Southern Living: 2014 October by Hinge Inquirer Publications

SOUTHERNliving October 2014 Volume 8 | Issue 14

CULTURAL COMMONS

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CONT ENTS

SOUTHERN living GROUP PUBLISHER BEA J. LEDESMA BRAND AND COMMUNITY EDITOR DIANNE PINEDA ASSOCIATE MANAGING EDITOR DENISE DANIELLE ALCANTARA CREATIVE DIRECTOR NIÑA MUALLAM GRAPHIC ARTIST DANICA CONDEZ

28 COVER STORY Clara Balaguer finds creative solutions to social problems by bridging artists and local communities

OCTOBER 2014 04 HEALTH Busting the health myths and superstitions we grew up with

08 SPACE An old revolutionary house survives in modern times

05 BEAUTY Turn back time and revisit Philippine cinema’s best faces

21 FEATURE Citizens call for solutions to looming MRT crisis in Manila

06 FIXTURE Local romance novels to make you smile (and cringe)

38 FEATURE Indelible stains on the country’s mementos of history Cover photo by Joseph Pascual

EDITOR’S NOTE Trainspotting If there’s one thing that riding the public trains in Metro Manila and Irvine Welsh’s novel about hardcore heroin addiction have in common, it’s the harrowing experience that leaves one feeling disgusted, exhausted, and eventually stoned. But unlike the book’s compelling black comedy, there’s nothing remotely funny about the daily plight of commuters. People wait in endless cues to squeeze themselves inside a cramped train with sweaty bodies. Safety is never an option. Train doors can randomly open while in transit; derailing, robbery, and sexual offences are everyday occurences. Safe and quality public transport is essential to a country’s development. It gives an affordable, greater access to

workplaces, hospitals, schools, homes, and other important destinations. Here we discuss everything that makes up our country, the good, the bad, and the ugly. Despite the lack of government support, there are still groups that choose to take action. Clara Balaguer, director of the Office of Culture and Design, seeks out artists to bring art to neglected communities around the country. Bahay Nakpil-Bautista, a historical house in Manila where revolutionaries used to convene, stands alive in the middle of a bustling city. These are proof that it’s possible to keep our Filipino integrity and identity, as long as we kick our habit of indifference, do not relapse, and eventually clean ourselves up.

Talk to us on Facebook and you just might win a special prize from us. Visit www.facebook.com/southernlivingmagazine now. Follow us on Instagram and Twitter at @slivingph. We’d love to hear from you.

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CONTRIBUTORS WRITERS PRISTINE DE LEON, KAT PATIÑO-MARQUEZ, SAMANTHA RAMOS-ZARAGOZA, BEVERLY DALTON, SEPTEMBER GRACE MAHINO, CHINGGAY LABRADOR, MARBBIE TAGABUCBA, AJ ELICAÑO, SOPHIA AVELLANA, ILLUSTRATOR ALFRED DONOSO STYLISTS MELVIN MOJICA HAIR AND MAKEUP EDISON ONG PHOTOGRAPHERS SAM LIM, JOSEPH PASCUAL, EDRIC CHEN, JILSON SECKLER TIU, GABBY CANTERO, JOSEPH PASCUAL, GELOY CONCEPCION, EVERYWHERE WE SHOOT COPY EDITOR SEPTEMBER GRACE MAHINO PROOFREADER NAZRI NOOR EDITORIAL CONSULTANT RIA FRANCISCO-PRIETO BOARD CHAIRPERSON ALEXANDRA PRIETO-ROMUALDEZ FINANCE ADVISOR AND TREASURER J. FERDINAND DE LUZURIAGA LEGAL ADVISOR ATTY. RUDYARD ARBOLADO HR STRATEGY HEAD RAYMUND SOBERANO VP AND CHIEF STRATEGY OFFICER IMELDA ALCANTARA SVP AND GROUP SALES HEAD, INQUIRER GROUP OF COMPANIES FELIPE R. OLARTE SALES DIRECTOR MA. KATRINA MAE GARCIA-DALUSONG KEY ACCOUNTS SPECIALIST ANGELITA TAN-IBAÑEZ ACCOUNT EXECUTIVES ABEGAIL GINAGA, ANDIE ZUÑIGA, SARAH CABALATUNGAN, RAM TAN SALES SUPPORT ASSISTANTS RECHELLE ENDOZO, MARA KAREN ALIASAS ASSOCIATE PUBLISHER DAPHNE SEE ASSOCIATE MANAGING EDITOR PAM BROOKE CASIN SENIOR EDITORIAL/ PROJECT COORDINATOR RENEÈ ESPENILLA EDITORIAL ASSISTANTS PRISTINE DE LEON, PAULINE MIRANDA ACCOUNT EXECUTIVES SHANNA MALING, HANNAH RAMOS, INA MATEO GRAPHIC ARTISTS AUBREY PORCIUNCULA, ROI DE CASTRO, TEJ TAN, YAYIE MOTOS PRODUCTION MANAGER NOEL CABIE PRODUCTION ASSISTANT MARICEL GAVINO FINAL ART SUPERVISOR DENNIS CRUZ FA ARTIST JR LAROSA

This magazine was printed responsibly using recycled papers with biodegradable inks.

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HEALT H

GROWING PAINS

These health myths aren’t always true just because your lola said so

superstition. Think of this as a signal to be extra cautious— when your immune system is down, after all, you can pick up a fever, a cold, a cough, or a virus from virtually anyone you come into contact with.

TEXT CHINGGAY LABRADOR

Myth: Hilot What it is: The ancients used this method to heal all You’ve probably heard them from an old aunt, yaya, or your ailments through massage and chiropractic manipulation. grandmother back in the province. Whether you subscribe It was also sometimes infused with herbal remedies brought to superstition or not, these folk tales need to be taken with by arbularyos. a heap of salt—as well as a modern science-based perspective Science says: A deep tissue massage can bring much needed relaxation to stressed muscles, and today’s modern in order to determine if they actually exist. patient is often seen at the spa for a similar treatment, or even at the chiropractor to help reset joints and receive Myth: Paglilihi What it is: Craving for certain types of food while pregnant spinal realignment. These local practices aim to restore balance to the body through energetic healing that also directly relates to what your baby will look like. Science says: While pregnancy cravings do exist, most goes beyond the physical. They offer a different approach probably due to the hormonal shifts in the body, an towards the same end goal that more scientific methods inexplicable taste for balut, for example, does not mean aim to reach. you’re going to end up with a kid with a full head of hair. Myth: Pasma Physical attributes are largely based on genetics after all. What it is: When the muscles are rife with “hot” energy, it shouldn’t be brought down by anything too “cold” too Myth: Usog What it is: Someone who carries the evil eye can curse a quickly. This causes undue tremors or spasms to the body. child with a simple greeting. To undo any hexes, the greeter Science says: Hot and cold energies are vague and not needs to say “puwera usog,” then lick his finger and rub it on easily taken to by the scientific community. Instead, they attribute the shakes that pasma is known for to possible the baby’s abdomen or forehead. Science says: There’s no scientific evidence to dispel this nerve conditions or dysfunctions in the body. ILLUSTRATION ALFRED DONOSO

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BEAUT Y

CLASSIC HITS

The defining names and faces of Philippine entertainment’s Golden Age TEXT BEVERLY DALTON ILLUSTRATION DANICA CONDEZ

Gloria Romero At the peak of Gloria Romero’s career, she was acknowledged as the queen of Philippine movies. She was introduced to the scene by her uncle, who worked as chief editor at Sampaguita Pictures. It didn’t take long for Romero’s beauty and talent to put her on top, and she was soon snagging award-winning roles in blockbuster movies such as 1955’s Dalagang Ilocana. The ’50s weren’t the end of her golden years, though: Romero went on to become one of today’s most respected actresses. Get the look: Born to a Filipino father and an American mother, her refined “mixed” beauty defined a decade. Her deep-set eyes and wide lips were what people took notice of, and her standard makeup was clean, with impeccably shaped brows and red lips. The trick to get this look is to keep the brows as thick as possible but well groomed. For the lips, opt for a matte red shade rather than a glossy one for that old world feel.

