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THE SPANISH ERA COLONIAL BRIDGES OF TAYABAS

Establishment of permanent communities has been the legacy of Spanish colonization in the country. To connect these towns, roads and bridges were constructed. Currently, there are several stone bridges that still exist and for our #BuiltTraditionThursday of the #MuseumFromHome series, we feature the existing Spanish-Era Colonial Bridges of Tayabas City in the Province of Quezon.

The City of Tayabas has several Spanish-era colonial bridges including the well-preserved Puente de Malagonlong. But Malagonlong Bridge isn’t the only surviving Spanish old infrastructure in the province, there are ten other which were collectively declared as National Cultural Treasure (NCT) by the National Museum of the Philippines in 2011. These are Puente de Lakawan, Puente de Mate, Puente de Don Francisco de Asis, Puente de Gibanga, Puente de la Ese, Puente de la Princesa, Puente de Alitao, Puente de Isabel II, Puente de las Despedidas, and Puente de Tumuloy o Bai. The bridges were built adopting the arched construction with materials such as adobe stone, limestone, and molasses. Arch bridges are among the oldest types of bridges dating back to ancient Rome. The simplest shape of an arch bridge is a semicircular design with abutments on each end distributing the load from the deck to the sides. This kind of bridges do not need additional supports of reinforced steel and considered among the strongest in the world. Evidently seen on the bridges of Tayabas which have the same design and structure.

Puente de Isabel II in Barangay Baguio

The Tayabas bridges span the rivers, streams, and creeks connecting the former town to the neighboring municipalities of Pagbilao, Sariaya, and Lucban as well as to the community within. The infrastructures are locally called puente and puentecito. The puentes usually stands above one-storey high with some having more than one arch. An example of this is Puente de Alitao, which was originally constructed in 1823 with four arches. Only two arches still exist today together with the parapet, spandrel, pier, and abutments. The bridge was built over Alitao River connecting the old town to the población and is still passable to vehicles. Another bridge with more than one arch is Puente de Isabel II in Barangay Baguio. Built with two arches along Tayabas-Sariaya road over Iyam River. The bridge was finished in 1853 and named after Queen Isabel II of Spain. The bridge is still intact and passable but restricted to light weight vehicles. Only one arch can be accessed by the public since the other arch is inside a private resort.

Puente de Bai in Barangay Dapdap

Other bridges such as Puente de Bai and Puente de las Despedidas have only one arch. Puente de Bai, also known as Puente de Tumuloy in Barangay Dapdap was part of an old road going to Palola, Lucban. The one arch stone bridge crosses the Bai Creek and served as the boundary of Tayabas and Lucban. It stands 7-meters high and 7-meters wide. Concrete road was built along the carriageway and is still passable to pedestrians and light weight vehicles. The lands on the vicinity of the bridge are privately owned. Puente de las Despedidas known as the “Farewell Bridge”, was the end road of Tayabas and the old route going to Manila or Laguna. It was built with one arch over Bigger Ibia River in Barangay Lalo. Only the spandrel wall, arch barrel, and abutments still exist. Concrete bridge was later constructed above the spandrel and is passable to all type of vehicles. Both sides of the vicinity of the bridge are maintained as open spaces and can be accessed by the public. Another one arch bridge is Puente de la Princesa, named after the Princess of Asturias of Northern Spain. Unfortunately, the bridge was bombed during World War II and only the stone abutments remains. A deck made of reinforced concrete was built over the ruins.

Puente de Alitao, Poblacion

These arch bridges are easy to be missed. Concrete roads were built over the pavements covering the old carriageway while some have been widened with reinforced concrete constructions as part of a new parallel bridge structure. Most of the bridges have retained their width as defined by the existing stone masonry parapets and can be viewed from the riverbanks. The deterioration of these heritage properties is mainly caused by negligence, lack of awareness, and undesirable man-made interventions. It’s a good thing that the Local Government Unit of Tayabas City is actively preserving their Spanish-Era Colonial Bridges with the annual removal and treatment of vegetation as well as the masonry cleaning of these bridges.

