the Negros principalia.  Since its first rector was his paternal uncle, Fray Francisco Jayme, who raised and schooled Philippine patriot Graciano Lopez-Jaena, he was easily accommodated.  Jayme attended Jaro, which at the time was still the most populous, hardworking, and wealthy province in the Philippines, to study philosophy and letters from 1869 to 1871.

But in 1872, driven by a desire to travel and pursue higher education, he traveled to Manila to enroll in Colegio de San Juan de Letran.  He enrolled in the University of Santo Tomas after finishing his segunda ensenanza (Spanish for "secondary education"), where he graduated in October 1881 with a licenciado en jurisprudencia, or Bachelor of Laws.

During the time of Spanish colonization in the Philippines, he was to become the first Ilonggo lawyer to practice law in Negros.  He later joined the government as a judge of the province's Court of First Instance and a justice of the peace.

The Philippine Revolution and Its Aftermath

Negros armed themselves against Spain in 1898 during the second phase of the Philippine Revolution.  Jayme witnessed the bloodless surrender of Spanish troops in Bacolod during this historic occasion, which is today known as the Cinco de Noviembre Movement or the November 5 Movement of the Negros Revolution.  The people of Negros celebrated the first time a Philippine flag floated triumphantly in the Spanish fortress of Bacolod, breaking "more than three hundred years of Spanish rule without firing a shot."

The ratification of a new government's constitution following the Spanish defeat was signed by Jayme.  Jayme served as the general counselor of the provisional government despite internal leadership conflicts when the "Cantonal Republic of Negros" (Spanish: República Cantonal de Negros) was renamed the Republic of Negros on July 22, 1899. He also held the position of Secretary of Justice under President Aniceto Lacson.  By using subtlety and careful diplomacy, he was able to keep conflicts from breaking out between groups that supported American sovereignty and those that opposed it.

In 1904, Jayme defeated Esteban de la Rama to win the position of provincial governor following the United States' declaration of secure rule over Philippine territory.

In his capacity as governor, Jayme used public monies to build schools, promote enrollment, and raise his constituents' reading rates.  In addition to accelerating the province's pacification, he waged campaigns against gambling, banditry, vagrancy, and other vices.  His support of legal reform contributed to the improvement of Negros Occidental's political and social circumstances.  The laws of the era were derived from the 19th-century Spanish legal system.  According to a document created by the Philippine National Historical Institute, "He sought remedies to problems by suggesting modifications in existing laws and the enactment of new ones."

Because to his achievements as governor, he was elected to the First Philippine Assembly in 1907 as the representative of Negros Occidental's first district.  Filipinos established their own legislature for the first time in history. He was a member of the City of Manila committee, the Provincial and Municipal Government committee, and the Law Revision Committee. He wrote a measure to abolish the death penalty while serving as chairman of the committee on police powers.

After serving as an assemblyman, he went back to managing his haciendas and practicing private law.

Other Works

He gained notoriety as a young man for writing a variety of essays in Spanish and Hiligaynon that were included in magazines such as La Razon (1906) and La Libertad (1900).  Among his aliases were "P. Moral," "Farole," "Mansilingan," "Panagao," and "G.G."  The Instituto Rizal, which was subsequently renamed the Negros Occidental High School, was founded by him and he taught there.  He supplied the school's first dormitories and classrooms.

He served as a director of the still-operating Bacolod-Murcia Sugar Central.

Death

On October 19, 1937, Jayme passed away, leaving behind his wife and kids.  Angela, his oldest daughter, wed Fernando Figueroa Gonzaga, a businessman and philanthropist.  Vicente R. Jayme, another descendent, served under Philippine President Corazon C. Aquino as secretary of public works and highways, secretary of finance, and president of the Philippine National Bank.

The Republic Act No. 6709 was signed into law by President Aquino on February 10, 1989. It honors the Ilonggo people's valor throughout the Philippine Revolutions in the late 19th century, designated November 5 as a special non-working holiday in Negros Occidental. This was in honor of the Cinco de Noviembre Movement, in which Secretary of Justice Antonio Ledesma Jayme was instrumental.