Fernando Poe, Jr. Known as “Da King” and famed for his action roles, FPJ started in the film industry as a messenger boy. He got his big break in the 1957 hit movie Lo Waist Gang. One movie led to another, with Poe in roles that pictured him as the champion of the poor, and his most iconic role is the notable character Flavio in the 1980 film Ang Panday. Get the look: The late actor is known for his short curly hair and sideburns, a look that was a distinct representation of the ’70s. Though they seem oldfashioned, sideburns are slowly resurging through hipster culture. Men of today can sport them by letting their facial hair grow for about four weeks. Once the desired hair thickness is achieved, shave accordingly. If your face is long and skinny, go for long and thick sideburns; if you have a rounder face, shave them short and thin. Susan Roces Da King’s widow, actress Susan Roces,

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was the First Lady of Philippine show business. Her peak came in the ’50s when she was featured in countless films, mostly produced by Sampaguita Pictures. She may not have garnered a lot of acting awards unlike others, but to this day, she has retained her star status. Roces still appears in teleseryes; Sana Bukas Pa Ang Kahapon is her latest one, shown on ABS-CBN this year. Get the look: Roces got her good genes from her French-American mother and her Filipino father of Spanish and Chinese descent. Her beauty is simple, soft, and quiet—the kind that grows on you. She always looks poised, with every strand of hair in place. Her bouffant in the ’50s, although not as big as Imelda’s, was just as iconic, even reminiscent of Jackie O’s. To cop her look, start by backcombing your hair. Lightly pull the teased sections back and use your fingers to style them in place. To create a neat finish, apply a holding spray and lightly smoothen the top with your fingers.

FIXT URE

POCKETFUL OF ROMANCE Love stories in paperback, Pinoy style

TEXT AJ ELICAÑO ILLUSTRATION ALFRED DONOSO

From shelves full of cheesy titles to online serialized novels and movie deals, it cannot be denied that Filipino romance novels are a cultural force. Whether you love them, hate them, or feel something in between, these books are a tradition, one that has grown and evolved with the country over the past few decades and persists to this day. Books have numerous advantages over television, chiefly in that you never need to plug them in. And during the times when TV sets were far less common than they are today, romance novels rose to prominence as an entertainment mode of choice, a status they still retain for many Filipinos. The term “romance” refers not only to love stories but to influences from the Romantic literary movement that used honest emotions and imagination as escape, and these are traditions to which local romance books remain true. Familiar plots and characters take on ever-evolving subjects and concepts as more and more works are written; we continue to get fresh takes on old stories, and these give the stories the power to both comfort and excite. The tradition began in the ’80s with the Valentine Romances series published by Books for Pleasure, Inc.,

which had previously carried similar American lines. From there, the genre diversified across different labels and publishing houses, creating the now-familiar brands My Special Valentine paperbacks and the wildly successful Precious Hearts Romances. Although derided as corny, these books form and inform a local tradition of romantic literature. Even the stereotypical plot—poor, good-hearted girl meets and falls in love with wealthy boy, leading to a drawn-out but inevitable happy-ever-after—reflects our cultural myths and notions of love, colored by the very real socioeconomic realities that grip the nation. And yet, the genre continues to evolve. More recent forays by authors like Tessa San Diego have explored innovations such as the trappings of fantasy literature, along with discussions of issues like gender, environment, and politics. Even more recently, free online publishing platforms like Wattpad have opened Filipino romance books up to the public, and if the success of She’s Dating the Gangster is any indication, print and movie deals aren’t outside the realm of possibility either. Anyone can now tell these stories, and maybe even make it big for doing so.

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SPACE The architecture of Bahay NakpilBautista was influenced by the Viennese Secession. As seen in the artistic lines of the ventanilla grills, rows of wooden walls, and stair railings.

THIS IS OUR HOUSE

A tour of this historical home becomes a walk through our collective past TEXT SAMANTHA RAMOS-ZARAGOZA PHOTOGRAPHY JILSON SECKLER TIU

Traces attesting to Manila’s formidable position during the colonial era are all we have left, as the streets of Binondo, Sta. Ana, and Quiapo, once the reflection of the country’s seat of power, have lost a lot of what the past has bestowed on them. Yet on Ariston Bautista Street stands a nugget of history amid urban decay: the Bahay Nakpil-Bautista, built in 1914, an abode that’s more than just a preserved colonial house. The 1900s saw a shift in Filipino society as the turn of the century gave way to American imperialism, the PhilippineAmerican War, and the country’s independence. Bahay Nakpil-Bautista was at the center of this transformation. Its owners, Dr. Ariston Bautista and his wife, painter Petrona Nakpil, opened their doors to key figures in Philippine history, such as the widow of Andres Bonifacio and Lakambini ng Katipunan Gregoria de Jesus and her second husband Julio Nakpil, brother of Petrona, Katipunan Vice-Presiding Supremo, and composer of the noble hymn Marangal na Dalit ng Katagalugan. Bautista himself was a propagandist and friend of Jose Rizal, distributing Rizal’s prohibited novels despite the possibility of arrest. Indeed, the home’s progressive architecture (for its time) isn’t the only important aspect of the heritage site; its residents were as accountable and significant as the brick and mortar for the roles they played in our history. The Bautistas’ progressive and liberal thinking are echoed in

the home’s design. The house is a notable blend of the colonial Filipino house (bahay na bato) and the Viennese Secession, an architectural theme then unknown in the country, typical in this period where houses were decorated with flowers done in relief or in tracery, an Art Nouveau influence. The Bautistas, after receiving a set of Viennese furniture from the Prietos, took inspiration from its pronounced verticality, subtle curves, and minimalistic accents, and entrusted Arcadio Arellano, one of the first and greatest Philippine architects, to communicate this motif into their home. Arellano was behind the famous buildings Gota de Leche and Casino Español and was known to favor indigenous and original concepts. The end result of his work on the Nakpil-Bautista house was a likeness to the 1920s Art Deco and 1930s reductionism, or the elimination of surface decoration. As with many Filipino houses of the era, space was further ringed with space. Apart from the expansive rooms, the doors that separate the dining rooms, antesala, and sala slide and can be pushed to the sides to create vistas spreading from street to estero. In 2011, the National Historical Commission of the Philippines (NHCP) declared the house a cultural property. In its mandate, NHCP became responsible for the homemuseum’s restoration, preservation, and conservation.

