Saysay Bikol

Saysay Bikol A civic organization of historians, educators, and cultural heritage advocates based in Naga City.
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๐—ฅ๐—”๐—œ๐—Ÿ ๐—ฆ๐—ž๐—”๐—ง๐—˜๐—ฆ: ๐—Ÿ๐—œ๐—™๐—˜๐—Ÿ๐—œ๐—ก๐—˜๐—ฆ ๐—ข๐—™ ๐—•๐—œ๐—ž๐—ข๐—Ÿโ€™๐—ฆ ๐—ฅ๐—”๐—œ๐—Ÿ๐—ฅ๐—ข๐—”๐—— ๐—ง๐—ข๐—ช๐—ก๐—ฆ__In many of the railroad towns of Bikol, where the tracks cut through r...
26/08/2025

๐—ฅ๐—”๐—œ๐—Ÿ ๐—ฆ๐—ž๐—”๐—ง๐—˜๐—ฆ: ๐—Ÿ๐—œ๐—™๐—˜๐—Ÿ๐—œ๐—ก๐—˜๐—ฆ ๐—ข๐—™ ๐—•๐—œ๐—ž๐—ข๐—Ÿโ€™๐—ฆ ๐—ฅ๐—”๐—œ๐—Ÿ๐—ฅ๐—ข๐—”๐—— ๐—ง๐—ข๐—ช๐—ก๐—ฆ

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In many of the railroad towns of Bikol, where the tracks cut through rice fields, mountains, and coconut groves, the train has been both a promise and a disappointment. A promise, because the Philippine National Railways (PNR) once connected these far-flung villages to cities and markets; a disappointment, because trains seldom stopped, and worse, because no long-distance trainsโ€”passenger or freightโ€”come at all today. The historic PNR, opened in 1892, fully connected Bikol to Manila and northern Luzon on 17 November 1937. But battered by war a few years later, train services gradually declined due to neglect and persistent problems.

Now, there are no more Mayon Limited, Peรฑafrancia Express, or Bicol Express, nor the long "merkansiya" (long-distance freight) trains that once ran from Manila to Bikol. What remains are only segmented services along the lineโ€”Naga to Sipocot, Naga to Legazpi, and Calamba in Laguna to Lucena in Quezon.

Throughout this slow decline, people found their own way to move: the rail-skatesโ€”known simply as โ€œskatesโ€ in Bikol.

A plank of wood, iron bars, and steel bearings, later fitted with a motor and mounted with a roof of trapal (polyvinyl chloride)โ€”this humble contraption became the most common ride in remote barangays. For decades, it carried farmers and their produce, children and their schoolbags, and families on urgent errands. Illegal though it may be, the skate became the true train of the villages.

Every invention begins with a need. For David A. Packay (1927โ€“2025), a lineman of the Manila Railroad Company (now PNR) in 1959, necessity meant walking dozens of kilometers daily along the tracks between Ragay, in Camarines Sur, and Legazpi City, inspecting telegraph lines under the sun. Sore feet gave birth to an idea: why not ride on the rails themselves?

With a loan from the Government Service Insurance System (GSIS), Packay bought a 2-horsepower Clinton engineโ€”one usually used for a small coffee mill. He welded a steel platform, bolted on pulleys, bearings, and a fan belt, and let it roll down an incline. The machine worked. It rattled, it hummed, and it sped along the track, carrying him faster than any foot patrol. He christened it his โ€œGo Kart.โ€

What Packay built in his backyard would later become the backbone of mobility in Bikol and other railroad towns. Farmers adapted it. Neighbors improved it. Whole communities embraced it. The Go Kart became the skatesโ€”a symbol of Filipino ingenuity and survival.

By the mid-1960s, authorities had already declared the skates โ€œillegal.โ€ PNR General Manager Nicanor Jimenez banned their use after a series of accidents, including the tragic death of a young schoolteacher in Ragay when the Bicol Express plowed into the skate she was riding. Yet the ban did little to stop their use, for in the railroad towns, the skates were less a novelty than a necessity.