Puente de las Despedidas in Barangay Lalo

The initiative of the LGU and the community of Tayabas to familiarize themselves and protect these heritage properties is very commendable and should be an inspiration for the public. These bridges are evidences of the ingenious engineering and construction styles that was used by our ancestors. Preserving them is keeping our rich history, culture, and identity. Tayabas isn’t the only place with existing Spanish-Era Colonial bridges on our country, if you visit an old town, you might see some. If you do, share it with us!

Text by Ar. K. Sepidoza Daysa

Illustrations and Photos by NMP Architectural Arts and Built Heritage Division

Birth Anniversary of Virginia Ty-Navarro
(July 5, 1922 – January 28, 1996)

The #NationalMuseumPH celebrates the 100th birth anniversary of Filipina painter-sculptor Virginia Ty-Navarro born #OnThisDay in 1922, by featuring her oil painting entitled “The Fishermen.”

This artwork, on display at the National Museum of Fine Arts (NMFA), along the GSIS Northwest Hallway Gallery of The Senate Floor (Third Floor) was completed in 1983 and became part of the National Fine Arts Collection the following year.  

Virginia Ty-Navarro was born in Manila on July 5, 1922. Showing interest in art, her father provided her with private lessons under a Chinese artist. This was further honed under the supervision of a German nun while studying at St. Scholastica College in Vito Cruz. In 1949, she graduated with high honors from the University of Santo Tomas (UST) with a degree in fine arts. She served as part of the faculty of the fine arts department of UST right after her graduation until 1960 and from 1964-1969, as faculty of the College of the Holy Spirit.

She pioneered “incision painting,” which according to Leonidas V. Benesa, is “a combination of carving, painting, and sculpture.” She produced several paintings but also experimented with sculptures. Her husband, painter, sculptor, printmaker, and 1999 National Artist for Visual Arts, Jeremias Elizalde-Navarro, may be one of the influences on why she pursued and experimented with sculpture, having shared a studio with him.

In 1960, despite the demands of family life, she was able to launch her first solo exhibition featuring her paintings and sculptures at the Philippine Art Gallery. In 1966, she represented the country at the international art congress in Tokyo, Japan. She joined group shows organized by the Art Association of the Philippines and Society of Philippine Sculptors where she also sat as one of the board members. 

Her best-known work is the statue of Our Lady, Queen of Peace at the EDSA Shrine. This monumental sculpture, in size and significance, was sculpted in bronze and can be found at the intersection of EDSA and Ortigas in Mandaluyong City. The artist passed away in Manila on January 28, 1996. 

The National Museum of Fine Arts (NMFA) is reopening after a month-long temporary closure. You may view two other works of Virginia Ty-Navarro from the National Fine Arts Collection, namely: Taurus (1975, bronze and brass, Gallery XXIX) and Abstraction (Undated, oil on canvas, 3F South Hallway Gallery). 

#VirginiaTyNavarro

SAGAYAN FESTIVAL

SAGAYAN FESTIVAL

For our #MuseumFromHome series, the #NationalMuseumPH features the Sagayan Festival celebrated by the peoples of Maguindanao and Maranao in the Lanao del Norte. This festival highlights the sagayan, a war dance depicting the adventures of Datu Bantugan in the Darangen epic.

The hero of the Darangen, Datu Bantugan, from the kingdom of Bumbaran, embarks on a quest to search for his younger sister Arcata Lawanen, who was abducted by Ayonan Dimasangkay of the kingdom of Sagorongan-a-Ragat. Sagayan, the war dance, ensues during the battle to rescue his sister from captivity. Despite the clash, the rift ultimately ends in the pacification and peace between the two kingdoms. Because of this, the people of Lanao del Norte consider this act beyond just being a war dance; it is a symbol for protecting communities, reconciliation, and promoting peace among folks. 