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SPACE However, it’s the privately owned Bahay Nakpil-Bautista home-museum and within Quiapo are old structures battling Foundation, Inc. that’s in charge of its upkeep. It is run deterioration, some used as warehouses or boarding houses. by the descendants of the original owners. The foundation Despite government agencies delegated to care for these dying has also helped disadvantaged individuals and families edifices, the effort has not been enough, and private groups have to take the stand to help protect in the name of the Bautistas’ and such infrastructures. the Nakpils’ philanthropic spirit, Travel blogger and Heritage endorsing community activities that “Bahay Nakpil-Bautista Conservation Society president Ivan foster nationhood and help revitalize demonstrates how heritage Henares believes that simultaneously the city. In addition, the foundation plots can have modern labeling heritage zones as tourism actively uses the house as a platform enterprise zones will increase for showcasing Philippine arts. purposes that benefit the motivation for tourism businesses Today, the house serves as a museum public. It is an ideal that in the area. City of Manila tourism and event venue, hosting a sculpture consultant and Viva Manila founder shop on the ground floor and a small several privately owned Carlos Celdran uses his walking tours Filipiniana library. Certain rooms can be foundations, intent on and activities to raise awareness, rented out for seminars and workshops. reviving Manila’s historical promote local businesses, and This year, the house celebrates its encourage creative use of public centenary with a permanent exhibit appeal, share.” spaces in the city’s historic locations. entitled “Bahay Nakpil-Bautista: Tahanan Projects spearheaded by the Bahay ng mga Katipunero (1914-2014).” Nakpil-Bautista Foundation and Bahay Nakpil-Bautista demonstrates how heritage plots can have modern purposes that benefit the other like-minded groups prove that heritage preservation public. It is an ideal that several privately owned foundations, isn’t merely about letting old structures endure but also intent on reviving Manila’s historical appeal, share. A view invigorating commerce and instilling pride and nationalism. from any of the Bahay Nakpil-Bautista’s windows is testament It’s not just the government’s business to care for our to the neglect Manila has faced: just a few blocks from the vanishing legacy; it is every Filipino’s duty.

Old but still intact, Bahay Nakpil-Bautista is maintained by descendants of its original owner (right). The house also serves as a museum which displays memorabilia (extreme right).

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SOUT HERNER Loida NicolasLewis is a native of Sorsogon, Bicol. She is a motivational speaker, social civic leader, lawyer, and philantropist (right). A photo of the Lewis family at a courtesy call with United States President Barack Obama (below).

HEART SONG

Loida Nicolas-Lewis on the importance of looking back and hewing the values of home TEXT MARBBIE TAGABUCBA PHOTOGRAPHY SAM LIM

The American dream is a reality for Loida Nicolas-Lewis who, together with her late husband Reginald, built a multi-million dollar enterprise using the Filipino way of resourcefulness. “What honoring your heritage gives you is a strong foundation for your success, because [that success] is rooted in a deeper understanding of who you are, of your own self worth,” she explains in her Makati home. The walls are decorated with family photos alongside works of national artists Fernando Amorsolo and Ben Cabrera, yet it is those of fellow Sorsogonon national artist nominee Jose “Pitok” Blanco and his son Glenn, depicting rural life, that hang in her living and dining rooms. On the latter’s painting of the fishermen of Sorsogon Bay, a portrait of her father, entrepreneur Francisco Nicolas, the man who pushed her to become a lawyer, is superimposed. From opening The Lewis College in 2000 in her hometown to leading protests against the alleged Chinese

incursion to Philippine territory in 2012, Nicolas-Lewis’ dedication to civic duty springs from gratefulness. This love of country was intensified when she first beheld Noli Me Tangere: The Opera, a rendition of national hero Jose Rizal’s magnum opus, in Chicago. As the orphaned Basilio held his mother Sisa, driven mad by oppression and loss, Nicolas-Lewis was moved to tears. Herself a pianist, she knows there is a depth of feeling even from a time long gone that only music can convey. “The opera may be a medium by Europeans like Giacomo Puccini and Giuseppe Verdi, but isn’t the Filipino culture a motley of Western and Eastern cultures?” Last month at the Newport Performing Arts Theater in Manila, Nicolas-Lewis brought the opera home, 27 years since it was staged in its motherland, with music and libretto arranged and written by national artists Felipe de Leon and Guillermo Tolentino and interpreted by world-class Filipino talents in the language of our hearts.

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Nicolas-Lewis is known as the wife of Reginald Lewis, an entrepreneur cited by Forbes magazine as one of the wealthiest businessmen before his death in 1993. She made a name for herself by being the first Asian woman to pass the bar exam in the United States without having studied there.

CR AF T

EASY NAVIGATION

hay Nakpil-Bautista heritage plots your can have modern purposes that benefit the Wrapdemonstrates the wholehow world around home blic. It is an ideal that several privately owned foundations, intent with maps that make colorful furnishings on reviving Manila’s historical peal, share. TEXT KAT PATIÑO-MARQUEZ

PHOTOGRAPHY AND STYLING SAM LIM

PHILIPPINE MAP PHOTO FRAME

What you’ll need:

Picture frame Philippine map, size must be larger than the frame Scissors Glue Paint brush Tape measure (for sewing) Protractor Pencil NOTE: If the map is made with thin paper, apply minimal glue to prevent wrinkling.

Directions:

1. Using the tape measure, measure the outer sides and width of each side of the frame. 2. With a pencil, mark on the map the length and width of each side (making a rectangular shape). 3. Using a protractor, mark off 45° from both end of each rectangle (creating a trapezoid shape). 4. Cut out all the trapezoid-shaped map pieces. Using the brush, apply a thin layer of glue on each side of the frame and carefully stick the map pieces. 5. Leave to dry.

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PLEASANTVILLE

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Blessed be this town where time seems to have stood still TEXT SAMANTHA RAMOS-ZARAGOZA PHOTOGRAPHY JILSON SECKLER TIU