Sources:

https://www.wikiwand.com/en/articles/Antonio_Ledesma_Jayme

https://www.geni.com/people/Antonio-Jayme/6000000082668454449

Unknown Filipino Hero: Aniceto Lacson

Aniceto Lacson

First and Only President of the Negros Republic

(1857 - 1931)

Aniceto Lacson y Ledesma was a Filipino revolutionary general, sugar planter, and entrepreneur who lived from April 17, 1857, to February 3, 1931. Alongside Juan Araneta, he led the Negros Revolution and served as the first and only president of the Negros Republic from 1898 to 1901.

Early Life

Gen. Aniceto Lacson, a Chinese-Mestizo politician from the Philippines, is the fifth of eight children born to Lucio Lacson y Petronila and Clara Ledesma. During the later 1800s, when wealthy Iloilo families were migrating to Negros, Lucio's branch of the Lacson family moved there.

After receiving private instruction for his early schooling in Molo, Iloilo, Lacson went on to study commerce at the Ateneo Municipal de Manila, where he was classmates with José Rizal and Juan Araneta. He purportedly shared a secret blood covenant with Andres Bonifacio, whom he also met there. Additionally, he received his membership in the Philippine Revolutionary Society.

A few of Lacson's siblings also made contributions to local history and business.  He is the brother of Sta's founder, Domingo Lacson Sr. Don Mariano Lacson, who constructed the Lacson Ruins in Talisay City, close to Aniceto's Casa Grande Mansion, and Clara Estate Inc., a company that specializes in varied real estate.  Rosendo Lacson, another sibling, signed the ratification of the short-lived Cantonal Republic of Negros, which came to an end soon after the Negros Revolution.

Aniceto enhanced his father's sugar plantation in Talisay, Negros Occidental, after earning a degree in commerce at the Ateneo Municipal de Manila. Through acquisitions from Nicholas Loney, an English businessman, he grew the estate.

On August 29, 1898, Belgian Consul Édouard André reported seeing how workers on Aniceto Lacson's plantation were mistreated in Negros, where they were subjected to bamboo lashing, sometimes as many as 100 lashes.

The Negros Revolution

Leading the campaign to free Negros Island from Spanish domination, Aniceto Lacson played a pivotal role in the Negros Revolution of 1898. As the commander of the northern forces, Lacson led a rebellion in Silay on November 3, 1898, with the help of important figures like Juan Araneta, Leandro Locsin Sr., and Nicolás Gólez.

Lacson led his troops in a well-organized rebellion on November 5, 1898, which swiftly expanded throughout the island. Under his direction, the Silay rebels were able to force the local Spanish garrison to surrender without encountering any opposition.  Using wooden rifles and homemade bamboo cannons, Lacson's soldiers proceeded on Bacolod City the next day. This strategy persuaded Isidro de Castro, the Spanish governor, to give up Bacolod without a struggle.

An important signatory to the Acta de Capitulación, which formalized the Spanish capitulation, was Lacson.  He was a key figure in the island's fight for independence because of his leadership, which helped bring the Negros Revolution to a peaceful and final end.

When Spanish forces in Bacolod surrendered on November 6, 1898, the revolution in Negros came to an end.  Under the leadership of Lacson and Gólez, the rebels persuaded the Spanish to surrender by brandishing bamboo and wooden weapons.  The accord, which resulted in the unconditional surrender of Spanish forces and the transfer of public monies to the new government, was enabled by mediator José Ruiz de Luzuriaga.

Isidro de Castro, Braulio Sanz, Manuel Abenza, Ramón Armada, Emilio Monasterio, and Domingo Ureta were the Spanish signatories.  Aniceto Lacson, Juan Araneta, Leandro Locsin Sr., Simeón Lizares, Julio Díaz, and José Montilla were among the signatories of the Negros Revolution.  Forty-seven notable Negrenses, including Rafael Ramos, Agustín Amenabar, Nicolas Gólez, Eusebio Luzuriaga, Antonio L. Jayme, and Rosendo Lacson, ratified a constitution to create a new republic after the capitulation.

