ILOILO CITY—While the Cry of Pugad Lawin in Luzon often takes center stage in history books as the trigger event of the Filipinos’ open revolutionary struggle to gain independence from the Spanish colonial regime, another pivotal moment took place in the Visayas, specifically Panay Island.

The first sparks of rebellion flew in Barangay Jelicuon in Iloilo’s New Lucena, culminating in the historic Cry of Santa Barbara. Brave men and women gathered in the simple village of Jelicuon to plot the uprising in what is now known as the Cry of Jelicuon.

From there, the uprising spread and reached Santa Barbara to become a full-fledged revolution in Panay and, eventually, the rest of the Visayas and parts of Mindanao. 

The events have been reenacted since 2019 in Santa Barbara’s Kahilwayan Festival (Nov. 17), the name derived from the Ilonggo word “kahilwayan,” meaning freedom or independence. A vibrant dance-drama encapsulates the local revolutionary spirit and showcases the people’s courage and unity.

Flag-raising in the plaza

On Nov. 17, 1898, the Philippine flag was raised by revolutionary forces led by Gen. Martin T. Delgado in Santa Barbara’s plaza.  For the first time, the flag flew outside Luzon before a large crowd, but more than a symbolic gesture, the act was a bold declaration of the Visayan’s commitment to the fight for independence. 

Local historians cited by the state-owned Philippine News Agency narrated the following account of what might have happened during that time:

The 1896 uprising in Luzon did not spread immediately to Iloilo as the Spanish authorities believed that Ilonggos would remain loyal to the Crown, with then Governor—General Basilio Agustin even enlisting the Ilonggos to join the Volunteer Militia to fight the Tagalog rebels. 

They appointed Delgado, a “mestizo” serving as Santa Barbara’s chief executive, as commander of the “voluntaries,” not knowing that he was already a “revolucionario”. Delgado declared his stand on Oct. 28, 1898, and took the municipal building. 

Revolutionary government

Artistic rendition of one historic moment in Santa Barbara —NATIONAL HISTORICAL COMMISSION

A revolutionary government of the Visayas was organized and formally established on Nov. 17 that year during the flag-raising program at the plaza. Its officials were Roque Lopez, president; Vicente Franco, vice president and secretary of the interior; Venancio Concepcion, secretary of finance; Ramon Avanceňa, secretary of state; Jovito Yusay, secretary of justice; Julio Hernandez, secretary of war; Fernando Salas, secretary general. 

Delgado was General–in-Chief of the Revolutionary Forces, and Santa Barbara became its base from which they launched a campaign to liberate Iloilo. On Dec. 24, 1898, Governor-General de los Rios surrendered.

A year after Spain lost the archipelago, however, the Americans came. With his army, Delgado fought the new colonizers until his surrender on Feb. 2, 1901. He was appointed the first governor of Iloilo province by the Americans and kept the position after the 1903 elections

With Santa Barbara under American rule, it was established as a municipality by the Commonwealth government. Its significant role in Philippine history was recognized during the Philippine Centennial Celebration in 1998 as a National Trunk Site in the Centennial Freedom Trail.

Keeping the flame alive

“Kahiwalayan” festivities —FACEBOOK PHOTO

In 2001, the Kahilwayan Festival was launched during the administration of Mayor Isabelo Maquin. It has attracted visitors and tourists, aiming to deepen their appreciation of the historic events and to promote Santa Barbara as a cultural and historical destination.

One of the festival’s highlights is the reenactment of the Cry of Santa Barbara, a dramatic performance accompanied by the stirring “Marcha Libertador” which culminates in the raising of the Philippine flag.

Santa Barbara’s dance-drama will be staged on the streets of Manila as part of this year’s celebration of Independence Day on Wednesday (June 12). 

“This is historic for us because this is the first time that we were invited to join the parade at the national level,” Gov. Arthur Defensor Jr. said in a statement. 

Irene Magallon, municipal tourism officer, highlighted other meetings and uprisings across the Visayas, including the Cry of Jelicuon in New Lucena, Cry of Lincud in Dingle, the 19 Martyrs of Aklan, and the Battle of Balisong in Capiz.

“We will carry this experience through our lifetime,” she said.

Read more: Artist paints tribute to heroes in time for Independence Day

First published in CoverStory – June 11, 2024

By Aiya Cantomayor

MIAGAO, Iloilo—Tucked among the ancient trees and mountains in this town is Barangay Cagbang, where tradition thrives in the clay molded patiently by its people for generations.

The homegrown art and soul of pottery have kept alive not only the local culture but also the community’s livelihood.

To reach Cagbang, one travels some 40 kilometers south of Iloilo City via the Iloilo-Antique Road. The highway traverses the coastal towns of Oton, Tigbauan, Guimbal and Miagao. Past the historic Miagao Church, it turns inland into narrow roads that snake through the hilly terrain of Cagbang. The final stretch of the trip is a beautiful uphill drive to where pieces of earth are made into art.