The towns along the railroadโ€”Tagkawayan in Quezon, Del Gallego, Ragay, Lupi, Sipocot in Camarines Sur, among othersโ€”were heavily dependent on them. These towns produced copra, palay, citrus, fish, livestock, and vegetables. But when PNR trips were delayed or suspendedโ€”often due to floods, derailments, or broken enginesโ€”the people were stranded. Crops rotted, the sick were left untreated, and trade came to a halt.

Concerns over the outlawed skates, related accidents, the prevailing social conditions, and the need for better roads were articulated in a front-page article of The Bicol Star on 30 December 1967. Written by Ramon H. Felipe Jr., former Naga City mayor and congressman of Camarines Surโ€™s first district, the article emphasized the paramount importance of transportation in the development of this part of Luzon.

The persistence of skates underscored a deeper truth: the railroad towns of Bikol and Quezon were desperate for roads. They stood as living proof of the demand for what would later be called the Quirino Highway (now Andaya Highway)โ€”a long-delayed project only completed in 1999, half a century after it was first conceived. Initiated in the 1950s, the highway was meant to link Camarines Sur directly to Quezon, sparing travelers the long detour through Camarines Norte. Until that road was finally built, skates remained the residentsโ€™ only means of travel.

Skates are cheap and fast, but also dangerous. On 9 November 2011 in San Ramon, Pamplona, Camarines Sur, six-year-old Christian Aniceto was killed while crossing the tracks at a bend. In the same town, 64-year-old Bernardo Samar was thrown off a skate and died. These were not train accidents; they were skate accidents.

A typical skate is a 16-square-foot wooden platform on steel bearings, with two wooden benches that can seat up to 15 passengers. The motor, usually 7 to 10 horsepower, propels it along the tracks. Before motors, skates were pushed by hand, with drivers sprinting behind them. Today, most are motorized, but they remain unregulated.

Villagers are well aware of the dangers. At sharp bends, drivers often cut their engines, press an ear to the steel rails to catch the faint tremor of an oncoming train, or call out to nearby residents to ask if theyโ€™ve heard a whistle. Despite these precautions, accidents still occurโ€”skates colliding with trains, crashing into each other, or flying off the tracks when a wheel or โ€œside bearingโ€ gives way. Yet the rides continue, for the simple reason that the only alternative is no ride at all.

Why do skates thrive despite the risks? Because they answer a need no jeepney, bus, trimobile, or habal-habal has filled. They are cheap, accessible, and adaptable. Farmers use them to haul vegetables, rice, handicrafts, and coconuts to market. In emergencies, they become makeshift ambulances rushing the sick to town. They double as cargo trucks, delivery vans, even bridal cars for newlyweds.

A skate ride is more than transportโ€”it is a community ritual. Neighbors pile in together, sharing benches and stories. Children laugh at the rattling ride, while parents balance baskets of produce at their feet. It is dangerous, yes, but it is also intimate and familiar.

In Bikol, the skates are not just vehicles; they are part of the regionโ€™s identity. They symbolize resilience in places long neglected by modern infrastructure. They are the bridge between rice fields and markets, between isolated barrios and town centers.

Even as roads expand and buses inch closer, the villages born along the tracks still rely on skates. They survive because they are not just practical, but cultural. They embody the Filipino spirit of making do, of inventing solutions when official ones fail.

More than half a century after David Packayโ€™s backyard experiment, the skates still rattle along the PNR lines. Outlawed yet tolerated, perilous yet indispensable, they endure. Above all, they are cherishedโ€”for in some corner of Bikol, where the train no longer stops or never comes at all, the skates keep moving.

And yet, this resilience should not mean abandonment. The very fact that skates thrive reveals a gap in public service and infrastructure. Leaders have the responsibility to recognize this ingenuity not as an excuse for neglect, but as a call to action. Policies must be crafted to ensure that transport in regions like Bikol is not only affordable and accessible, but also safe. To honor the spirit that built the skates is to provide the dignity of reliable mobilityโ€”where no community is forced to choose between danger and isolation.

