Discover The Beautiful Philippines

08/07/2025

GEMMA TERESA GUERRERO CRUZ
Miss International, 1964
Photo Published by
Philippine Tourist & Travel Association

Gemma Teresa Guerrero Cruz: The Filipina Who Shined in the World’s Eyes

On the balmy evening of August 15, 1964, in Long Beach, California, history twirled in a glittering gown and wore a radiant Filipina smile. It was the night Gemma Teresa Guerrero Cruz, a statuesque and eloquent 21-year-old from Manila, claimed the Miss International 1964 crown—and with it, brought an entire nation to its feet in pride and celebration.

She wasn’t just a beauty queen; she was a historical writer at the National Museum of the Philippines, a scholar with ink-stained fingers and an intellect sharpened by heritage and purpose. But what elevated this moment beyond tiaras and sashes was her legacy—Gemma Cruz was the great-grandniece of the national hero, Dr. Jose Rizal. In a single dazzling coronation, the world witnessed a union of beauty, brilliance, and patriotic lineage.

For the Philippines, an archipelago of 7,107 islands, her victory sent waves of national joy. It marked the first time a Filipina won an international beauty pageant, breaking through cultural stereotypes and planting the Philippine flag at the summit of global pulchritude. She stood tall—five feet ten inches—not just in stature, but in what she represented: a Filipina who was not only beautiful but cultured, compassionate, and proud of her roots.

Her win couldn’t have come at a more opportune time. Just a year earlier, the Miss Universe 1963 winner from Brazil stirred controversy with derogatory remarks about Filipino cuisine and culture, dismissing them as “primitive.” The sting of that insult was still fresh. And so, when Gemma Cruz emerged victorious on the global stage, it wasn’t just a pageant win—it was a moment of national vindication.

Despite the grey skies and a looming jeepney strike, the streets of Manila were awash in jubilation. Radios crackled with updates, and people gathered to celebrate their new queen. Vice President Emmanuel Pelaez addressed the nation with pride, recalling how two Filipino men—Virgilio Hilario and Jose Araneta—had in the past “deprived the world” of beauty queens by marrying Armi Kuusela of Finland (Miss Universe 1952) and Stella Marquez of Colombia (Miss International 1960). But now, he said, “it’s our turn to give one of our beauty queens to the world.”

Yet Gemma Cruz was more than just a figure in a sash. She used her newfound fame with purpose and compassion. She donated her $10,000 prize money—a substantial sum in 1964—not to personal gain but to build homes for Manila’s street children, echoing a spirit akin to Mother Teresa. Her beauty, she believed, was not meant to set her above others, but to uplift those in need.

Her reign became a passport to the world—not as a tourist, but as a cultural ambassador. She would go on to represent the Philippines on international platforms, introducing foreign audiences to Filipino art, history, and humanity. Wherever she went, she carried not just the elegance of a queen, but the soul of a nation.

In an era where beauty queens were often expected to smile and stay silent, Gemma Teresa Guerrero Cruz spoke volumes—through her intellect, her heritage, and her heart. She didn’t just win a crown. She rewrote history with grace.

And in doing so, she made the Philippines stand taller than ever before.

Reference:
Han Shin, Beauty With a Cause: A Spiritual Odyssey, iUniverse Inc., 2005, pp. 28–29.

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06/07/2025

FILIPINA MESTIZA
Philippine Airlines Postcard
Undated (circa 1970s)

Original Postcard Caption:

"The "mestiza" dress of this Filipina is native to the Christian regions of the Philippines. (The term "mestiza" means a cross between a Filipino and a foreigner.) Also referred to as "terno" (ensemble), it features butterfly sleeves and a flaring pañuelo (shawl), and is usually worn during festive occasions."

- Philippine Airlines

06/06/2025

05/06/2025

Plaza Goiti, Sta Cruz, Manila
Circa 1929

08/05/2025

"OUR LITTLE BROWN SISTERS"
Philippine Islands, circa 1910
VELOX RPPC, Real Photo Postcard

This early 20th-century real photo postcard features two young Filipina women wearing the traditional Balintawak, a rural variation of the Baro’t Saya or Traje de Mestiza, popular among women in the countryside.

Set against a stylized natural backdrop, the women’s graceful poses and traditional attire reflect Filipino cultural identity during a time of intense colonial transformation.

The caption, “Our Little Brown Sisters,” was a common phrase used by American administrators to refer to Filipinas during the U.S. occupation. Though it may sound endearing, the phrase is steeped in colonial paternalism and racial hierarch. It characterized Filipinos as dependent, childlike, and in need of American “guidance,” particularly positioning American men as protectors and educators of submissive, exoticized women.

