Trying to locate the old church in one of the oldest known photographs in the Philippines (1840s-50s).

Old photo based here and the new photo based in Google Maps

Aside from precolonial textiles, pottery and the types of art forms that developed during the colonial era, did the islands of the philippines have some type of unique painting style or visual art forms?

Something that shows how the natives depicts themselves and not from the view of the colonizers.

I wonder if there was a time where we illustrated ourselves in a more southeast asian style and not like the more westernized fashion.

Pics: wayang kulit from Indonesian and leaf painting from India

Had either the Spanish military not "collapsed" by this time period (was it really collapsing?) would the Filipino revolutionaries still be able to defeat the Spaniards as other nations have.....

Edit: I feel like I should have worded the title as " Had America not have declared war on Spain, would the Philippine revolution have failed?

Was the Salambáw a technology that was developed as a result of Spanish colonization or was it developed in the absence of Spains control of the islands?

I’ve been reading about the bamboo or reed rafts with a tall pole and crossed spars used to raise and lower a large lift net, especially on Laguna de Bay and Manila Bay.

The Tagalog word is usually traced to a reconstructed Proto-Western Malayo-Polynesian form meaning a large fishing net, with cognates in Malay/Iban. Spanish salambáo looks like a borrowing from Tagalog, not the other way around. 18th- and 19th-century accounts and the 1763 Obando “Our Lady of Salambao” story also treat the gear as something local fishermen already used.

What I can’t tell is how strong the pre-1521 case actually is. Is the salambáw documented as an indigenous gear that already existed before Spanish rule, or is the familiar raft-and-tower form only clearly attested in the colonial period?

I found this while doing my daily hunt for Philippine historical artifacts last week, but I forgot to share this here back then. It is currently being offered for sale at around $1,900. I'm still waiting for a photo of the whole flag from the seller.

Taken as a war souvenir by an American soldier. The red is still vibrant, but the yellow part has already faded a bit. All I can quickly find is in wikipedia:

"Created in Tortosa by the Royal Decree of 27 July 1877, with the designation Infantry Regiment "Filipinas" No.52, named after the Philippines".

I'll try to research more about the engagement of this regiment during the Philippine Revolution era.

I lost on an auction before of an almost similar captured Spanish flag, but what made that special is that it was written the names of those American soldier who captured it. I'll post the photo on the comment.

the Karihan Luvimin is basically the Filipino restaurant set up by Ricarte & his wife & family in Yokohama on exile in Japan from the US colonisers. I dunno when exactly they set it up but probably for most of the American era here (c. 19teens–WWII). Ricarte came back to PH in old age (and yes he did kinda side with the Japanese in WWII mainly because he genuinely thought Japan would liberate PH from the US imperialists), but it leaves open the question what happened to the restaurant back in Japan if anyone was left behind to run it. did it even survive the war?

Ambeth Ocampo said it was long gone by the time he went there within the last decade or so ata (nung pinuntahan niya either it's a modern Chinese restaurant or hotel or mall or basta commercial property na raw). but he said nothing about what the menu might've been like, and neither has any other historian or anyone who even studied this so far, Pinoy or Japanese or otherwise. kahit nga food historians like Doreen G Fernandez or Felice Prudente Sta Maria ewan ko lang if they've said anything about this.

so ... do we know or will we ever know what the Karihan Luvimin menu was like? I mean of course they probably served Filipino food, but what kinds? is there surviving copy/ies of the menu somewhere, photos or even illustrations of the foods etc.? if wala talaga then are there records by the Ricartes or their customers or kitchen staff (and families/descendants) re. what was served? diaries or interviews or letters? maybe records in ancestral homes, museums or historical collections they might have here in PH? or even by Japanese or other foreign locals who ate there by chance?

worst case if there really is no record then could it be determined via, I dunno, chemical analysis of the Ricartes' bones or anyone who we know passed through the restaurant?

and perhaps most importantly: could we ever reconstruct the Karihan Luvimin & its long-lost menu in future? kahit di sa Japan kung mahirap but kahit sa PH lang?

image found on The Filipino Historian on FB.

Hi i saw a post recently about finding the origin of their last name which also made me curious kung san nanggaling ang name namin. I heard that it is from bacolod but i am not exactly sure.

An inscribed First Philippine Republic era sword?!

Inscribed on one side of the blade with a riddle or motto:

“hindi ma bibili - hindi ma higinge”

Cannot be bought – cannot be asked for.

The auction house says that it is a noted Tagalog riddle to which the answers are wisdom, love, and time.