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The RURIP Series is a collection of essays or articles by Saysay Bikol that "submerge" into timely, seasonal, and historically significant themes of the Bikol region. Inspired by the word rurip, meaning to dive, each piece delves deeply into cultural, social, or historical topics vital to Bikolano identity and way of life.

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REFERENCES

Agbayani, Eufemio III. โ€œSkating In Railway Heritage.โ€ Opinyon.net, February 2, 2023. Accessed August 21, 2025. https://opinyon.net/opinion/skating-in-railway-heritage

โ€œโ€˜Sonโ€™ of the Bicol Express.โ€ Philippines Geographic Magazine 1, no. 2 (November 1995): 3โ€“6. From the Packay family collection.

Escandor, Juan Jr. โ€œCheap โ€˜skatesโ€™ ride takes a deadly turn.โ€ Philippine Daily Inquirer, November 23, 2011. Accessed August 21, 2025. https://newsinfo.inquirer.net/99321/cheap-%E2%80%98skates%E2%80%99-ride-takes-a-deadly-turn

Fabila, Aaron. โ€œCheap seats, danger meet on illegal Manila trolleys.โ€ Chron.com, December 21, 2008. Accessed August 21, 2025. https://www.chron.com/news/nation-world/article/cheap-seats-danger-meet-on-illegal-manila-1591094.php

Felipe, Ramon H., Jr. โ€œRail-skates underline need Quirino highway.โ€ The Bicol Star, December 30, 1967. Through the UP Main Library Repository. Accessed August 21, 2025. https://repository.mainlib.upd.edu.ph/omekas/s/rare-periodicals/media/124131

Johnson, Howard, and Virma Simonette. โ€œManila 'trolleys': Is this the world's most dangerous commute?โ€ Video. BBC World Service, May 9, 2010. Accessed August 21, 2025. https://www.youtube.com/watch?v=-g1ar9GiBUA

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๐—Ÿ๐—จ๐—œ๐—ฆ ๐—˜๐—ก๐—–๐—œ๐—ฆ๐—ข ๐—ฉ๐—œ๐—Ÿ๐—Ÿ๐—”๐—ฅ๐—˜๐—”๐—Ÿ: ๐—ž๐—”๐—ง๐—œ๐—ฃ๐—จ๐—ก๐—˜๐—ฅ๐—ข ๐—”๐—ก๐—— ๐— ๐—”๐—ฅ๐—ง๐—ฌ๐—ฅ__Luis Enciso Villareal, remembered as one of the Thirteen Martyrs of Bagumb...
25/08/2025

๐—Ÿ๐—จ๐—œ๐—ฆ ๐—˜๐—ก๐—–๐—œ๐—ฆ๐—ข ๐—ฉ๐—œ๐—Ÿ๐—Ÿ๐—”๐—ฅ๐—˜๐—”๐—Ÿ: ๐—ž๐—”๐—ง๐—œ๐—ฃ๐—จ๐—ก๐—˜๐—ฅ๐—ข ๐—”๐—ก๐—— ๐— ๐—”๐—ฅ๐—ง๐—ฌ๐—ฅ

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Luis Enciso Villareal, remembered as one of the Thirteen Martyrs of Bagumbayan, was born on 25 August 1846 in Daraga, Albay. He grew up on his familyโ€™s abaca plantation owned by his parents, Francisco Villareal and Maria Espinas. From a young age, he was exposed to both the industrious life of his province and the cultural refinement of his parentsโ€”his father known for being a gifted fiddler and dancer. He pursued higher education at the Seminario Conciliar de Nueva Caceres in Naga, where he obtained a Bachelor of Arts degree.

After graduation, Villareal briefly served in the justice of the peace court in Albay, but his postings in Bacolor and Tarlac opened his eyes to the injustices inflicted by Spanish friars on Filipinos. Labeled a filibustero for his dissenting views, he eventually left government service and resettled in Arayat, Pampanga. There, he supported his family through farming and trade before venturing into tailoring, teaching himself the craft with determination. His skill soon flourished, and by 1889 he had established a thriving tailoring shop in Escolta, Manilaโ€”Sastreria y Obrador de Ropa Blanca. This enterprise brought him into contact with Manilaโ€™s elite and provided him with financial stability.