For a country that was under Spanish rule for 333 years, early 19th century to its present site in Santa Clara. Although scant physical evidence of that time remains in the bustling Pila’s pre-colonial influence, marked by commanding datus capital. These structures have been reduced to backdrops, extending their kingdoms into neighboring settlements, upstaged by their contemporary counterparts in a reflection has developed into the small town that it is today, it has well-earned its moniker Bayang Pinagpala, or Blessed Town. of a society prioritizing modernization over preservation. In the outskirts of the concrete jungle, however, Spared from World War II bombings and calamities, it is are scenes in perpetual pause. These are not just aged one of the few locations designed by 16th century town monuments or cathedrals offering a glimpse of the past, planners in existence. but entire towns living in a colonial micro-culture. Such is To this day, the town’s layout follows that of typical Spanish models wherein a plaza, positioned in the middle, the charm of Pila, Laguna. Pila is one of the country’s oldest settlements and biggest is surrounded by the church, the municipal hall, major barangays in South Luzon and has had an established establishments, and prominent residential homes with verandas open to the square. The community even before A.D. 1000. architecture of the era, known as the Archeologists recovered artifacts that bahay na bato or the colonial Filipino date back to the late Tang Dynasty (A.D. A 7-11, a bakery, or house, along with American chalet 900) and uncovered the Philippines’ even an Internet shop is designs, line the streets of General oldest crematorium, both in Pila’s retained within a colonial Luna, M.H. del Pilar, Mabini, Pinagbayanan. The earliest Philippine and Bonifacio. These dwellings in document, the Laguna Copperplate edifice—reminders of how pastel and cream hues are owned Inscription (A.D. 900), also mentioned innovations are treated as by illustrious names such as Agra, the ruler Jayadewa and his domain Pailah, the ancient name of Pila. A crutches for life enrichment Rivera, Relova, and Alava; private tours may be secured by contacting calamity that struck in 1375 forced without their overtaking the owners. the barangay to transfer to Pagalangan, Some homeowners, accustomed legacies and customs. known as “The Place of Reverence.” to seeing tourists, will open their It was in 1571 when Spanish homes for a tour as you come by. conquistadors discovered Pila; they later subjugated it to Don Hernando Ramirez in 1575. Cora Relova of the Pila Historical Society Foundation has The Franciscans built the San Antonio de Padua Church even offered her ancestral home as a bed and breakfast, in 1578, the first Antonine church in the Philippines. The complete with a town tour service. The San Antonio de Franciscans also established in 1611 the second printing Padua Church, Liceo de Pila, Municipal Hall of Pila, and press in the country, which printed the oldest dictionary, Pila Museum are also must-sees. The Pila Museum features original archeological ceramics, pottery, and other finds Vocabulario de Lengua Tagala. Even before the arrival of the Spanish colonizers, Pila was exhibiting civilized culture before the dawn of Spanish notable for its spiritual character. The townsfolk’s nobleness colonialism. The “Prince of Filipino Printers” Tomas and gentleness won over the Spaniards that honored Pila Pinpin and Domingo Loag’s authentic Vocabulario de with the title La Noble Villa de Pila, one of five villas in the Lengua Tagala is also housed here. Visit in April to witness the Pailah Festival, a celebration of fruitful harvest despite Philippines named in the 16th and 17th century. Constant flooding forced Pila to move once again in the past mishaps the town has encountered.

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FEAT URE Pila is among the four towns in the Philippines declared a National Historical Landmark after Vigan, Silay City, and Taal (right). The town follows the design of old structures, including stores at the Pila Plaza (below).

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FEAT URE The San Antonio de Padua Parish Church is currently situated in Sta. Clara after being transferred in 1800 (right). One of the 28 well preserved heritage houses in Pila (extreme right).

Traces of modern development are intertwined with the classic structures distinctive in national heritage sites. A 7-11, a bakery, or even an Internet shop is retained within a colonial edifice—reminders of how innovations are treated as crutches for life enrichment without their overtaking legacies and customs. After touring the town and taking in its timeworn architecture, dine at Pita Restaurant or Pila Delights, stay in the nearby garden resorts, and discover other neighboring towns with their own attractions such as Pagsanjan, Calauan, Sta. Cruz, Caliraya, and Los Baños. With Pila’s opulent history, it comes as a surprise that it wasn’t until the year 2000 when the National Historical Commission of the Philippines (NHCP), then known as the National Historical Institute, declared Pila as a National Historical Landmark. It is the fourth town in the country to be recognized as such, joining the likes of Vigan in Ilocos Sur, Taal in Batangas, and Silay in Negros Occidental. The gist of NHI Resolution No. 2, S. 2000 (Declaring the Town of Pila in Laguna as a National Historical Landmark) states Pila as “one of the country’s more important archaeological sites…honored with the name La Noble Villa de Pila by the Spaniards because of the genteel customs, refined manners, and traditions of the people…one of the few existing towns in the Philippines that preserves the Spanish colonial town planning system of the Indies…the structures of Pila reflect a rich and varied architectural history.” NHCP, in its mandate, is responsible for the town’s restoration, preservation, and conservation. However, it

is the efforts of the Pila Historical Society Foundation, Inc. (PHSFI) that deserves the accolade. PHSFI, founded by concerned citizens in 1993, has faithfully carried the obligation of preserving Pila’s “historical, cultural, environmental, and heritage landmarks.” One of its initiators is Cora Relova, the direct descendant of Don Felizardo Rivera, the town’s chief architect who was responsible for the town moving to its present site. Among the activities PHSFI undertook were demolishing and relocating structures, establishing the Pila Museum, constructing the plaza pathway and Pila arch, installing lights and benches at the park, and rehabilitating the plaza’s old water fountain. The foundation’s research and documentation of Pila’s culture and history was a major catapult in securing NHCP’s National Historical Landmark declaration. PHSFI shares that its cause wasn’t met with much enthusiasm in the beginning, but despite experiencing setbacks, the goals have been met and even furthered with the NHCP declaration. The foundation does not rest on its laurels, however, as it has also been named and remains active as the town’s custodian. The quiet town of Pila exemplifies that antiquity does not have to remain in the past, and that it can serve as a breather for people living in a fast-paced world. While Spanish colonization gave us bittersweet memories, it’s part of our history nonetheless, and Pila is testament to the Filipino culture and traditions that have endured through history.

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THE RAIL SOUTHERN living

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The MRT-3 problem is a figurative and literal train wreck TEXT SAMANTHA RAMOS-ZARAGOZA PHOTOGRAPHY JILSON SECKLER TIU

A small crowd rushed to the railings of the Makati- stating that [corrupted funds] could have been used to fix Magallanes Overpass to witness the brewing chaos below, a the train, when in fact, parts of the MRT budget [were] scene that turned curiosity into anxiety: an MRT-3 train had absorbed into the anomalous DAP. Rampant privatization derailed and gone past its barrier at the Taft Avenue Station catering to big business allies coupled with corruption is a bad combination for social services like public transportation.” in Pasay City. No amount of security and order that the Pasay City Senator Aquino, in the Rappler.com article, agreed, stating Police tried to provide in the hopes of managing panic that MRT-3 is not a good example of a decent PPP. could stop passengers and onlookers from spreading the A civil servant asking MRT takers to look for other news online. Twitter was abuzz with photos and frightening transportation options and some using the MRT Rush accounts, netizens calling the accident the worst in MRT Hour Challenge as if for penance (and as a publicity stunt) history. As the news developed, the fear of using the MRT-3 for what people go through emphasize the government’s soon turned into anger over a situation that could have been lack of empathy for its citizens, whose officials do not avoided. It was the cherry on top of the amassing MRT-3 take public transportation themselves. MRT user Nicole Ignacio says, “I think there’s no harm concerns commuters have long been if government officials take the train trying to make the government notice. once in a while. There’s no better What happened wasn’t even a freak The government seemed way to understand the urgency of accident. The government seemed to to have ignored its years the situation unless you experience have ignored its years of neglect of the of neglect of the public it firsthand. If they think that trying public transportation systems despite it out once is punishment, well, isn’t warning signs piling on top of each transportation systems that already an admission that the other, and the pointing of fingers and despite warning signs piling train system is indeed in bad shape?” band-aid solutions that ensued have The government further created further irked the masses. The president on top of each other, and this atmosphere of elitism when blames the previous administration, the pointing of fingers and the MRT Facebook page restricted DOTC faults the Metro Rail Transit comments on their timeline, banning Corporation (MRTC), and so on. band-aid solutions that writer and MRT commuter Angelo In an article from Rappler.com ensued have further irked Suarez. His irate letter to train (“Senator to transport execs: Show the masses. authorities went viral when his concern for MRT commuters”), comments were deleted and banned Senator Benigno Aquino IV was on Facebook. “I have never received surprised that the MRT-3 reached a point where “four ‘service interruptions’ monthly; non- any official response—be it in the form of an apology or an functioning elevators, escalators, and ticket dispensers; and explanation—from the authorities responsible for the MRT,” an ‘obsolete’ signaling system” trouble passengers daily. he says. Suarez has been using the MRT-3 for a decade and KARATULA (Kabataang Artista Para sa Tunay na Kalayaan) is no stranger to taking trains around the metro since his Chairperson Michael Beltran further explained, “Since the childhood. “It hadn’t always been a horrible experience. onset, the Aquino administration [has] made clear that Only in recent years has riding the MRT become so daunting social services were not a priority. In fact, privatization under and dangerous. You’d squeeze yourself into a packed coach the PPP [public-private partnership project] was a priority, feeling and smelling fresh, then come out forlorn, hopefully which effectively displaced the rights and access of people with your wallet or cellphone still intact. The line to the to public services. There is a barrage of justifications for ticket booth loops by the metrical dozens. When you already the faultiness of the MRT, even going so far as Malacañang have a ticket, you will have to endure another line that’s