The Cantonal Republic of Negros

The island of Negros in the Philippines was home to the short-lived revolutionary government known as the Cantonal Republic of Negros (November 27, 1898–March 4, 1899).  The Cantonal Republic was established after Spanish Governor Isidro Castro surrendered to forces led by Aniceto Lacson and Juan Araneta at Bacolod on November 6, 1898. Lacson presided over the country from November 27, 1898, until March 4, 1899, when the Negros revolutionaries turned themselves in to US General James Francis Smith.  The duration of the government was three months and four days.

Cinco de Noviembre

Historic sites in Negros Occidental and the Cinco de Noviembre ceremony honor Aniceto Lacson and other revolutionaries.

On November 5, 1898, Aniceto Lacson and Juan Araneta staged a revolution that resulted in the peaceful surrender of Spanish forces in Bacolod, which is celebrated on Cinco de Noviembre. This bloodless victory was largely due to Lacson's calculated bluff with homemade weaponry and leadership.

In Negros Occidental, the day is celebrated as a special holiday every year.  Lacson and the rebels are honored at the Cinco de Noviembre memorial in Silay City, which includes a Spanish cannon that was donated by Claudio G. Akol Jr. By virtue of Republic Act No. 6709, President Corazon Aquino proclaimed November 5th a holiday.

Casa Grande was given to the National Museum of the Philippines by the Lacson-Claparols heirs on November 5, 2024, during the 126th Cinco de Noviembre event.  The old home will be restored by the NMP, maintaining its status as a museum and national historical monument.

The Fountain of Justice

The Fountain of Justice, a historic site in Bacolod, Negros Occidental, Philippines, is located in front of the former Bacolod City Hall and honors the Spanish capitulation to Gen. Aniceto Lacson's men during the Negros Revolution.  José de Luzuriaga's home used to be located there as well.

During the Negros Revolution, on November 6, 1898, Bacolod was turned over by Spanish authority to Filipino soldiers under Gen. Aniceto Lacson at Luzuriaga's home. In addition, he acted as a go-between for the parties.

On behalf of the Spanish army, the capitulation document was signed by Colonel Isidro de Castro, the governor of Negros.

The Fountain of Justice served as a venue for political rallies, religious meetings, cultural festivals, and leisure activities.  It was the site of Bacolod City's 66th Charter Anniversary celebration and was once a well-liked rally and protest location.

Political Life Under the American Regime

General Lacson and his leaders met with General Marcus P. Miller when the Americans arrived in Negros following the fall of Ilo-ilo in February 1899.  The Negrenses chose to work with the Americans for two reasons: first, they saw that fighting against America would be ineffective; second, the leaders, who were all wealthy and landed, did not want the destruction of war to affect their sugar plantations.  General James F. Smith arrived with a battalion of the California Volunteers to seize Bacolod on March 4, 1899, after General Otis quickly accepted their offer of help.  Peace returned to Negros, with the exception of the occasional harassment by the zealous "Papa Isio" in the southern towns.

Lacson was named governor of Negros by William Howard Taft, the American governor-general of the Philippines. But Lacson turned down the invitation. He would rather focus on his company and running his sugar plantation.

Personal Life

Rosario Araneta and Magdalena Torres were the two spouses of Aniceto Lacson. With two marriages and more than twenty children, Aniceto Lacson had a sizable family. His wife and descendants also gave him connections to numerous other well-known families, which increased their clout in the Philippines.

Marriage with Rosario Araneta Lacson

Rosario Araneta, the daughter of Patricio Cabunsol Araneta and Leoncia Araneta, was Aniceto's first spouse.  She is also Juan Araneta's first cousin. Rosario and Aniceto had eleven children.  They were:

1. The oldest, Jesusa, wed her second cousin, Jose Maria Lacson Arroyo y Pidal. Iggy Arroyo and First Gentleman Mike Arroyo, who is married to President Gloria Macapagal-Arroyo, are grandchildren of Jesusa and Jose.