Villarealโ€™s prosperity, however, was matched by his growing political involvement. He became an active Mason, joining the Taliba Lodge in 1892 and rising to serve as a representative to the Gran Consejo Regional. He was also connected to La Liga Filipina and aligned himself with the Propaganda Movement, which sought reforms and greater representation for Filipinos under Spanish rule. His commitment was so deep that in 1895, after winning a lottery prize, he traveled to Japan both to visit his son and to carry out a political mission. Reports suggest he petitioned the Japanese Emperor to consider the Philippines as a protectorate, reflecting the movementโ€™s search for international support.

When the Spanish colonial government uncovered the Katipunan in 1896, it regarded the Masons, the Propaganda Movement, and the revolutionaries as a single subversive force. Villareal was arrested on 22 October 1896 shortly after his return from Japan. Following a summary trial, he was condemned to death. On 11 January 1897, he was executed by firing squad at Bagumbayan, together with twelve other patriots, among them Moises Salvador, Jose Dizon, Domingo Franco, and Francisco Roxas. A report in La Ilustraciรณn Espaรฑola y Americana published on 15 March 1897, identified Villareal as a principal member of Andres Bonifacioโ€™s Katipunan. The same account noted that, before his death, he signed a retraction renouncing Freemasonry.

Luis Enciso Villarealโ€™s life embodied the blend of intellect, artistry, and defiance that marked the Filipino struggle for independence. Though executed, his legacy endures as a reminder of the sacrifices made for freedom and nationhood.

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โ€œEmbargos practicados por rebeliรณn รฉ infidencia.โ€ La Polรญtica de Espaรฑa en Filipinas, January 31, 1897.

Lopez, Honorario. Dimasalang Kalendariong Tagalog. 1922.

โ€œThe 13 Martyrs of Bagumbayan.โ€ Philippine Center for Masonic Studies. n.d. Accessed August 24, 2023.

Manuel, E. Arsenio. Dictionary of Philippine Biography. Vol. 1. Quezon City: Filipiniana Publications, 1955.

โ€œLa Rebeliรณn Filipina. Villareal y Villaruel.โ€ La Ilustracion Espaรฑola y Americana, Year XLI, no. X, March 15, 1897. In Hemeroteca Digital of the Biblioteca Nacional de Espaรฑa. Accessed August 21, 2025. https://hemerotecadigital.bne.es/hd/viewer?oid=0001175051&page=3

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๐—ง๐—ข๐——๐—”๐—ฌ ๐—œ๐—ฆ ๐—ก๐—”๐—ง๐—œ๐—ข๐—ก๐—”๐—Ÿ ๐—›๐—˜๐—ฅ๐—ข๐—˜๐—ฆ ๐——๐—”๐—ฌ.Let us honor and remember those who have offeredโ€”and those who continue to offerโ€”themselves...
25/08/2025

๐—ง๐—ข๐——๐—”๐—ฌ ๐—œ๐—ฆ ๐—ก๐—”๐—ง๐—œ๐—ข๐—ก๐—”๐—Ÿ ๐—›๐—˜๐—ฅ๐—ข๐—˜๐—ฆ ๐——๐—”๐—ฌ.

Let us honor and remember those who have offeredโ€”and those who continue to offerโ€”themselves in sacrifice so that we may live free from every form of oppression, as a community, as a region, and as a nation.

Rukyaw sa mga bayani kan rehiyon asin nasyon!