Prior to the first Sagayan Festival in 2010, the dance was usually performed during special celebrations among the Maguindanao and Maranao. Traditionally, the dancers of the sagayan wear a long-sleeved top, tiered bottoms, and a headpiece in bright colors, like golden yellow, orange, and red interspersed with earthy tones such as dark green and brown, and adorned with brass bells. They hold a kampilan, a single-edged sword used by Muslim groups in southern Philippines, and a klung (shield) as they dance to the rhythmic beats of the tagunggo or gong ensemble. The pulsing cadence of the music accompanying the dance is captured in the dance steps consisting of fast stomping, jumping, rolling, kicking, and a sweeping of the arms punctuated by an elegant curving movement of the hands. 

Today, the youth is involved in the showcase of the sagayan during festivals to represent their respective schools and compete with each other for the best performance. The yearly celebration has also effected several changes in the staging of the dance as performances are enriched by the use of other colorful props and backdrops of the environment in Lanao del Norte.   

The rich cultural meanings and heritage embodied in the sagayan, through the dance, music, traditional clothing, bladed weapon, and epic literature, has led to its official adoption by the Province of Lanao del Norte as their cultural dance through a Sangguniang Bayan resolution in 1994.  

Learn more about the rich material culture of the Maranao and Maguindanao in the Faith, Tradition, and Place: Bangsamoro Art in the National Ethnographic Collection, a permanent exhibition at the 3F of the National Museum of Anthropology in Manila. 

Text by the NMP Ethnology Division

Photos courtesy of the Province of Lanao del Norte

© 2022 National Museum of the Philippines

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Pintados Festival

The #NationalMuseumPH brings you another colorful celebration in the country—the Pintados Festival celebrated in the Visayas. In the City of Passi in Iloilo, Pintados Festival is held every 3rd week of March but for todays’ #MuseumFromHome series, we focus on the Pintados-Kasadyaan Festival in Leyte celebrated every 29th of June, also the Feast Day of Señor Santo Niño de Leyte.

Historical records suggest that the first image of the Child Jesus was brought by Spanish missionaries to the island of Leyte in 1888. The Pintados Festival can be traced back to the formation of Pintados Foundation, Inc. in 1986 by the people of Tacloban, who began organizing religious cultural activities in honor of the Señor Santo Niño. A year later, the first Pintados Festival was held on June 29 and was later merged with the Kasadyaan Festival. As the term kasadya-an in the Visayan language means merriment or happiness, the festival portrays the unique and colorful historical background of Leyte. 

More than just celebrating the feast of the Santo Niño, this festival also commemorates the pre-Spanish tradition of tattooing among warriors locally known as pintados. Spanish Friar, Fr. Ignacio Francisco Alcina S.J., on the other hand, mentioned in “Historia de las Islas e Indios de Bisayas 1668” that almost all Visayans had tattoos except the children and the asug (homosexuals), suggesting that the tradition is not only limited to warriors. 

There are multiple events throughout the celebration of Pintados-Kasadyaan Festival – the Festival of festivals of Leyte, the Ritual Dance Presentation of Pintados and the Pagrayhay (or pagrayhak meaning to celebrate) for the Grand Parade. Various municipalities of the province participate and gather in Tacloban City to join the celebration. For this reason, the festival is said to promote a sense of pride and solidarity as every municipality presents their own local folklore and legends. 

The folk dances presented during the festival depict the pre-Spanish practices of our ancestors, which include worship of idols, and performance of indigenous music and epics. Dancers fill the streets of the city wearing colorful garbs along with intricate body paintings consisting of different shapes, figures and colors, as if one is wearing an armor. The festival concludes with a merry-making or a traditional Filipino fiesta. 

To know more about the tradition of tattooing in the Visayas, check out the featured articles of the National Museum Western Visayas on #Pintados in #KwentongKultura here: https://bit.ly/NMWesternVisayas-Pintados

Text and poster by the NMP Ethnology Division

Photo courtesy of Mr. Ricky D. Alejo

© 2022 National Museum of the Philippines

BALOBOK ROCKSHELTER

As #CelebrateTheSeaMonth draws to a close this June, this week’s #TrowelTuesday features the Balobok Rockshelter, a prehistoric archaeological site by the sea.