The highly skilled potter Josie Fortugana, 67, lives in the heart of Cagbang. He has dedicated his life to preserving the local culture through pottery. His family, along with the rest of the community, has been making pottery for generations.

Cagbang has long been known as a major pottery center in Iloilo, being the only source in the whole province of traditional earthenware such as the banga (water jars), kalan (stoves), and kulon (cooking pots).

Family business

“The pottery tradition began with our elders,” Tatay (father) Josie told CoverStory, speaking in the local language. “My mother started making pottery when she was 12 years old. She learned the craft and mastered it until she married my father, who also knew how to make pottery. You could say it’s a family business and a true part of our family.”

“This has been our livelihood for decades, and I’ve been helping with the work since I was a child. It’s how we make a living,” he said.

Tatay Josie’s mother, Enriquita Tantioco Fortugana, made headlines back in 2013 as the oldest surviving potter from Cagbang until she died at 93. Her legacy paved the way for the recognition of Cagbang’s traditional pottery, which is now one of Miagao’s tourism draws.

While Tatay Josie focuses on traditional pots, one of his nephews, Rey F. Cabatingan, pursues the beauty of figurative clayware.

Living workspace

The entire Cagbang is a living workspace, with many homes continuing the craft as their main means of livelihood. Tatay Josie spends most of the day in his workshop, a humble hut that stores half-used clay, sharp tools, and a battered DIY pottery wheel. Pottery items, both finished and unfinished, occupy every corner of the workshop.

The mountains and their rich soil are the source of raw materials for the village craftsmen, who follow practices and methods predating modern machinery. The process involves rigorous steps to ensure high-quality earthenware.

Raw brown soil is dug and collected from a slope near where they live, but which can be reached after an arduous climb—a challenge, especially for the elderly potters who make up the majority of the artisans. The land is not theirs; they pay ₱100 a month for access to the area.

“You have to dig the earth because the clay used for pottery is the one from deep below, not the one on top,” Tatay Josie explained. “The top part, with stones, has a lot of textures, unlike the one underneath which is soft and fine. This process is what we call ‘dakot.’”

At the workspace, the haul undergoes the traditional preparation of kneading by foot to soften the soil enough to turn into clay for molding.

“We stomp on the clay, then sprinkle it with water as we go to soften it up,” he said. “This phase is called ‘lubak,’ and it’s how we create the clay we’ll use for shaping. After that, we shape it on the pottery wheel.”

Shaping the clay is the highlight of pottery-making; it is an intricate process and requires keen attention to detail. Tatay Josie uses a cloth to smooth the edges and corners of the clay, as well as to form it into his desired shape. Each turn of the wheel, along with the evolving figure, becomes a piece born out of passion.

The molded pots are left in the sun for three days or more, depending on the weather, until they are bone-dry. Tatay Josie then applies a natural earth pigment called “hibo” or “lupang pula,” which is said to have been used since prehistoric times for body paint, cave art and decorative purposes. The pigment comes from pulverized fine dust mixed with water to produce a dense fluid that serves as natural paint.

Tatay Josie wields a special translucent, crystalline stone to erase the pot’s rough texture and polish it for a soft, smooth appearance.

The last step of the indigenous process is cooking the pot in the ground kiln called “pagba.”  Stones serve to elevate the pots in the kiln, with a bamboo framework for support. The fire is lit underneath with “paklang” or coconut leaves; “dagami” or grass and “labhang“ rice stalks are placed atop the pots to trap the heat.

Cooking the pots requires constant attention, as the bamboo support must be watched and replaced to prevent the entire structure and the pots from collapsing.

Challenges

Being a traditional potter like Tatay Josie is not easy. Time, a declining number of customers, and modern ways of pottery are the biggest challenges. His products are priced lower when bought directly from his home than in city markets.

“Our pots are sold at low prices so that many people will buy them,” he said, hoping that this could draw more customers.

In Tatay Josie’s workshop, the value of a pot is set by its size and kind. Small earthenware souvenirs can be had for ₱20, while the medium pieces sell for ₱50–₱75. The huge, tall pots, which require tedious labor, cost between ₱700 and ₱1,000. For a full collection, a set of three sells for ₱2,000.

The meager profit from these sales is just enough to sustain his family’s daily needs.

Decreasing demand and limited access to buyers explain why the Cagbang potters are slowly losing market recognition. They are even outperformed by the makers of hablon (a hand-woven textile material made with a traditional wooden loom called “tiral”), who live closer to the town proper.

Moreover, the younger people of Cagbang are losing motivation to learn and continue making pots due to the hardships of work.

But despite the market decline and the youth’s waning interest, Tatay Josie continues to make pottery in order to preserve his mother’s legacy. To him and his calloused hands, heritage and culture are the soul of his community, giving Cagbang an identity that will resonate through time.