๐—˜๐——๐——๐—œ๐—˜ ๐—œ๐—Ÿ๐—”๐—ฅ๐——๐—˜: ๐—ž๐—จ๐—ฌ๐—” ๐—ข๐—™ ๐—”๐—œ๐—ฅ๐—ช๐—”๐—ฉ๐—˜๐—ฆ ๐—”๐—ก๐—— ๐—ฃ๐—จ๐—•๐—Ÿ๐—œ๐—– ๐—ฆ๐—˜๐—ฅ๐—ฉ๐—œ๐—–๐—˜__Edgar โ€˜Eddieโ€™ Ubalde Ilarde remains one of the Philippinesโ€™ most reco...
25/08/2025

๐—˜๐——๐——๐—œ๐—˜ ๐—œ๐—Ÿ๐—”๐—ฅ๐——๐—˜: ๐—ž๐—จ๐—ฌ๐—” ๐—ข๐—™ ๐—”๐—œ๐—ฅ๐—ช๐—”๐—ฉ๐—˜๐—ฆ ๐—”๐—ก๐—— ๐—ฃ๐—จ๐—•๐—Ÿ๐—œ๐—– ๐—ฆ๐—˜๐—ฅ๐—ฉ๐—œ๐—–๐—˜

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Edgar โ€˜Eddieโ€™ Ubalde Ilarde remains one of the Philippinesโ€™ most recognizable voicesโ€”both as a pioneering radio and television host and as a public servant who used his platform to connect with ordinary Filipinos. His journey from modest beginnings to positions of influence reflected his deep commitment to service, identity, and cultural pride.

Born on 25 August 1934 in Iriga City, Ilarde grew up in humble circumstances. After finishing high school, he moved to Manila to seek opportunity, taking on work as a bootblack and newspaper vendor while studying journalism at Far Eastern University. His talent in oration opened the doors to broadcasting, and soon he found himself behind the microphone of some of the countryโ€™s most influential radio stations, including dzBB, dzRH, and dzXL.

By the 1950s, Ilarde was a household name, known for programs like Kahapon Lamang. It was here that his now-famous linesโ€”โ€œDear Kuya Eddieโ€ and โ€œNapakasakit, Kuya Eddieโ€โ€”became part of Filipino popular culture. His warmth and relatability made him a trusted figure, and his co-hosting role in Student Canteen during its transition from radio to television marked his place in the golden age of Philippine broadcasting.

Ilardeโ€™s popularity and concern for social issues soon led him into politics. He began as a Pasay councilor in the early 1960s before winning a congressional seat for Rizalโ€™s first district in 1965. As chair of the Committee on Fishing Industries, he worked on livelihood-related legislation, demonstrating a grassroots approach shaped by his own modest upbringing.

He later pursued a Senate seat, suffering injuries in the infamous 1971 Plaza Miranda bombing but eventually securing a position in the 7th Congress. His tenure, however, was cut short by the declaration of martial law. In 1978, Ilarde reemerged as an Assemblyman in the Interim Batasang Pambansa under the Ferdinand Marcosโ€™s Kilusang Bagong Lipunan, where he gained attention for his proposal to rename the Philippines โ€œMaharlikaโ€โ€”a symbolic gesture that he would advocate for throughout his life.

Outside government halls, Ilarde continued to serve society through advocacy organizations. He founded the Maharlika Foundation for National Transformation Inc., promoting Filipino identity and unity. He also established the Golden Eagles Society International Inc., a group dedicated to the welfare of senior citizens. As chairman, Ilarde turned the spotlight on aging Filipinos, pushing for programs and recognition long before elderly welfare became a mainstream concern.

His loyalty to causes was matched by his loyalty to friends and collaborators, with colleagues like Ariston โ€œArisโ€ Bautista and Ferdie Pasion standing beside him in his endeavors. At the same time, Ilarde never left the airwavesโ€”his Saturday program on dzBB kept him connected to listeners well into his later years.

Ilardeโ€™s dual career in broadcasting and politics earned him the PMPC Star Awards for Televisionโ€™s Lifetime Achievement Award, honoring his immense contributions to Philippine media. When he passed away on 4 August 2020 at age 85, he left behind not only a legacy of entertainment and public service but also a model of resilience and cultural advocacy.

From the studios of Manilaโ€™s radio stations to the halls of Congress, Edgar Ubalde Ilarde carried with him the voice of the Filipino peopleโ€”empathetic, passionate, and unwavering in its call for service.