2. Emilio died at a young age.

3. Clotilde passed away young.

4. Dr. Jaime Lacson Claparols, Carmen's son with Spanish husband Ricardo Claparols, went on to establish the JRS Express in 1960. 

5. Domingo Lacson II, son of Domingo Lacson Sr. of Sta., was married to Enriqueta.  Clara Estate, Inc.

6. Isaac married Carmen Paterno, the niece of Philippine diplomat Pedro Paterno, and went on to become governor of Negros before becoming a congressman and senator of the Republic.

7. Mariano and Lilia Montilla were wed.

8. Perfecta, who wed Santiago Franco

9. Jose passed away at a young age.

10. Aniceto Jr. wed his cousin Aurora Lacson.

11. Dominador wed another relative, Visitacion Lacson.

Marriage with Magdalena Torres Lacson

He had ten children with his second wife, Spanish Mestiza Magdalena Torres.  They were:

1. Resureccion wed German Carlos Sackermann.

2. Former Miss Negros Occidental Margarita wed Swiss-German William Gemperle.

3. Leonila and Angel Gamboa were married.

4. Leoncia

5. Nicolas wed Amparo Lacson, who was Mayor Arsenio Lacson's sister.  Salvador Lacson, the head of LLIBI Insurance Brokers Inc., and Rose Lacson, an Australian-Filipino socialite, are their children.

6. Juan and Reymunda Villareal were wed.

7. Jose and Estelita Adrias were married.

8. Lucio and Consuelo Flores were married.

9. Luis and Lily Distajo were married.

10. Consuelo wed the Spaniard Sebastian Corro.

Death

Lacson passed away on February 3, 1931, in Talisay, which is now a city in Negros Occidental and was buried in his hometown of Molo, which is now a district of Iloilo City in Iloilo

Source:

https://pinoyfolktales.blogspot.com/2013/01/filipino-martyr-aniceto-l-lacson.html

Philippine Mythological Creature: Gisurab

The tale of Gisurab, a fire-possessing giant from the Isneg tribes, demonstrates that even beings of enormous size can exhibit kindness.  In the tale, hunters sought out Gisurab in the wild to request fire.  The giant supplies the hunters with fire to cook their food.  The story bears a likeness to that of Prometheus, the famous Titan who is reputed to have taken fire from heaven and bestowed it upon mortals.

The naked gigantic creature known as the Gisurab hunts both people and other animals.

Although he is incredibly enormous, his physique is human.  He has an excellent sense of smell and often wanders the woods shirtless.

The Gisurab hunt down deer and other wild animals in the forests, as well as people, using their acute sense of smell.  At home, he would hold the human and deer he had trapped and prepare them in his enormous cooking pot.  The Gisurab would sometimes engage in conversation with people and go hunting with them instead of attacking them.

Gisurab became a legend in this untamed yet gorgeous land.  His story is essential to Isneg culture since he was a giant with fire.  It presents the Isneg's perspective on giants, which is different from the typical "evil" one.

Source:

https://www.aswangproject.com/giants-philippine-mythology/

https://mythmuseum.weebly.com/gisurab.html

https://pinoymyths.com/gisurab-isneg-the-fire-possessing-giant/

https://www.artstation.com/artwork/Ka029B courtesy of Ejay Paz

Philippine Mythological Creature: Lampong

Lampong, a legendary figure, is deeply embedded in the cultural and environmental awareness of the Filipino people, revered as the guardian Anito of wild animals.  This legendary dwarf has the remarkable power to lead untamed deer and transform into a white deer with a radiant single eye.

More than just a legend, Lampong serves as an important cultural symbol in the Philippines. She embodies the ancestral wisdom passed down through generations, promoting a peaceful coexistence between people and nature. The deep-seated conviction that every action has repercussions is instilled by Filipino folklore, which stresses the necessity of treating the forest with the highest respect and thankfulness.