First published in CoverStory – October 13, 2025

ILOILO CITY—A mural is the latest addition to Iloilo’s growing collection of public art.

Walking along Esplanade 8, where the Iloilo River meets Muelle Loney Street near the Capitol, you must have noticed a vibrant mural brightening the corner of Solis Street. That eye-catching art work is titled “Paghili-usa,” and it has transformed a wall marked with graffiti into a tribute to Ilonggo spirit, culture, and history.

(A beloved landmark facing the mural is Nora’s Eatery, where locals from all walks of life congregate daily. It is known for Ilonggo dishes—true comfort food for the community—and is a staple in the city’s culinary scene.)

Unveiled last June 28, “Paghili-usa,” which means “unity” in Hiligaynon, spans 6 x 25 meters. It was created through Ugnayan 2 (Iloilo), a collaborative project that brought together artists and art collectives from Luzon and the Visayas, with the support of the city government.

Luzon was represented by the Linangan Collective led by Manny Garibay and composed of Ces Eugenio, Lorebert Maralita, Otto Neri, Art Sanchez, and Salvi. Pancho Alvarez of Studio Maya also participated.

The Visayas collectives were represented by Edmar Colmo (Baysulangpu Artists Society), Jeanroll Ejar (Hiugyon), Kirby Guihem (Himbon Contemporary Ilonggo Artists Group), Lord Charles P. Franco and Roneal H. Torres (Kikik Kollektive), Steve Magbanua (Ogtonganon Visual Artists League), Roland Llarena (Sigahum Artists), and G. Mogato (Tagatig Artists Hub). Also spotted at work on the mural was young emerging artist Kyra Uygongco. Negros was represented by Jan Llague (Orange Project).

Fittingly, “ugnayan” in Hiligaynon speaks of connection, coordination, and relationship—perfectly capturing the mural’s message and the spirit of the collaboration behind it.

Shared meals and community

“Paghili-usa” takes inspiration from history and captures Iloilo’s transformation from the past to the present. It highlights the importance of the Iloilo River and Muelle Loney as key parts of the city’s identity as a bustling port during the Manila-Acapulco galleon trade, as the Philippines’ textile hub, and eventually as a major sugar-producing region in the 19th century.

Prominent in the mural are two powerful symbols: a long communal table and the act of sharing food—a recognition of the Filipino tradition of salo-salo. This table becomes a metaphor for cultural dialogue, where colonizers, traders, and local communities connected through shared meals. Each dish reflects diverse backgrounds, beliefs, and traditions—flavors that tell stories.

The mural thus serves as a reminder of the cultural significance and power of eating together. Throughout history, shared meals have meant more than nourishment; they have functioned as a vital form of cultural dialogue. From communal feasts like the Dinagyang Festival to cosmopolitan repasts that present food as art, the shared table has shaped identity, memory, and connection—core elements that speak volumes about Iloilo’s rich gastronomy.

Communal eating has long been tied to survival and ritual in tribal and agrarian societies, marking harvests, rites of passage, and religious ceremonies. In ancient Greece, symposiums blended food with discourse, reinforcing civic and philosophical life. Among indigenous communities, meals have served to pass on roles, values, and oral histories.

As cultures collided in the course of trade, migration, and colonization, food became a crossroads of exchange, tension, and even revolution. Tables reflected power and resistance, blending traditions into new, hybrid identities, and broader historical shifts.

These cultural patterns are reflected in Iloilo’s own past and present, where food continues to symbolize trust, belonging, cooperation, and alliance.

Today, communal dining remains a vibrant form of cultural expression. Potlucks, festivals, and cross-cultural meals foster connection and diplomacy, reinforcing the idea that food can bridge divides and build community.

In Iloilo, the shared table remains a powerful space for cultural dialogue, capturing the Ilonggo’s timeless language of hospitality, memory, and belonging.

The mural highlights Iloilo’s rich, multicultural roots, conveying that culture thrives when people gather, and that food, like history, gains its deepest meaning when shared with unity and understanding. This is the essence of the words paghili-usa and pakipag-ugnayan, as exemplified by artists from Luzon and the Visayas.

One sun, one humanity

At the center of the mural is a radiant sun that symbolizes the source of all living energy, without which life would not exist. More than a visual centerpiece, the sun evokes hope, equality, and our shared humanity—whether in times of abundance or hardship, as was seen in Iloilo during the pandemic and even in periods of political polarization.

The sun is shown connecting people—symbolic, perhaps, of society’s class structure, where its light narrows the triangle of inequality and bridges social divides. It reflects shared moments of community and stands as a strong reminder that regardless of race, class, culture, or background, we all live under the same sun and sky.

“Paghili-usa” is more than a mural; it is a living canvas of Iloilo’s past and present, a mirror of its evolving identity. It challenges viewers to recognize the strength in diversity, the beauty in shared struggles, and the joy in gathering together.

First published in CoverStory – July 10, 2025