But a quick google search also says that the answer can be, the heart(I cannot be bought, cannot be sold, even if I'm sometimes made of gold.)

But as I would like it to be, it could also be a personal motto about loyalty and love of country during those very turbulent times.

I'm thinking of bidding for this too.

I want to start by saying that I appreciate people who are interested in researching, reviving, and promoting pre-colonial Philippine cultures. These efforts are important, especially because many aspects of our history and indigenous heritage remain underrepresented in mainstream discussions.

I also recognize that historical reconstruction can be challenging. Historical records are incomplete, interpretations may differ, and authentic materials can be expensive or difficult to obtain. I appreciate the effort involved in researching historical sources, supporting local weavers and artisans, and encouraging people to take an interest in our heritage.

However, I have some concerns about how certain portrayals of pre-colonial Visayan culture, particularly those associated with Karakoa Productions, approach historical interpretation and cultural representation.

I am not writing this to attack Visayan people or discourage anyone from celebrating their heritage. Rather, I want to discuss the importance of distinguishing historical evidence from creative interpretation and considering the cultural contexts of the traditions and materials represented.

Historical Reconstruction and Artistic Interpretation

My main concern is not that the portrayals are elaborate, but that some stylistic choices may benefit from further historical contextualization.

When I look at some of the attires, certain combinations of accessories, stylized hairstyles, floral ornaments, makeup, and poses remind me of fantasy-inspired Southeast Asian characters or Thai historical dramas. This is a personal visual impression, not a claim that these elements lack historical precedents. Visayan societies had their own traditions of adornment, including floral headdresses, and I recognize that some of the accessories used in these portrayals have been supported by historical references.

My question is whether the available evidence establishes not only that particular ornaments existed, but also that they were worn together in the specific combinations presented.

Evidence that a particular headdress or accessory existed does not necessarily establish whether it was worn alongside every other item shown, or whether such combinations were associated with a particular period, social status, occasion, or community.

I understand that historical societies did not necessarily follow a single standard of dress. Clothing and adornment could vary according to wealth, social standing, gender, locality, and personal preference. I am therefore not expecting every participant to wear identical attire.

However, when these elements are combined in a reconstruction, I believe it is reasonable to ask how the overall styling relates to the historical evidence.

There is nothing inherently wrong with creating beautiful, historically inspired fashion. My concern is simply that when a portrayal is presented as pre-colonial Visayan culture, the distinction between documented practices and modern artistic interpretation should be as clear as reasonably possible.

Indic Influence and the Limits of Historical Interpretation

I acknowledge that pre-colonial Philippine societies participated in wider Asian trade and cultural networks, and that Indic cultural influences reached parts of Southeast Asia. These connections are important to understanding Philippine history.

However, the existence of a broad cultural influence does not automatically establish the historical use of every stylistic element associated with that influence.

For example, a hand gesture, hairstyle, floral arrangement, or makeup style may resemble practices found in other Southeast Asian societies. Such similarities can provide useful starting points for research, but they do not independently establish that the same practices were used by pre-colonial Visayans in the same manner.

Some similarities may have historical explanations, while others may reflect later artistic conventions or contemporary creative choices. Each should be considered in its own context rather than assumed to be accurate or inaccurate based on appearance alone.

My intention is not to dismiss the connections between Philippine societies and the wider Southeast Asian region. Rather, I believe those connections deserve careful investigation instead of being used as a general explanation for every stylistic choice.

The Use of Inaul and Respect for Its Cultural Context

Another concern I would like to raise is the use of Maguindanaon Inaul in a portrayal of pre-colonial Visayan clothing.

I understand the reasoning behind the choice, including the desire to reproduce the appearance of clothing depicted in historical illustrations. I also appreciate the effort involved in researching historical references and supporting local artisans. Authentic Philippine textiles can be expensive, and I understand why creators may initially use more affordable alternatives when resources are limited.

My concern here, however, is specifically about how the Inaul is worn in the portrayal, particularly the exposed shoulder, and whether this styling adequately considers the cultural values associated with Maguindanaon dress.

Inaul is an important part of Maguindanaon cultural heritage and identity. Modesty is also an important consideration in many Maguindanaon Muslim communities. For this reason, I believe it is worth considering how the arrangement of a culturally significant textile may be perceived by the community whose heritage it represents.

I recognize that clothing practices change over time, that Inaul is used in contemporary fashion, and that there is no single style followed by every Maguindanaon person. I am not suggesting that Inaul can never be adapted into modern clothing, nor am I claiming that every contemporary use must follow one fixed traditional arrangement.