Lampong’s ability to transform into a white deer is a strong emblem of purity, innocence, and spiritual enlightenment. The singular, shining eye symbolizes wisdom and insight, reflecting Lampong’s esteemed position as a guide and protector. In addition, it is crucial to recognize the worldwide reverence associated with the white deer in various cultures around the world.  For instance, in Native American traditions, the white deer is viewed as a messenger from the spirit world, underscoring the deep importance of Lampong’s character.

Ilongot gnome Lampong has remarkable cross-eyed, bright yellow eyes and a height of only two feet. He wears a unique two-peaked cap and has a flowing white beard.  Although he may sometimes show a single eye and his form often resembles that of a deer while in his deer guise, his coat is always a brilliant snow-white.

It is noteworthy that although hunters can readily identify him, Lampong uses a distinctive approach to keep the deer he safeguards safe. He takes on the role of target, taking the hunters’ shots himself instead of allowing any damage to come to the deer. He can astonishingly rejuvenate himself and, in an unusual turn of events, bestows deadly illnesses upon the hunters as a means of deterrence.

Lampong is a key character in Ibanag folklore and is profoundly embedded in the cultural heritage of the Ibanag people, an ethnolinguistic group from Northeastern Luzon. As the guardian Anito of wild animals, Lampong is frequently depicted as a forest custodian tasked with guiding and protecting wild deer in their natural habitat.

Lampong’s legend is especially fascinating due to his extraordinary talent for metamorphosing into a white deer that possesses a single, radiant eye. This metamorphosis goes beyond a simple physical alteration; it represents his deep bond with nature and highlights his essential position as a guardian of wildlife.

The story of Lampong in the Ibanag culture goes beyond myth—it is a vital part of their cultural identity and belief system. The Ibanag people exhibit a steadfast respect for nature and the animal kingdom, a feeling realized in their veneration of Lampong.

His steadfast dedication to safeguarding the forest’s noble inhabitants earned him the revered titles of Deer Herder and Deer Guardian.

On an ill-starred day, the peace of the woods was broken when a band of hunters with powerful firearms invaded the forest.  Their target, to the detriment of hundreds of deer, was unmistakable.  With the hunters' progression, their armaments reverberated through the woods, taking the lives of innumerable deer.  Their unceasing chase ultimately brought them to a broad expanse filled with the elegant creatures.  Without hesitation, the hunters aimed their guns, prepared to continue their relentless onslaught.

Yet, in a moment of astonishing change, the forest observed an intense light and heard a loud roar coming from behind a nearby hill. A gigantic white stag with splendid golden antlers came out of the shadows. As the other deer fled, escaping the looming threat, it placed itself in front of the hunters. The hunters, without mercy, set their sights on the noble white deer and shot at it; to their first impression, it had succumbed to their attack.

With the intention of skinning it, the hunters approached the fallen deer, eager to claim their prize. To their amazement, the white deer, which was clearly not defeated, suddenly got to its feet. In a surprising turn of events, it launched an intense assault on the hunters, causing them to suffer from a deadly disease that would signal the demise of their reign of terror.

Although modernization has caused radical changes, the lasting Lampong legend still resonates with the Ibanag people. It acts as a lasting reminder of their cultural origins and the essential part they play in caring for their natural environment. The Lampong legend offers insight into the rich cultural tapestry of the Ibanag people. It underscores their unwavering dedication to maintaining the sanctity of nature and wildlife—an enduring principle that still aligns with modern sensibilities.

A fresh enthusiasm for Philippine mythology, featuring legendary characters such as Lampong, has surfaced in recent times. This revival can be attributed largely to the resolute endeavors of cultural aficionados dedicated to safeguarding indigenous stories and spreading them across various platforms, including literature, art, and digital formats.