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REFERENCES

โ€œSenate Adopts Reso Expressing Condolences to Family of โ€˜Kuya Eddieโ€™ Ilarde.โ€ Philippine Senate, August 25, 2020. Accessed August 18, 2025. https://web.senate.gov.ph/press_release/2020/0825_prib1.asp

โ€œEdgar U. Ilarde.โ€ The Philippine Officials Review. Paraรฑaque: M & M Publications, 1967. Through Google Books. Accessed August 25, 2025. https://books.google.com.ph/books?id=rzhvAAAAMAAJ&source=gbs_navlinks_s

โ€œEdgar U. Ilarde.โ€ Official Directory of the House of Representatives, 1965โ€“1969. Manila: House of Representatives, 1967. Through Google Books. Accessed August 18, 2025. https://www.google.com/books/edition/Official_Directory_of_the_House_of_Repre/SaOOAAAAMAAJ?gbpv=1

Yamsuan, Cathy Caรฑares. โ€œEddie Ilarde, Ex-Senator and Radio-TV โ€˜Kuya,โ€™ Dies at 85.โ€ Philippine Daily Inquirer, August 5, 2020. Accessed August 18, 2025. https://newsinfo.inquirer.net/1316847/eddie-ilarde-ex-senator-and-radio-tv-kuya-85

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๐—™๐—ฅ. ๐—Ÿ๐—ข๐—จ๐—”๐—ก ๐—๐—”๐—ฅ๐—–๐—œ๐—”: ๐—ง๐—›๐—˜ ๐—ฅ๐—”๐—ฃ๐—ฃ๐—˜๐—ฅ-๐—ฃ๐—ฅ๐—œ๐—˜๐—ฆ๐—ง__Fr. Lorenzo Juan B. Jarcia IIIโ€”Fr. Louan to manyโ€”was a blend of priest, artist, cul...
24/08/2025

๐—™๐—ฅ. ๐—Ÿ๐—ข๐—จ๐—”๐—ก ๐—๐—”๐—ฅ๐—–๐—œ๐—”: ๐—ง๐—›๐—˜ ๐—ฅ๐—”๐—ฃ๐—ฃ๐—˜๐—ฅ-๐—ฃ๐—ฅ๐—œ๐—˜๐—ฆ๐—ง

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Fr. Lorenzo Juan B. Jarcia IIIโ€”Fr. Louan to manyโ€”was a blend of priest, artist, cultural advocate, and educator whose lifeโ€™s work helped shape the spiritual and cultural identity of the Bikol region. Revered as the โ€œFather of Bikol Music Revival,โ€ he devoted over four decades of his life to composing, performing, teaching, and preserving Bikol musicโ€”a legacy that continues to inspire generations of artists and faithful alike.

Born on 24 August 1957 in Naga City to Lorenzo V. Jarcia Jr. and Maria S. Bea, Fr. Louan displayed an early affinity for music. A frequent participant in singing contests and a member of school choirs, he nurtured his love for music alongside his spiritual calling. He began his formal education at Tinago Elementary School and entered the Holy Rosary Minor Seminary for high school, continuing his theological and priestly formation at the Holy Rosary Major Seminary.

Ordained as a priest of the Roman Catholic Archdiocese of Caceres on 1 April 1984 at the Naga Metropolitan Cathedral, Fr. Louan carried his vocation with a vibrant sense of purpose, using music not only as worship but as a means of cultural expression and identity. He furthered his musical education in 1990 at the University of Santo Tomas, studying Liturgical Music. This academic foundation deepened his ability to compose songs that spoke to the heart of Filipino and Bikolano spirituality.

While he initially wrote religious songs, including hymns for Mass, Advent, and Christmas, Fr. Louan also became a trailblazer in modern Bikol music. His involvement in the Bicol Music Festival from as early as 1979 marked the beginning of a movement that sought to revive and modernize Bikol musical traditions. His compositions reached wider audiences, blending local language, culture, and contemporary musical styles.