This postcard is a striking example of how imperial ideology was communicated through visual media, shaping how colonized peoples were seen—and saw themselves—under foreign rule.

-- PHILCLASSIC

26/04/2025

"Several Reasons Why We Stay in the Philippines" – Beck’s Beer Advertising
AZO RPPC (Real Photo Postcard) 1920s

This is a rare real photo postcard (RPPC) from around the 1920s, printed on AZO stock, showing a vivid scene from the American colonial period in the Philippines.

The scene captures a relaxed tropical moment: A young Filipino lady, radiant in her traditional Balintawak attire, smiles warmly as she raises a glass. Her dress features the signature butterfly sleeves, and over one shoulder, she wears a pañuelo — a light scarf casually draped, not strictly across both shoulders as in formal "Terno" versions, but hanging loosely on one side in a relaxed, festive style.

Her hair is styled in soft, loose waves, gathered into a graceful updo, with a large tropical flower tucked behind her ear - a symbol of natural beauty and easy charm. The casual elegance of her appearance perfectly mirrors the easy pace of colonial life in the islands.

Scattered across the table before her are bottles of imported liquor, including famous Western brands like Martini and SOLS. Small glasses and playing cards hint at lighthearted games and long, laughter-filled afternoons. Behind her, a grand Beck’s Beer sign dominates the background - a bold reminder of the European and American influences that shaped the colonial Philippines.

At the top left corner, in neat handwriting, reads the caption:

"Several reasons why we stay in the Philippines"

A playful, almost wistful message - suggesting that beyond duty or business, it was the beauty, hospitality, and gentle pleasures of the islands that truly captured the hearts of those who came.

Postcards like this were often intended as light-hearted souvenirs or mementos for foreigners, capturing a playful, almost idealized vision of colonial life.

— PHILCLASSIC

22/04/2025

FAREWELL TO THE “KILABOT NG MGA KOLEHIYALA”

The Philippines is mourning the loss of one of its most beloved music icons. Hajji Alejandro, a cornerstone of Original Pilipino Music (OPM), passed away on April 21, 2025, at the age of 70. According to his family, the cause was complications from stage 4 colon cancer—a battle he fought quietly and with great strength.

Born Angelito Toledo Alejandro on December 26, 1954, in Alaminos, Pangasinan, Hajji’s path wasn’t always destined for the stage. As a young boy, he dreamed of becoming an athlete, aspiring to excel in any sport. This early competitive spirit would later shape his musical journey—where the same discipline, drive, and passion turned him into a celebrated performer who left a lasting mark on the Filipino soul.

His rise began in the vibrant Manila music scene of the 1970s as a member of the iconic Circus Band. With a voice that could glide from tender to powerful and a stage presence impossible to ignore, Hajji quickly launched a solo career that would define a generation.

Known affectionately as the “Kilabot ng mga Kolehiyala” (Heartthrob of College Girls), he won hearts with his soulful ballads and magnetic charm.

His unforgettable songs—Kay Ganda ng Ating Musika, Panakip Butas, Nakapagtataka, Tag-Araw, Tag-Ulan, and Ang Lahat Ng Ito’y Para Sa’Yo—weren’t just hits. They became deeply personal to fans, woven into the backdrop of countless Filipino lives. Hajji’s voice didn’t just carry melody; it carried emotion, nostalgia, and truth.

Behind the spotlight was a loving father and a joyful spirit. He is survived by his children, including it award-winning actress and singer Rachel Alejandro, drummer Ali Alejandro, and his daughter Barni, who recently moved the nation to tears with an emotional rendition of "Ang Lahat Ng Ito’y Para Sa’Yo"—a daughter’s tribute and farewell to her father.

Those close to him also recall his humor and playful heart. Rachel once shared that when she slowed down her karaoke version of "Nakapagtataka", her voice eerily resembled Hajji’s, which made them both laugh hysterically. He wasn’t afraid to poke fun at himself, even joining his family in spirited performances of Bohemian Rhapsody and Take On Me, proving he could still surprise and entertain in the most unexpected ways.

Hajji also had a deep love for the stage and theater, taking on roles in musicals and stage productions—always hungry for new creative challenges. Off-stage, he shared countless golf games and hearty laughs with his close friend Danny Javier of the APO Hiking Society, often calling themselves “frustrated golfers” who were in it more for the camaraderie than the score.

Hajji’s passing comes in the shadow of other great losses—Pilita Corrales, Nora Aunor—and marks a somber moment for the music community. But his legacy is undeniable. He didn’t just sing songs; he gave voice to the heartache, hope, and romance of a generation.