He is referred to as lampong by the Ilokanos and the Ilongots ethnic groups.  He is an old man, short in stature, of the fields and woods.  Sein Blick ist lebhaft, und er trägt einen langen, spärlichen Bart. He tends to wild deer as a shepherd.  He transforms into a deer and remains motionless.  He is shot at by hunters, but they fail to hit him. The hunters attempt to shoot him, but the deer flee. After that, he becomes an old man again.  He strolls off from the hunters.

In Philippine folklore, particularly among the cultures of Northeastern Luzon, the Lampong is a mythical creature recognized as the guardian Anito of wild animals and a protector of deer. It is represented as a two-foot-tall dwarf with a white beard, who can change into a magnificent white deer with a single, bright eye.  The Lampong, by presenting itself as the white deer, diverts hunters' attention when they attempt to shoot at deer, thus enabling the real deer to flee.

The Lampong, an Ilonggot gnome, has the ability to turn into a white deer in order to safeguard real deer. Whenever a hunter passes by to take aim at one of the deer, the Lampong transforms into its deer form and gets shot in place of the real deer, which flee. The Lampong is shot six times, but he is impervious to the bullets, ensuring the deer remains safe from hunters.

In the distant past, a magnificent forest teemed with beautiful creatures, and at its helm were the deer. One day, hunters armed with large guns arrived in the forest and began to shoot the animals individually, but their main target was the deer. They murdered hundreds of them. One day, they stumbled upon a vast field teeming with deer. The hunters lifted their rifles and began firing, but suddenly a bright light flashed and a loud roar erupted from behind a hill. Out of nowhere, a gigantic white stag with golden antlers appeared and dashed in front of the hunters as the other deer escaped. All the hunters shot the white deer, and he appeared to be dead. However, at the moment they were going to skin him, he rose up and battled the hunters, ultimately giving each of them a deadly sickness. The white deer was actually Lampong himself. He ensured that none of the remaining deer were shot. For this reason, he was occasionally referred to as the Deer Herder or the Deer Guardian.

The Lampong, an Ilonggot gnome, stands about two feet tall and sports a long white beard. He wears a two-peaked cap and has bright yellow, cross-eyed eyes. He can sometimes be seen with one eye or is about the same size as deer, but his coat is always a beautiful snow-white in his deer form. Though hunters can see him with ease, he ensures that no deer is shot by allowing himself to be shot, reviving himself afterward and infecting the hunters with a deadly illness.

Sources:

https://www.aswangproject.com/lampong/

https://mythus.fandom.com/wiki/Lampong

https://mythlok.com/lampong/

https://www.youtube.com/watch?v=eifLa5PNRxY&t=17s

Unknown Filipino Hero: Alejandro Roces Sr.

Alejandro Roces Sr.

Father of Modern Philippine Journalism

(1876 - 1943)

The first Filipino publisher to take newspaper publishing seriously was Alejandro Roces Sr.  In 1917, he demonstrated his foresight by granting access to his newspapers to foreign news organizations.  The Taliba, La Vanguardia, and Tribune became the largest newspapers in the entire archipelago during his leadership, and he modernized the media sector.

Early Life

On April 26, 1876, Alejandro Roces was born in Manila.   Don Alejandro Roman Roces and Dona Maria Filomena Gonzales had him as their eldest child.  His younger siblings, Rosario Roces, Jesus Cesario Gonzales Roces, Filomena Gonzales Roces, Rafael Filomeno Gonzales Roces, Joaquin Capriano Gonzalez Roces, _ Roces, and Carmen Roces, were placed under his guardianship after their parents passed away unexpectedly.  He was the one who assumed control of their family's homes and other assets.

Government Service

He was a member of Quezon City's first City Council and the Chairman of the Board for the People's Homesite and Housing Corporation.

Life as a Journalist

The first Filipino publisher to take newspaper publishing seriously was Alejandro Roces.  With his three publications—TALIBA, LA VANGUARDIA, THE TRIBUNE, and THE MANILA TIMES—Alejandro established the first newspaper chain, which grew to become the largest in the entire archipelago.