His secular compositions, such as Bicolano Ako, which is recognized as the first Bikol rap, and Saro, Duwa, Tulo, reflect his desire to engage the youth and communities in the Bikol region. These songs were included in the Satuya Ini (This is Ours) three-volume album series produced by Platinum Records. Fr. Louan later established Saldang Records, through which he released Para Saimo, Bikolano (For You, Bikolano), a two-volume collection of original songs celebrating Bikolano values and everyday life.

A tireless cultural worker, Fr. Louan also trained and conducted award-winning choirs across Camarines Sur, including in Vinzons, Legazpi, and Naga. In 1993, he co-founded the Developmental Initiatives for Bicolano Artists (DIBA) with Mrs. Amelita de la Paz-Zaens, supporting local musicians and artists. His commitment to artistic development extended into education. He taught music at the Holy Rosary Major Seminary and initiated the Kulturang Bikolnon annual arts, music, and dance competition in 2000 in collaboration with the Department of Education.

Fr. Louanโ€™s creative influence extended to theater as well. He wrote librettos for what have been called the first Bikol musical plays, including Ina nin Bikol (Mother of Bikol) in 1995, Si Nanay, Si Tatay (Mother, Father) in 2002, and collaborated on the music for Manto in 2009. He also co-founded the Digital Audio and Video (DAV) Studio in 2001, along with Fr. Roy Regaspi, Fr. Mario Gaite, and Ernie Cledera, which recorded local music festivals and preserved regional talents on audio and video formats.

As a scholar, Fr. Louan was deeply invested in the history and evolution of Bikol music. His essay โ€œThe Development of Bikol Music,โ€ first published in Camarines by the Vicor River (1999), remains a key reference in cultural studies. He updated it in 2016 as a standalone chapbook, a testament to his lifelong commitment to cultural documentation.

For his extraordinary contributions, he was honored with the 1999 Millennium Oragon na Bikolano Award from the Filipinas Broadcasting Network, Inc., and the 2003 Naga City Mayoralty Award for Arts and Music by then-Mayor Jesse M. Robredo.

Fr. Lorenzo Juan B. Jarcia III passed away on June 7, 2023. His voice may be silent, but his music, teachings, and cultural legacy continue to echo across the Bikol region and the hearts of those he touched. His life remains a shining example of how faith and culture can harmoniously uplift a community.

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REFERENCES

โ€œFr. Lorenzo Juan B. Jarcia III.โ€ Ratio Vitae. From the records of the Archdiocese of Caceres. Accessed August 5, 2025.

โ€œFr. Louan Jarcia III.โ€ In Burabod Musika (Original Bikol Music), edited by Paz Verdades M. Santos and Jaime Jesus U. Borlagdan. Quezon City: LJ Graphics & Literacy Exponent, Inc., 2021.

Jarcia, Lorenzo Juan III. โ€œThe Development of Bikol Music.โ€ In Camarines by the Vicor River, edited by J.F. Obias, D.M. Gerona, and D.T. Imperial. Camarines Sur: Office of the Governor, 1999.

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๐—”๐—ก๐—š๐—˜๐—Ÿ๐—” ๐— ๐—”๐—ก๐—”๐—Ÿ๐—”๐—ก๐—š ๐—š๐—Ÿ๐—ข๐—ฅ๐—œ๐—” ๐—”๐—ก๐—— ๐—›๐—˜๐—ฅ ๐—ฃ๐—ข๐—˜๐—ง๐—œ๐—–๐—ฆJonah Mae R. Eboรฑa__Angela Manalang Gloria (1907โ€“1995), revered as one of the matr...
24/08/2025

๐—”๐—ก๐—š๐—˜๐—Ÿ๐—” ๐— ๐—”๐—ก๐—”๐—Ÿ๐—”๐—ก๐—š ๐—š๐—Ÿ๐—ข๐—ฅ๐—œ๐—” ๐—”๐—ก๐—— ๐—›๐—˜๐—ฅ ๐—ฃ๐—ข๐—˜๐—ง๐—œ๐—–๐—ฆ
Jonah Mae R. Eboรฑa

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Angela Manalang Gloria (1907โ€“1995), revered as one of the matriarchs of Philippine literature, was born on 24 August 1907 in Guagua, Pampanga, but found her roots and creative grounding in Bikol. By the age of ten, her family decided to settle in Tabaco City in Albay, where she nourished her artistry, shaping her into a formidable force in Philippine letters.