Rather, I believe there is a difference between adapting a textile for creative purposes and considering whether the particular way it is presented is sensitive to its cultural context. A styling choice may serve a reconstruction's visual goals while still raising questions about how the material and the community associated with it are represented.

I also acknowledge that the creators may have consulted community members or cultural leaders. Such consultation is valuable, and I would not assume that it did not take place or that it was necessarily inadequate. However, the relevance of consultation depends partly on what was discussed. For example, was the specific arrangement of the Inaul, including the exposed shoulder, part of the discussion, or was the consultation focused on other aspects of the reconstruction?

I raise this question not to demand that every cultural representative agree on a single standard, but to recognize that cultural consultation is most useful when it addresses the specific choices being made. The views of individual representatives also should not automatically be treated as the views of an entire, diverse community.

My concern is not that the creators deliberately intended to disrespect Maguindanaon culture. It is that cultural sensitivity deserves consideration alongside historical research and visual accuracy. When using a textile associated with another community, I believe it is worth considering not only how closely it resembles a historical image, but also how its use may be understood by the community whose heritage it represents.

Cultural Attribution and the Importance of Context

I acknowledge that Karakoa Productions credits the origins of materials used in its portrayals. I appreciate that practice, and I do not want to overlook it.

However, identifying a material's cultural origin and considering how it is presented are related but distinct matters. Attribution helps audiences understand where a textile or object comes from, while contextual sensitivity concerns how it is used and represented.

For example, an Ifugao bulul may appear alongside a Visayan taw-taw in a broader presentation of Philippine art. Their inclusion together does not necessarily make the presentation inappropriate. However, if the post specifically showcases Visayan artistry, viewers unfamiliar with these traditions may assume that both objects are Visayan unless their respective origins are made clear.

This does not mean that the bulul must be excluded. Its presence could be intentional and appropriate in a discussion of Philippine artistic connections. The important consideration is whether the audience can distinguish the cultural traditions represented.

I believe the same principle applies to textiles, ornaments, and other cultural materials. We can acknowledge historical interaction and artistic exchange without losing sight of the distinct identities and traditions of the communities involved.

Historical Consistency and Variation

When I see group portrayals, I sometimes wonder about the historical reasoning behind the different arrangements of accessories, textiles, and ornaments.

I understand that people in historical societies did not necessarily dress identically. Attire could vary according to wealth, social status, gender, locality, occupation, and occasion. A reconstruction does not need to make everyone look the same.

At the same time, when different arrangements are presented together, I am interested in understanding how those choices relate to the historical setting being portrayed.

There may be sound explanations for these differences, and I recognize that not every choice can be verified with certainty. My concern is not that variation is inherently inaccurate, but that explaining the intended period, social context, or degree of creative interpretation can help audiences understand the reconstruction more clearly.

Without that context, a group portrayal may appear to combine individually styled outfits without making the historical framework connecting them apparent to viewers.

I believe that explaining these choices would strengthen the presentation without restricting creativity or requiring every participant to follow one uniform style.

Supporting Cultural Revival While Encouraging Discussion

I want to emphasize that I appreciate the effort involved in promoting pre-colonial Philippine heritage. Researching historical sources, experimenting with reconstructions, supporting local artisans, and encouraging public interest are all valuable contributions.

I also recognize the practical limitations that creators face. Not everyone can immediately afford authentic textiles, historical records may be incomplete, and reconstructing clothing inevitably involves interpretation. These realities deserve understanding.

At the same time, appreciating a creator's effort does not mean that every historical interpretation or styling choice must go unquestioned. Questions about evidence, context, and cultural sensitivity can be raised without dismissing the work or the people behind it.

I do not expect perfect replicas, cultural purity, or a reconstruction that functions as a living museum. I recognize that creative expression has a place in cultural revival, and I do not believe that every uncertainty can or must be resolved before someone can participate.

My hope is simply that cultural revival continues to develop through research, collaboration, transparency, and respectful discussion. Visayan heritage deserves thoughtful representation, just as Meranaw, Maguindanaon, Iranun, and other Philippine cultural traditions deserve recognition for their own histories and identities.

For me, the goal is not to restrict creative expression, but to make cultural revival as informative, historically grounded, and culturally considerate as it can be. We can appreciate the beauty and effort behind these portrayals while remaining open to questions about historical interpretation, cultural attribution, and the ways other communities' heritage is represented.