Alejandro Roces purchased the Spanish-language daily La Vanguardia in 1916. It was formerly known as El Renacimiento, which was edited by Teodoro M. Kalaw but shut down in 1923 after an American named Dean Worcester was sued for libel.

In 1925, Roces established the English Tribune, which Carlos P. Romulo had previously edited.  He started Ang Taliba as well.  With Ang Taliba for Tagalog readers, La Vanguardia for Spanish-language readers, and the English Tribune for those who subscribed to the English version, these three newspapers—also referred to as T-V-T—served a wide range of readers at the time.

In 1917, he demonstrated his foresight by granting access to his newspapers to foreign news organizations.

Personal Life

He married Antonia Padul Pardo in 1897, and the two of them have ten children: Rafael Pardo Roces, Alejandro Pardo Roces, Isabel Pardo Roces, Marcos "Taling" Pardo Roces, Filomena Pardo Roces, Mercedes Pardo Roces, Chino Roces, and Antonia Pardo Roces.

Death

He died on July 8, 1943, at the age of 67 in Manila.

In Philippine print media, his family name became associated with a tradition that perpetuated his impact.

Sources:

https://tl.wikipedia.org/wiki/Alejandro_Roces,_Sr.

https://ancestors.familysearch.org/en/MB3L-B4G/alejandro-gonzales-roces-sr.-1876-1943

https://rocesfamily.com/sm2002/rocesphils/introduction.htm

Unknown Filipino Hero: Jose Palma

Jose Palma 

The Brains of the Philippine National Anthem

(1876 - 1903)

José Palma y Velásquez (Spanish: [xoˈse ˈpalma]: June 3, 1876 – February 12, 1903) was a Filipino poet and soldier. He authored the Spanish patriotic poetry "Filipinas" while working for La Independencia.  On September 3, 1899, it was initially published in the issue of La Independencia, which celebrated its first anniversary. Julián Felipe's instrumental composition "Marcha Nacional Filipina" complemented the poem, which has since served as the foundation for all translations of the Philippine National Anthem.

Early Life

The youngest child of Hilaria Velásquez and Don Hermogenes Palma, a clerk at the Intendencia Office, Palma was born in Tondo on June 3, 1876.  Rafael Palma, his older brother, was a journalist, politician, and scholar who was elected as the University of the Philippines' fourth president.

Palma continued his education at the Ateneo Municipal after completing his primera enseñanza (first studies) at Tondó.  He began writing verses while he was a student at Ateneo.  "La cruz de Sampaguitas" (literally, "The Cross of Jasmines") was one of his first compositions. He wrote it in 1893, the same year he fell in love with Florentina Arellano.  However, the girl's parents disapproved of him and ended their relationship.  Following that, he became gay and remained thus for the rest of his life.  Palma kept himself occupied with his reading passions.

Being a Katipunan Member and Joining the Revolution

Palma focused on writing more poetry as underground revolutionary activity increased.  He joined the Katipunan in 1894, but he refrained from fighting during the 1896 Philippine Revolution.  When the Philippine–American War broke out in 1899, he finally joined Colonel Rosendo Simón's revolutionary forces and fought in the battles of Ángeles and Bambán under Colonel Servillano Aquino's leadership.  He frequently stayed in camps and performed kundiman, a traditional Filipino lyrical and musical art form, for the soldiers because he was unable to physically handle the hardships of war.

During their marches away from the pursuing American forces, Palma and his colleagues in the paper often entertained themselves with songs and poetry while resting in camps or other locations.  Palma's poetic spirit was raised to a new level during one of their pauses in Bautista, Pangasinan.  when he heard Julian Felipe's Triumphant March in Kawit, Cavite.  The hymnal melody, which is currently the official Philippine National Anthem, served as his inspiration.  He composed the poetry "Filipinas" to go with Julian Felipe's "Marcha Nacional Filipina" music.