-PHILCLASSIC

19/04/2025

17/04/2025

Nora Aunor: A Superstar Remembered and the Love Team That Won the Nation's Heart

On April 16, 2025, the Philippines mourned the passing of one of its most iconic cultural figures—Nora Aunor, the "Superstar" whose voice, presence, and performances touched generations. She died at the age of 71, while undergoing a heart procedure, just a month before her 72nd birthday in May, leaving behind a legacy that transcends music, film, and national identity.

Born Nora Cabaltera Villamayor in Iriga, Camarines Sur, Aunor rose from humble beginnings, famously selling water at train stations before entering a singing contest that changed her life. She would go on to become one of the most beloved figures in Philippine entertainment, starring in over 200 films and television shows.

Her career soared during the 1970s, and one of the most defining factors of her unprecedented popularity was her love team with actor Tirso Cruz III. Together, "Guy and Pip" became a household name. Their onscreen chemistry and off-screen closeness captivated millions of fans across the country, who closely followed their every film, television appearance, and public sighting. The success of their movies and musical pairings created a nationwide phenomenon that helped elevate Aunor from rising star to national treasure.

Though the love team eventually ended and both moved on to other projects, their pairing remained one of the most iconic in the history of Philippine show business. It played a crucial role in building the Superstar persona that defined Aunor’s identity in popular culture.

Over the decades, Aunor expanded her repertoire with critically acclaimed performances in films like Tatlong Taong Walang Diyos (1976), Bulaklak sa City Jail (1984), The Flor Contemplacion Story (1995), Thy Womb (2012), and most especially Himala (1982)—a landmark film directed by Ishmael Bernal. In Himala, Aunor portrayed Elsa, a faith healer in a poverty-stricken village. Her haunting line "Walang himala!" became one of the most powerful moments in Philippine cinema. The film earned her numerous awards and international recognition, and it remains one of the most studied and respected films in Southeast Asian film history.

In 2022, she was conferred the title of National Artist for Film and Broadcast Arts—the highest cultural honor in the country.

Despite setbacks, including a denied National Artist award in 2014 and a past controversy in the U.S., the nation never stopped embracing her as its own. Her voice, both in music and in advocacy, remained close to the heart of the Filipino people.

Her most recent projects included the film Mananambal and the television drama Lilet Matias, Attorney-at-Law.

As fans revisit her songs and films, many remember not just the award-winning actress, but the humble girl who became a superstar—and the unforgettable love team that once made the Philippines dream of young love, hope, and forever.

- PHILCLASSIC

17/04/2025

Saint and Sinners: A Unique Filipino Singing Trio of the Golden Era

The Saint and Sinners was a Filipino vocal trio with a name that sparked curiosity and charm. This special group was made up of Ric Manrique Jr., famously known as the 'Kundiman King', and two talented sisters, Rita Rivera and Betty Rivera. The trio’s playful name led many to joke that Ric was the “saint,” while the Rivera sisters were the “sinners”—though it was all in good fun.

The title 'Kundiman King of the Philippines' was originally held by Ruben Tagalog, a pioneer in recording traditional Filipino love songs. However, when he moved to the United States, the title naturally passed on to Ric Manrique Jr., whose voice and performances kept the spirit of kundiman alive for a new generation.

Before forming the Saint and Sinners group, Rita and Betty Rivera were already known as solo recording artists under Mico Recording Company in the 1950s. Later on, both sisters joined the legendary Mabuhay Singers under Villar Recording Company, where they sang with Ric Manrique Jr., making them longtime collaborators in the world of traditional Filipino music.

The Saint and Sinners trio was guided by the musical direction of the late Leopoldo Silos, a respected composer and arranger who helped refine their harmony and vocal blending. Though the group didn’t last long, their work together captured the spirit of classic Filipino songs and left a lasting impression on fans of kundiman, balitaw and harana music.

Today, Saint and Sinners is remembered as one of the charming highlights of the golden age of Filipino music—a time when sincerity, skill, and soul filled every note.

-PHILCLASSIC

17/04/2025

BAGOBO WOMEN
Mindanao, Philippines,
RPPC Real Photo Postcard
(circa 1930s)

This vintage sepia photo postcard features three young Bagobo women from the Davao region of southern Mindanao, captured in full ceremonial regalia. The Bagobo are among the indigenous Lumad peoples of the Philippines, known for their highly developed weaving, embroidery, and metalworking traditions. Their attire, as seen here, is composed of handwoven abaca fiber dyed using the ikat technique, embellished with intricate embroidery and glass beadwork that convey social status and cultural identity.