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quadruple the length of the [ticket] line. Sometimes the platforms are so full that authorities on premises instruct the guards not to let anybody through the turnstiles until the situation on the platforms eases. Since the trains that come along are just as packed as the platforms, God knows when you’ll be able to make it inside the train.” MRT-3 has a designed capacity of 350,000 passengers per day, but it has been operating at overcapacity—almost double—since 2004. Philippine Daily Inquirer articles (“DOTC ignored 3 MRT proposals to buy more trains” and “DOTC at fault for MRT-3 breakdowns”) state that DOTC may have overlooked MRT proposals from 2004, 2008, and 2010 to acquire more trains. DOTC Undersecretary Jose Lotilla, though, rebutted that it is the MRTC that supposedly defaulted on buying more trains when the capacity was exceeded. The problems do not end at the Aug. 13 tragedy. Last Sept. 2, the MRT-3 operated with its doors open, risking its passengers’ safety. Currently, escalators and elevators remain inoperative for the elderly, people with disabilities, and pregnant women. Suarez adds, “There is the very real danger of falling on the tracks or getting caught by the side of the approaching train, all out of sheer number of people. This, I suppose, is what prompts on-premise authorities to often halt letting people through the turnstiles for indefinite durations, but sometimes their methods for keeping people safe have been just as unsafe and, frankly, plain inhumane. The Taft station, for instance, uses ropes to keep commuters in check like cattle, their numbers accumulating on the staircase where anybody might fall or pass out. Even the

danger of a possible stampede looms large every time there’s such a crowd.” In any case, 10 years is too long a time to overlook such problems. But there may be light at the end of MRT-3’s railway. In an article (“New MRT trains arriving in Sept. 2015”) published in Philippine Daily Inquirer, DOTC Secretary Jun Abaya said they target projects, such as the arrival of 48 coaches from China, rail and traction motor replacements, and train overhauling, to be completed by 2016. Citizens speculate that more can be done, though. Marketing professional and MRT user Katrina Atienza proposes, “Start building rail lines that extend out of the greater Manila area to decongest the city and make it easier and cheaper for people to move in and out the city. Look at Japan; that’s how they were able to decongest Tokyo. Or take an example from Colombia, which was able to implement an ingenious solution like the Bus Rapid System, which was faster to implement than building a rail system. There are actually a lot of studies that give better recommendations; [they] just need to be adopted.” The increasingly cynical public views and the claims public officials have made are not only long overdue but also possibly empty statements. Beltran encourages the public to get organized to urge to government to follow through. “There are already networks of concerned citizens such as the Train Riders Network (TREN) and Riles Laan sa Sambayanan (RILES Network). What is important is to convey a united message demanding accountability from the administration and for the safety of the people. [We] must link arms to demand social justice.”

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FEAT URE One of Susan Calo-Medina’s most dangerous episodes involved being caught with her crew in the middle of warfare in Basilan.

CONQUERING DISTANCE

Susan Calo-Medina pioneered the first local travel show 26 years ago—and she continues to put the spotlight on many of the Philippines’ undiscovered places TEXT SOPHIA AVELLANA PHOTOGRAPHY EDRIC CHEN OF AT EAST JED ROOT

She’s been to the northernmost island on the Philippine map and has set foot on the farthest edge south of this archipelago in Sitangkay, where the locals listen to Borneo radio stations and trade in Malaysian ringgit. She has featured many local destinations that neither her fellowmen had heard of nor seen until her travel show captured it for television. Bitten by the travel bug since 1986, she is Susan Calo-Medina, Travel Time’s long-time TV host and producer, and the Philippines’ “Queen of Travel.” After her stint as the Marketing Director of the Cultural Center of the Philippines in 1986, Medina wanted to host a talk show on TV, but was advised against it by a friend since talk shows were rare at the time. “[But] there was no show devoted to travel in the 1980s,” she says. Hence, Travel Time was born. For about a year, the show featured destinations just a few minutes’ drive from the metro. People watched the show but she wasn’t satisfied, so she took her production team to provinces around the country. “That’s when the show really took off,” she proudly recalls. As the pioneer in local travel shows, Medina brought attention to provinces that were once ignored by local travelers, such as Bohol, Tawi-Tawi, and Batanes. “I was the first person who showed them [what these places looked like].” But more than showcasing how much fun it truly is in the

Philippines, she admits that the show has done a lot to open the eyes of the Filipinos to the beauty of the Philippines and to the many opportunities for travel—for vacation, immersion, fun, adventure, culture, and gastronomy. She observes that nowadays, local travelers have become more adventurous, and domestic travel has become a habit for the younger generation. With the many budget airline fares and increasing options for accommodations in every province, local travel has become more accessible and affordable for everyone. She reveals that the best thing about traveling in your country is that you discover a lot of new things within your own home. “Everybody is an instant connection,” she points out. Despite the different dialects, there is no language barrier. “I think we should be the biggest supporters of our country,” she says. “If the Filipinos are attracted to and know what their country has to offer, they can talk about it and be tourism marketers on their own. They can go on the Internet where somebody will pick it up and it will spread.” Throughout her travels here and abroad, each destination she has been to has left an impression on her. “Every time you go to a new place, you open your eyes to something new,” she says. But she’s not ready to stow her luggage just yet. The only thing stopping her from going on trips is the weather. “I enjoy traveling because there’s always something new,” she shares.

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“If the Filipinos are attracted to and know what their country has to offer, they can talk about it and be tourism marketers on their own.”