When the Philippine-American War broke out in 1899, he eventually joined Colonel Rosendo Simon's revolutionary forces and fought in the battles of Angeles and Bambang under Colonel Servillano Aquino's leadership. He frequently stayed in camps and performed kundiman, a traditional Filipino lyrical and musical art form, for the soldiers because he was unable to physically handle the hardships of war. He became a member of the Tagalog staff of La Independencia, a revolutionary newspaper. This gave him the opportunity to vent his patriotic feelings and fight the Americans in a way that he couldn't on the battlefield.

Becoming a La Independencia Journalist

Eventually, he started working for the revolutionary daily La Independencia's Tagalog-language department.  This gave him the opportunity to vent his patriotic feelings and fight the Americans in a way that he couldn't on the battlefield.  During their marches away from the pursuing American forces, Palma and his newspaper colleagues frequently entertained themselves with music and poetry while resting in camps or other locations.

Writing of Filipinas

The Spanish ode "Filipinas" was the result of Palma's lyrical mood during a break for the Bautista, Pangasinán newspaper workers.  Palma wrote "Filipinas" in Doña Romana G. vda. de Favis' home at Sitio Estación Barrio Nibaliw, Bayambang (now Barangay Población West, Bautista, Pangasinan).  In honor of Saint John the Baptist, Nibaliw was renamed "Bautista" on June 24, 1900, and separated from Bayambang as an independent town.

The instrumental piece "Marcha Nacional Filipina," written by Julián Felipe as incidental music for the Declaration of Philippine Independence in Kawit, Cavite, a year prior, was eventually adapted to the appropriate lyrics.  On September 3, 1899, "Filipinas" appeared in La Independencia's inaugural anniversary issue.

COMPLETE LYRICS

Tierra adorada,
hija del sol de Oriente,
su fuego ardiente

en ti latiendo está.

Patria de amores,
del heroísmo cuna,
los invasores
no te hollarán jamás.

En tu azul cielo, en tus auras,
en tus montes y en tu mar
esplende y late el poema
de tu amada libertad.

Tu pabellón que en las lides
la victoria iluminó,
no verá nunca apagados
sus estrellas ni su sol.

Tierra de dichas, de sol y amores
en tu regazo dulce es vivir;
es una gloria para tus hijos,
cuando te ofenden, por ti morir.

Death

José Palma died of tuberculosis on February 12, 1903, aged 26. No historical accounts are known to where his resting place is, however, his remains were believed to be interred inside the Maria Clara Parish Church of the Iglesia Filipina Independiente in Santa Cruz, Manila.

Sources

https://en.wikipedia.org/wiki/José_Palma

https://pilipinaskongminamahal.blogspot.com/2011/05/jose-palma-y-velasco.html

https://kahimyang.com/kauswagan/articles/1160/today-in-philippine-history-june-3-1876-jose-palma-was-born-in-tondo-manila

Gay Filipino in History - Biniboys

 Biniboys

First Filipino Group of Transvestites

Most likely, "Biniboys" alludes to the Biniboys Ball, a 1957 social event for transsexual people in the Philippines, specifically in Pasay, Manila.  A Facebook post referred to it as the first-ever exclusive party for transvestites.

In the middle of the 1950s, transvestites and crossdressers frequently frequented Dewey Boulevard in search of fun and easy cash at the cost of gullible travelers.  Mayor Arsenio Lacson had to order the police to step up their campaign against these "biniboys" since they became so out of hand.

In February 1957, a group of transvestites organized the first-ever Biniboys Ball, an elite celebration in Pasay, to better their reputation in the community.  The dance celebration invited transvestites from all across Manila, and many of them showed up in their finest attire, accompanied by their male companions.

Thanks to the Biniboys of Pasay, the Biniboys Ball made for good public relations news and momentarily gave the general public peace of mind that not all of their type engaged in dubious activities.

Inside the NHCP Museum of Philippine Maritime History

These are the pictures and videos taken inside the NHCP Museum of Philippine Maritime History last June 15, 2025 at around 11:00 am.