Located in the southeast part of Tawi-Tawi Province, in a cove facing the Sulu Sea at Sanga-Sanga, the Balobok Rockshelter yielded early evidence of human presence in Mindanao as a result of extensive archaeological excavations undertaken by the #NationalMuseumPH. The site is a prehistoric habitation site from 6810–3190 Before Common Era or BCE (8760–5140 years ago), as evidenced by a shell midden that yielded a considerable amount of animal remains in all three of its cultural layers.

The Balobok Rockshelter was accidentally discovered in 1963 by Mr. Assiong Bangali of Tubig Basag Primary School while fishing near the shore. He saw the rockshelter as he took refuge during a sudden downpour. In 1966, Mr. Eric Casino of the #NationalMuseumPH reported the existence of the rockshelter when he visited it during his fieldwork in Cagayan de Sulu Island. His report described the rockshelter as an archaeological site with shell and stone adzes, flaked tools, earthenware sherds, and shell remains. Later that year, a team of archaeologists led by Mr. Casino conducted an initial excavation of the site. This was succeeded with a partial excavation in 1969 by American anthropologist Alexander Spoehr, and a re-excavation in 1992 and 2007 by the #NationalMuseumPH.

Excavated artifacts included polished shell adzes made from the giant clam Tridacna gigas, flake and polished stone tools, red slipped earthenware sherds with lime impressed designs, and animal remains like shells which delivered the site’s radiocarbon dates. These archaeological materials are significant evidence indicating that the Balobok Rockshelter is one of the earliest habitation sites in the region. Their recovery suggests that the site may have played a significant role in the movements of people into the Southwest Pacific and to the Pacific World. 

In 2008, the Site Development of the Balobok Rockshelter was realized through assistance from the United States Ambassador in the Philippines’ Heritage Conservation Fund. This project was implemented by the #NationalMuseumPH, the Local Government of Bongao, the Provincial Government of Tawi-Tawi, with the active participation of the Mindanao State University – Tawi-Tawi Campus.

The #NationalMuseumPH declared the Balobok Rockshelter as an Important Cultural Property (ICP) by virtue of Museum Declaration No. 24-2016 on December 16, 2016.

Text by Giovanni Bautista, and poster by Timothy James Vitales | NMP ArchaeologyDivision

© 2022 National Museum of the Philippines

BIRDS OF “OLD” MANILA

A snapshot of history…

Before the Spaniards invaded Manila, active trade was already taking place along the Pasig River such that rulers of Muslim communities who settled there already imposed custom duties on all commerce passing up the river.  In 1571, the fortress city of Intramuros was founded under the leadership of Miguel Lopez de Legaspi, a spanish conquistador and the first governor-general of the Philippines.  During that time, Manila became the capital of the newly established colony.

As the nation’s capital, Manila has been seriously threatened and even occupied by other foreign powers (i.e. the Chinese in 1574, the Dutch in mid 17th century, and the British in 1762 but was restored back to Spain after the Treaty of Paris in 1763).  Furthermore, Manila was opened to foreign trade in 1832 which was fueled more by the opening of the Suez Canal in 1869.  It is also during the late 19th century that the height of the Filipino revolution against the spaniards was witnessed especially after the execution of Dr. Jose Rizal in December 1896 – the same year that, the other part of the world is celebrating the discovery of the Philippine eagle.

In 1898, the Americans win the war against the spaniards.  And for at least 4 decades, the Philippines was under U.S. colonial rule.  It was during this period that the US promote social and economic improvement for the city and encourage gradual Filipino political autonomy.  It is also during this period that the famous Bureau of Science was founded (October 26, 1905).  The Bureau houses some 25,000 bird skins collected in more than three decades under the leadership of Richard C. McGregor – who also became the first Chief of the Natural History Division during the American period.  Sadly, all of the collections were destroyed during the Battle of Manila in February 1945.

Shortly after the war, Filipino collectors under the leadership of Dr. Canuto G. Manuel, Curator of the Zoological Collection, Philippine National Museum started to rebuild the Philippine Zoological Collections.  Interestingly, at least 62 birds were first collected in the vicinities of Manila right after the termination of hostilities.

Text by RC Urriza

Layout & graphics by AM Domingo

Photos by AM Domingo and RC Urriza

© 2022 National Museum of the Philippines