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COV ER STORY

SOCIAL DISCOURSE

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The uphill yet ultimately fulfilling battle of (cultural) social practice in the Philippines, according to Clara Balaguer TEXT SEPTEMBER GRACE MAHINO PHOTOGRAPHY JOSEPH PASCUAL

The expected process is this: start out as an idealistic, gung- going through a tough time,” explains Balaguer. “Start Here ho young’un, then be smoothened down by cynicism into came from our own learning process of making mistakes an older, slightly walled-off version of yourself, hopefully by wanting to give without thinking, of overstepping boundaries and miscalculating situations, as well as being wiser with experience. In Clara Balaguer’s case, it isn’t so much a total reversal at a loss on how to give properly. Wanting to help isn’t of the process as it is a continuous reverting, spiralling, and always equal to actually helping.” Based on experiences bucking of it. As founder and creative director of the Office working with Oxfam through its Humanitarian Response of Culture and Design (OCD), a platform for creatives Consortium and on films with NGOs such as “A Single to connect with cultural communities and find practical Drop for Safe Water (ASD),” OCD has realized that wellsolutions to pressing problems by using culture and design, done humanitarian work involves as much restraint as the 34-year-old has been doing work that could daunt the good will for it to be effective and sustainable; Start Here is a continuous exploration of this most bleeding-heart of progressive necessary balance. thinkers. OCD is involved in a lot of “It was amazing to realize OCD’s particular perspective hands-on work with projects that require has caught crucial international the small team to immerse themselves in that what we’re doing— attention and funding. One of its far-flung local communities from north trying to add another layer most encouraging successes is the (the Badjaos and Aytas in Pampanga) popularity of their Tribal Cookbook to south (young artists and activists in of purpose to design and at the recent New York Art Book Zamboanga), and their project goals cultural work—isn’t just Fair. A compilation of traditional are varied, the results generally neither something different from Ayta recipes gathered through a immediately apparent nor quantifiable: previous effort in documenting documenting and preserving cultural most of what’s out there; it’s the rapidly disappearing Ayta heritage, publishing books produced something people want to see heritage—cuisine seems to be the in collaboration with artists, writers, remaining vital link in the culture’s photographers, and designers and or apply to their practice.” collective memory—the 100 copies showcasing them at international book that OCD brought to the fair fairs, organizing livelihood means that were sold out within 12 hours, are not exploitative of a community’s artistic and material resources, raising funds for aid and with people clamoring for more. Balaguer, who had lost her voice by day two from answering questions, marvels at relief in times of disaster, and more. Very much a grassroots movement, OCD’s methods the experience. “It was amazing to realize that what we’re can be found radical by some. Their Start Here project, a doing—trying to add another layer of purpose to design small fundraising and information exchange effort aimed and cultural work—isn’t just something different from most to help organize the donation frenzy that ensues whenever of what’s out there; it’s something people want to see or disaster strikes, has OCD asking people on the ground apply to their practice. The attention we got was humbling, to make handwritten lists and sketches of things they encouraging, flattering, overwhelming. It made my hair truly need. “Aside from being the first thing they could stand on end the whole time.” send, penmanship reminds the receiver there’s a real, live That marvel is a long way from her days of frustration person behind the list who exists outside of ‘Peysbuk’ or a and disillusionment as member of the Design for the World statistical list prepared by a government entity—someone board of directors, and as a marketing and advertising

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COV ER STORY Clara Balaguer works with small, local printers and small presses to help improve their skills and support them. Her workspace contains books collected from different countries.

peer support have not been ideal. All that’s changing though, largely due to the support of diasporic and foreign interventions. Like it or not, that’s the truth. The fact that we started going to the New York Art Book Fair, lecturing at places like RISD and MIT, and doing events with people like Philip Glass and Tyondai Braxton at places like Printed Matter have changed the game for us. Also, trust from local artists such as Wawi Navarroza was instrumental, but Wawi was the exception rather than the rule. Her willingness to explore our approach and, most importantly, to enter into a two-way collaboration (for the Cooperation between artists and communities is vital photobook Hunt & Gather, Terraria)—a must for working to your projects. What kind of resistance has OCD with OCD—was the start of our own openness, of letting go encountered? of frustrations and fears with the excluding local mindset. It has been around accepting the fact that what we do has cultural or aesthetic value, that our projects have credibility, Speaking of Navarroza, how do you determine which are thought out, and command attention through a discourse. people and goals you’d like OCD to align with? But that’s [something we] sometimes begrudgingly, sometimes An important lesson we’ve learned is distinguishing people excitedly set aside after five years of obstinacy, learning from with our tribal markings. For a fully collaborative method mistakes, and not letting failure get in the way of self-worth. like ours, the task of “matchmaking” between partners, In the Philippines, longevity is key to gaining respect. If you communities, and our own team is vital to everyone’s health can survive for an X amount of time—and your learning and a project’s longevity. curve keeps expanding—most people will eventually stop We’ve learned to be honest in our style of communication, questioning your right to be a player in whatever field. to reflect the particular struggles we face with every project, and to be critical of ourselves first of all. Straddling the Where did the resistance come from: the local communities fine line between mopey hand-wringing and honest selfor third parties? awareness is also important and hard to achieve. The right Local communities have always been welcoming and collaborators are those who share our fears and want to enthusiastic about our projects. Resistance was from other avoid the same mistakes. Being too “happy,” an advertising members of the cultural sphere and of funders who didn’t take world crutch that I used to lean on, breeds mistrust and us seriously. I’m not sure either group takes us seriously now, misunderstanding, especially when tackling the matter at but the important thing is we’ve found ways to keep our doors hand—human relations and social issues—depends on open and projects running even though local institutional and trust between actors involved in any tactical operation or practitioner. “But that was as much due to my own 20-something arrogance as it was bourgeois defeatism,” she concedes. OCD is now a platform for her to balance ideals with reality—not so much as an anachronistic response to an ineffective system in place but rather a means to explore and develop new formulas to give attention to social problems. Armed with hard-earned lessons on what it truly means to help and with the vigor and open-mindedness of a foreveryoung idealism, Balaguer bucks the expectation. OCD does the same.

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Balaguer proofreads every single book project by the OCD in her familyâ&#x20AC;&#x2122;s home in the south. The day after the shoot, she left for New York to bring seven locally-produced books to the New York Art Book Fair.

COV ER STORY

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COV ER STORY Some of OCD’s published works (left) and Balaguer’s collection of potted plants (right).

multiple-incursion experiment. There are other factors we look for: the ability to express enthusiasm and gratitude, conscientiously written emails with complete (but concise) information, a tender spot for vernacular culture (i.e., the love of baduy), a willingness to exchange ideas, the ability to offer and take constructive criticism, and the capacity to improvise and deal with changes—absolutely crucial for working in the Philippines. That being said, all these come into play only if we dig the work or discourse of the person. The compatibility between the work itself is of course a top priority. For communities, the “matchmaking” process is simpler: we look for places with a strong leader who has pre-organized a structure in any shape or form and shows initiative to deliver information requests immediately. How do you approach particular local cultures to avoid the dangers of exoticism? We respect the culture. We’re sensible in what we do. We think of a culture as a whole, not just parts of it, and we put attention on the problems. It’s also research in a way, as we document our experiences. We want to balance the relationship of importance between art and the social work. Design for us is a practical tool. Your Start Here fundraising project is about empowering local communities despite being struck by calamities and needing aid. How does OCD observe the fine balance between helping, enabling, and overstepping boundaries? It’s a grassroots process. For fundraising, we “consult” with communities that need assistance or with NGOs we want to