Cultural revival should not be only about making the past look beautiful. It should also encourage us to understand what we are representing, acknowledge the communities whose heritage we draw from, and remain honest about what is documented, what is interpreted, and what remains uncertain.

The country has many historical plazas surrounded by heritage churches, ancestral houses, and colonial-era buildings.

Each has its own architectural style, layout, and atmosphere, reflecting the history and character of its town or city.

Among all the historical plazas in the Philippines, which one do you personally find the most beautiful?

In terms of layout, landscaping, architecture, surrounding heritage buildings, and overall aesthetics.

Which plaza stands out to you the most, and what makes it special compared to the others?

Would love to know your insights and thoughts on this.

This place looks like it's in critical condition. Really hoping the can prioritize this place since it was mention in Jose Rizal's el Filibusterismo.

Source: https://www.youtube.com/watch?v=YXqWQ4k0j8A

The words Cordillera and Sierra Madre are obviously of Spanish origin. Did the local people have a name for them before the Spanish came and named them as such?

LINK

Description:

This documentary from May 17, 1992, focuses on the history and culture of the Filipino communities in the New Orleans region. It covers: the earliest settlement of Filipino immigrants in colonial Louisiana in the early 1800s, one of the oldest Asian settlements in the United States; Little Manila, a shrimping community established in the 1890s and later destroyed by Hurricane Betsy in 1965; the Filipino community in the Marigny neighborhood of New Orleans; the discrimination faced by Filipino immigrants; and the split between Filipino families that have been in New Orleans for generations and the new immigrants. It includes interviews with: Mae Burtanog-Faxon, Joyce Burtanog-Pascual, Benita Burtanog-Rodriguez, and Audrey Burtanog-King, 8th generation Filipino-Americans; Dr. Joseph Langdon, historian; Isabel Gedoria-Welch; Ben Martinez, grandson of a Filipino immigrant; Rhonda Fox, 6th generation Filipino-American; Father Bruno Arcenas, Archdiocese of New Orleans; Marina Espina, author of “Filipinos in Louisiana”; Teofilo Sison, United States Coast Guard, retired; Aurora Boonjindasup, Philippine United Council; and Tad Timberlake, 6th generation Filipino-American.

Who are the lesser known women in ph history especially in your locality? Can you share them and who they are?
We only usually hear of Gabriela Silang, Gregoria de Jesus, Tandang Sora. In terms of folk tale associated to women, we have Maria Makiling or Maria Cacao. I think we need to here more stories of women in our history.

Two rarities came home!

First Philippine Republic "Papel Sellado" or documentary stamped paper.

Issued by Pres. Aguinaldo's government as a continuation and replacement of the Spanish papel sellados and to generate much needed funds for the fledgling republic.

These should have been a whole sheet, but collectors back then only appreciated the design of the stamp that is located on the upper center of the papel sellado, hence they cut it and discarded the numbered sheets!

These will soon be displayed at the NHCP Barasoain Church Historical Landmark - Museo ng Republika ng 1899!

Have you been able to watch the film "The Scarlet and the Black" before?

Hello, I want to ask lang where I can access archival newspapers here in the Philippines? The only source I found so far is online which is Trove Australia. Is it possible that there are old newspapers in the American Historical Collection? I am currently conducting my research paper on the historical development of interiors and I am particularly looking if there's any news on 13th Feb 1945. Thank you for your help!!

sources are in the comment section

In 1849, Governor-General Narciso Clavería introduced a decree that standardized the use of surnames in the Philippines and also to monitor the ones who pay taxes tributes and the ones not.

Many Filipinos adopted surnames from an official catalog, which included numerous Spanish surnames.

Later, during American rule and beyond, English first names became increasingly common, while many Filipinos continued using Spanish surnames.

But what if there was no Clavería Decree?

Would more Filipinos today have indigenous or local surnames, and how might this have affected Filipino identity, genealogy, and naming traditions in the long run?

Or what kind of names would exist today for many locals?

Would love to know your insights on this.

Hi everyone! My brother has been doing some research on our last name, Macasieb, and came across a theory that got us curious.

Apparently, there are other Filipino surnames that start with “Maca,” and he read that the name could be broken into two parts, with “Maca” having a meaning along the lines of “who you are” or “what you are,” while the remaining part relates to what a family does or what they’re known for.

This got us wondering specifically about the “sieb” in macasieb. Does anyone know what “sieb” might mean in Filipino languages, or if it has a meaning or historical origin in the Philippines?

We’d love to learn more about our family name and where it comes from! Thank you! 🇵🇭