The women wear large breast ornaments—typically made from mother-of-pearl, metal, or shell—which serve both decorative and symbolic purposes. These discs, referred to by Fay-Cooper Cole in "The Wild Tribes of Davao District, Mindanao" (1913), were often worn during religious ceremonies, weddings, and other public rituals, representing protection, femininity, and prestige. Multiple strands of beads drape across their torsos, accompanied by layers of brass or copper bracelets and rings, showcasing the Bagobo’s skilled metal artistry.

Their hairstyles and adornments suggest preparation for a ceremonial event, possibly a festival or a rite of passage. According to Cole, Bagobo women took great care in presenting themselves during such occasions, using adornment to express not only beauty but also devotion to ancestral customs and the spirit world.

Bagobo spirituality is deeply rooted in animism. They believe that spirits inhabit the natural world—trees, rivers, mountains—and that human actions must remain in harmony with these forces. Illness or misfortune was often attributed to the displeasure of spirits (busaw), while ritual offerings and chants were performed to appease or invoke them. Some Bagobo women wore specific bead patterns or talismans as protection against spirit possession or curses

Superstitions also governed daily life: a bird flying from the left was a bad omen, and sneezing before a journey meant one should delay travel. This photograph, beyond capturing physical beauty, reflects a world where material culture, spiritual beliefs, and ceremonial life were inseparable—alive in every thread, ornament, and gesture.

PHILCLASSIC

References:

Fay-Cooper Cole,
"The Wild Tribes of Davao District, Mindanao"
Field Mauseum of Natural History.
Anthropological Series vol. xii, no. 2.

Peoples of the Philippines: Bagobo
National Commission for the Culture and the Arts.

16/04/2025

SAYAW SA OBANDO
Postcard by National Bookstore

The Sayaw sa Obando, or the Obando Fertility Dance, is a unique and vibrant folk tradition in the Philippines that blends Catholic devotion with ancient fertility rituals. It is celebrated every year from May 17 to 19 in the town of Obando, in the province of Bulacan, just north of Manila. This colorful and joyful event honors three patron saints: San Pascual Baylon, Santa Clara, and Nuestra Señora de Salambáo.

The roots of the 'Sayaw sa Obando' trace back to pre-colonial times, when native Filipinos performed fertility rituals to please nature spirits and gods for abundant harvests and children. When the Spanish colonizers arrived and introduced Catholicism, these practices gradually merged with Christian beliefs. Instead of nature spirits, people began to dance in honor of saints, particularly those believed to intercede in matters of fertility, marriage, and livelihood.

The most well-known purpose of the dance is for childless couples who wish to bear a child. Others dance to pray for a suitable life partner, good health, financial blessings, or success. It is both a spiritual act of devotion and an expression of hope.

The celebration begins with a Mass and religious procession. Devotees, dressed in traditional Filipino attire, gather at the Obando Church and dance in the streets and inside the church, accompanied by festive brass band music. The dance is not a performance but an act of prayer in motion, marked by graceful swaying, simple rhythmic steps, and heartfelt gestures.

One unique feature of this dance is the use of the salakot—a wide-brimmed native hat—decorated with flowers. Dancers, particularly women and older maidens, wear the salakot as they dance in supplication. This is a ceremonial dance offered to the Virgin Mary, particularly Nuestra Señora de Salambáo, by childless couples or old maidens praying that their fervent wish may be granted.

Women typically wear the baro’t saya, a traditional blouse and skirt combination. Men wear the camisa de chino or barong tagalog. Each step taken is a symbolic prayer, a dance of both hope and surrender to divine will.

Many devotees return year after year to give thanks for answered prayers, dancing once again—not in petition, but in gratitude.

Dr. José Rizal mentioned the Obando Fertility Dance in his novel Noli Me Tangere. In Chapter 6, it is revealed that Doña Pia Alba, the wife of Kapitan Tiago, danced at Obando to pray for a child. Her prayer was answered with the birth of María Clara, one of the novel’s main characters.

However, later in the novel, it is disclosed that María Clara’s real father was Padre Dámaso, a Spanish friar—exposing the painful realities behind many traditions and criticizing the moral corruption in colonial society. Rizal’s inclusion of Obando highlights how deeply rooted the dance was in Filipino life, while also using it to reflect on faith, hope, and hidden truths.

The Sayaw sa Obando remains a living tradition, deeply rooted in both faith and folklore, passed down through generations, and celebrated as one of the most cherished religious and cultural festivals in the Philippines.

PHILCLASSIC