donate to by asking them what they need instead of just giving whatever first comes to mind. The survivors and the workers in the field know best what’s needed. Asking also gives people a sense of control over their situation, which is much needed when rebuilding in the aftermath of an uncontrollable disaster. Effecting social change is hard to measure quantitatively, and takes time to become apparent. How do you reassure yourself and everyone working at OCD that all these projects are producing worthwhile results? We didn’t know much in the beginning about gathering baseline data and being able to quantify results in that way, and contributions to someone’s personal or professional development are often seen over the course of years. Gathering data is a new thing for us; there’s usually so few people working in the field on any given project that it was all we—often just I—could do to produce it. I’ve just recently gotten the right team of people together to help me roll out new data-gathering strategies. Being able to quantify the work in documented terms makes it easier to prove the validity of our experiments. Apart from that, we get these really amazing moments once in a while just when we’re about to give up on everything, because doing this is not easy. Seeing the expression of fierce pride on a sign painter’s face when he sees his work printed in a book, getting hang-in-there-your-work-means-a-lot-tome emails from collaborators, or excited texts from my Ayta buddies telling me about the progress they’re making with their projects … the response and encouragement from others are often what keeps me going in dark times, when it feels like I’ve bitten off more than I can chew.

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FEAT URE

The controversial DMCI Homes’ Torre De Manila is being protested by the public for obstructing the iconic sightline of the Rizal monument. The issue is still under debate as the said obstruction depends on different vantage points.

WRITINGS ON THE WALL

A look at historic remembrances of the past reveals a devastating peek into our future TEXT DIANNE PINEDA PHOTOGRAPHY GELOY CONCEPCION

In 2010, when news of Rizal’s monument in Spain being defaced by vandals reached the Philippine Embassy, authorities didn’t waste time in calling the attention of the Spanish government to request immediate action. Dr. Jose Rizal’s statue, located in the Avenida de Las Filipinas in Madrid, was made by Florante Caedo as tribute to the national hero who defied Spanish colonization in the Philippines. It marked the centennial of the Philippine independence from Spain. The words “Mason de mierda,” which roughly means “Mason of crap” were written at the base of the statue with red paint. Speculations say that it was a crass jab at Masonic organizations, some of which Rizal was a member of. The Spanish agency responsible for the statue’s maintenance had it cleaned straight after the request. It’s a natural knee-jerk reaction. Any form of disrespect to our country and its symbolisms is considered unacceptable. What makes this scenario highly contradictory, however, is that back home, several monuments around Manila are left trashed and vandalized while authorities and citizens turn a blind eye. The statue of General Douglas MacArthur located along MacArthur Bridge, the Raja Sulayman Park, and Andres Bonifacio monument, once reminders of our history, now stand defaced and neglected. Used plastic bags and food containers can be found at the base of the statues. Expletives or what seemed like declarations of love are spray-painted around the pedestals. Dirt, grime, and peeled-off paint surround every corner. Worse, parts of these monuments are missing or stolen. The structures

left weathered by disasters both by nature and human doing are in dire need of not only cleaning, but also strict implementation of measures for protection. The need to protect these structures is more than obvious. They serve as landmarks that make a place distinct and easily recognizable, but more importantly, they symbolize people we consider our heroes, national milestones and events that helped shape our country. The National Historical Commission of the Philippines (NHCP) guidelines state that, “Memorials are dedicated to great Filipinos who gave and sacrificed their lives for their country and countrymen. Therefore, monuments and memorials must be treated as sacred or hallowed objects and accorded with the same full reverence as we have for the Philippine flag.” But more than physical representations of our past, these structures point to our need for symbolisms as human beings. Iconography in religion, forms and images in art, language, and even music are our own ways of giving meaning to the world. We are symbol-oriented, as German professor and philosopher Ernst Cassirer explains: we understand reality through symbolic referents. But what happens when these referents are desecrated? Would it also mean that we also have a desecrated world view? Heritage Conservation Society trustee and architect Manuel Noche says, “History without physical evidence of it is not history at all. How can you talk about the past when you don’t see it? These are structures that transcend time. And yet sadly, we don’t see the value of these things.”

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FEAT URE Pasted posters, campaign paraphernalia, and disparate writings are found on the base of Douglas McArthurâ&#x20AC;&#x2122;s monument (left) and the Andres Bonifacio monument (below, left). The Rajah Sulayman monument also has random statements written on its base (below).

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â&#x20AC;&#x153;The need to protect these structures is more than obvious. They serve as landmarks that make a place distinct and easily recognizable, but more importantly, they symbolize people we consider our heroes, national milestones and events that helped shape our country.â&#x20AC;?

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PLAYING The home becomes a place to find liberation in being oneself, to tune out the world, and to blend in the background PHOTOGRAPHY EVERYWHERE WE SHOOT STYLING MELVIN MOJICA CLOTHES CARL JAN CRUZ

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HAIR AND MAKEUP EDISON ONG. MODELS TOLA ORENDAIN FROM PMAP AND CARLO LEE FROM MERCATOR.

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M ARKET

OUT OF THE BLUE

Practical dressing calls for classic colors and low maintenance clothing

1. Jacket, P1,590, Stradivarius, Glorietta 2. 2. Top, P1,950, Mango, Alabang Town Center. 3. Scarf, P1,950, H.E. by Mango, Glorietta 1. 4. Wallet, P1,950, Mango, Alabang Town Center. 5. Shorts. P 2,990, Quiksilver, Alabang Town Center. 6. Sandals, P1,750, Renegade Folk, The Ramp, Glorietta 4. 7. Watch, P5,990, Roxy, Robinsonâ&#x20AC;&#x2122;s Place Manila. 8. Bag, P14,990, Herschel, Bratpack, Greenbelt 5.

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EATS

CDP serves two kinds of complimentary bread: sour dough and baguette. The starter dough used for all the breads is at least four years old.

MELTING POT

A culinary trio introduces a global plate of flavors TEXT DENISE DANIELLE ALCANTARA PHOTOGRAPHY SAM LIM

Travel involves not only sightseeing but also a chance for a culinary adventure that will introduce you to a mouthful of a region’s culture. Well-traveled food visionaries Malou Flores (of Mamou and Recovery Food), Katrina KuhnAlcantara (of Mesclun and Chuck’s Deli), and Kristine del Gallego-Locsin (formerly of Lu) have come together to bring us CDP or Chef du Partie, one of the newest culinary ventures at the Power Plant Mall. The trio’s love for food has brought them together to introduce to Manila the concept of serving small plates of global flavors, as inspired by a New York-based French bistro. Walk into their very modern take on the bistro with its amalgam of traditional and industrial design elements: an ornate wooden ceiling, concrete walls with chalk illustrations, and big windowpanes that make the restaurant’s limited space seem more sizeable. “The setting looks like a French bistro, but we don’t want to serve just French food; [the cuisine] is global. You have something from Germany like the Pork Trotter, from New England like the Clam Chowder, and from Spain like the Pig’s Ears,” explains Flores. The dishes may

be served in small plates, but the serving sizes are exactly the same as Mamou’s. Scanning through the menu, you’ll find yourself faced with some familiar dishes. While the selection seems very simple, the dishes are created with finesse and great technique, the food comparable to that of a fine dining restaurant but with a lower price. CDP also attempts to infuse Filipino flavors in some of its dishes. An example is their Steak Frites Poutine, which consists of a USDA rib-eye, fries, gravy, blue cheese, and our very own kesong puti. Aside from the food, CDP also has an extensive menu of cocktails and wines. What sets the CDP cocktail list apart are their bubbly-based concoctions made with Crémant (a sparkling wine similar to Champagne but not made in the Champagne region) instead of the common hard liquor base. In CDP, waiters are well-trained and well-acquainted with the food and drinks they offer. They’ve undergone rigorous training with Anne Berges, a French national and CDP’s food and beverage manager, whose vision is to elevate the quality of service in casual dining in Manila to meet international standards.

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Duck Olio (above) has the right balance of garlic and spice with the distinct flavor from the duck floss. CDPâ&#x20AC;&#x2122;s cheese trolley (above, right) is the perfect pair to wine and cocktails. Enjoy a drink or two by the bar and see the bartenders work on their concoctions (right).

CDP Global Table. 148B Level R1 Power Plant Mall, Lopez Drive, Rockwell Center, Makati City. 556-4454. www.facebook.com/CDPGlobalTable. eat@cdpglobaltable.com.

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Walls are painted in different shades of purple, and framed photographs of the Ongpauco family fill the walls of Bistro Pamana.

A FAMILY AFFAIR

Food and its enjoyment count as heirlooms in this family business TEXT DENISE DANIELLE ALCANTARA PHOTOGRAPHY SAM LIM

Memories of the aroma of butter and garlic being sautéed in a pan, the sizzling sound of fish being fried, and the warmth that the act of cooking itself brings to the household bring us comfort wherever we are and whatever age we may be. The kitchen will always be the heart of a home, and food is the one factor that keeps families together even when the children go on to have their own families. Happy Ongpauco-Tiu, owner of Bistro Pamana, comes from a big family where everybody loves food, and now, she shares her family’s best recipes for the public to enjoy and experience. After the success of its two predecessors, Pamana in Tagaytay and Boracay, it’s about time that this dining place built on familial tradition opens in the heart of Makati for diners to wind down and feel a sense of home despite an overloaded schedule; all it’d take is an hour of home-cooked goodness for them to feel recharged. Bistro Pamana’s extensive selection of authentic Filipino food begins with the Ongpaucos’ rendition of the lumpiang shanghai, the Lumpia Trio: a variety of lumpia rolls with longganisa, kesong puti, and tinapa filling. And ordering a plate of the Crispy Baby Pusit in Black Ink, a recipe of the Ongpaucos’ close friend, Sari Jorge of 25 Mushroom

Kitchen, can lead to another one with its addictive layers of flavors and textures, from the squid’s black ink to the crispiness of the all-time favorite calamares. The plethora of main dishes to choose from can be overwhelming as basically everything looks good, but if you want to taste their original Crispy Pata, then think no more and order it. Ongpauco’s father Rod was said to have invented the original dish, which is one of the specialties of Barrio Fiesta, another of the family’s businesses. The Chicken Binakol, a dished cooked in young coconut juice and served inside a coconut, is another twist on what we commonly know as tinola. For dessert, don’t miss their version of the ginumis, a shaved ice dessert like the halohalo. It’s a simpler dessert compared to the latter, with only gulaman, sago, and coconut milk as ingredients, but the homemade panutsa (raw sugar cane) ice cream wins because of its very Filipino flavor that’s not found in the usual grocery brand ice cream. The timeless recipes handed down from family and friends result in a fresh new Filipino menu that is not hard to love and makes Bistro Pamana live up to its tagline: “A True Legacy of Filipino Cuisine.”

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EATS Happy OngpaucoTiu created a secret recipe to make her Cebu Lechon Roll unique and special (extreme left). Bistro Pamana also has a selection of local spreads and sauces (left). Ginumis (below, left) is the simpler version of the halo-halo but stiill flavor-packed. The Lumpiang Trio also has different dips to complement the different fillings (below).

Bistro Pamana. GF Greenbelt Mansion, 109 Perea Street, Legazpi Village, Makati City. 815-1823. www.pamanarestaurant.com.

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RECIPE

FRESH OUT OF THE OVEN

This fluffy pastry is best eaten with a warm cup of chocolate on a lazy day TEXT KAT PATIÑO-MARQUEZ PHOTOGRAPHY AND STYLING SAM LIM

TRADITIONAL PUTO

PREPARATION

INGREDIENTS

1. Mix the flour, sugar, and baking powder together in a bowl. 2. In a separate bowl, whisk eggs with the evaporated milk and water. 3. Slowly fold the dry ingredients into the wet ingredients with a spatula until mixed well. 4. Grease a puto or cupcake mold with butter. Fill the molds 2/3 of the way up with batter.

4 cups all-purpose flour 2 cups white sugar 1 tbsp baking powder 6 eggs 1 12-ounce can evaporated milk 1 1/2 cups water 2 1/4 cups cheese Red egg (optional)

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5. Top with shredded cheese and red egg. Place pan into a steamer and let cook for 30 minutes. Test by placing a toothpick in the center of one puto. If it comes out clean, it’s done. 6. Cool on a wire rack and spread top with additional butter.

T HE GET

SEAMLESS PORTRAYAL

Culture and heritage are interwoven in a narrative of traditional Filipino clothing TEXT PRISTINE L. DE LEON

The rise and fall of different trends characterize the current age. Where we continually observe fashion and design being shaped and reshaped by unrelenting waves of fads, it would be comforting to think that the clothing industry has something more to offer than its tolerance for transience. In an effort to veer away from the hackneyed query “What’s new?,” a book entitled Habi: A Journey through Philippine Handwoven Textiles is a focused exploration of that which lasts. The handbook made by Habi, the Philippine Textile Council delves deep into the country’s diverse weaving traditions, as it threads together the history and the practice of the indigenous craft, and gradually unravels the meaning behind the seams. Articles reveal how each fabric, woven with warp and weft, is teeming with indigenous beliefs. Wearing them, then, affords the individual with something far richer than style, for as every fabric fashioned by native hands speaks of heritage, it clothes the wearer in history made tactile. Culture, to a degree, resists commodification. The book divulges how each fabric can be worn and appropriated in the present time, while still retaining its rare, exotic character. Each article displays the woven textiles’ versatility. For instance, there’s the classic piña worn as camisas and barongs at formal events, the delicate sinamay serving as accent materials used for haute couture designs, the hablon used as sablay in UP graduation rites, and the tubular malong perpetually shifting shapes to resemble accessories, skirts, and dresses. Some exquisitely-made fabrics find residence in museums and personal collections. To some extent, the book does exactly the same: it preserves the essence of these fabrics, weaves their narratives with words, transcribes and allows its readers to trek the wicker landscape of culture, heritage, and history. The pictures of woven patterns then rearrange themselves like letters on a page—comprehensible, thick, and tender with meaning, and infinitely open to the reader’s interpretation. Habi: A Journey Through Philippine Handwoven Textiles. Available at Habi, the Philippine Textile Council’s office, Unit 4D Carmen Court, 6080 Palma Street, Barangay Poblacion, Makati City.

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