From childhood, she was marked by a โ€œdefiant stubbornness,โ€ a trait that would later pulse through her literary works, shaping a voice unafraid to resist conventions. As early as sixteen years old, her writings, which were originally composed as part of her school exercises, were published in Womanโ€™s Outlook. It was the official publication of the National Federation of Womanโ€™s Clubs of the Philippines. It was distributed to its members in the Philippines and the United States, with subjects ranging from women and social movements, colonization, postcoloniality, and the 20th century in world history.

She was one of the first-generation writers who attempted to produce Filipino literature through a foreign tongue. Therefore, her works were primarily dismissed as it was written in a time when English as a medium was entirely novel and considered only as an โ€œimitationโ€ of Western literary writings. Professors Shannon and Moore of the University of the Philippines were some of the few critics who cited her works as โ€œsentimental and formless,โ€ pointing out the flaws of the Filipino literature at that period.

Edna Zapanta Manlapaz, a Philippine feminist and literary critic, cited her as โ€œthe matriarch of Filipino women poets writing in the English language.โ€ She collated her works by the year of publication and categorized her works into โ€œtwo discernible periodsโ€ which are: her earlier phase (1925โ€“1930) that aligns with her four years in college and a year serving as literary editor of a metropolitan magazine, and the second phase (1934โ€“1950) that reflects her life as a wife and mother who continued writing poetry alongside her active involvement in the abaca business.

Her early works reveal much of her inner life, often mirroring her struggles and emotions. In โ€œChapel Peace,โ€ for instance, she conveys her difficulty in communicating with others and the pain caused by encounters with envy. She also gives voice to her homesickness in the Bikol poem โ€œLonging for Home (1924).โ€

A turning point came during her sophomore year, when her English I professor, C. V. Wickers, assigned the class to write about the ocean. Her response, โ€œThe Call of the Ocean (1926),โ€ contained the memorable lines: โ€œThe voice of the city is as nothing when I hear the ocean calling, whispering on the beach of Legaspi.โ€ Professor Wickers praised her work, remarking it as โ€œpure poetry,โ€ and encouraged her to shift from Preparatory Law to a course in English. She followed his advice, marking a decisive step in her literary career.

In 1926, her work was featured in multiple publications and won a literary contest with her lyrical rendering of nature poetry called โ€œSketches.โ€ She also experimented with longer lyrical pieces such as โ€œStarlight Fantasyโ€ and โ€œArabesque Dream,โ€ published in the Philippines Herald Midweek Magazine. She also produced multiple works in the following year, with the โ€œYellow Moonโ€ becoming popular and being featured in the Philippines Herald Magazine and the Philippine Collegian. Later on, she also became the editor-in-chief and the literary editor of the Collegian, penning some of her works, โ€œThe Loverโ€™s Missive,โ€ โ€œSymbols,โ€ and โ€œEchoes.โ€ However, Angela fondly calls this period of her work as โ€œstudent writing.โ€

Her richest period as a writer was during 1929-1940, despite her fluctuating state of wellness. She published various poems such as "By Cool Reeds," "Remembrance," and "To A Lost One." In this era, she also produced lyrical prose called "On the Art of 7 Posing," "In the Shade of the Guitar," "Fi*****ng our Embroidered Past," and "A Tale of Ceramic Curves." Her health has become unstable due to tuberculosis, but it did not halt her writing career as she continued to create pieces to be featured in multiple papers. Later, โ€œPoems,โ€ her collection of poetry composed of seventy-nine poems, was published in 1940. This was submitted in the 1940 Commonwealth Literary Contest, sponsored by the Philippine Writers' League and the Commonwealth government. However, this won no awards. Manalang Gloria recalls and mentions one of the judgesโ€™ remarks that there were โ€œseveral poems in the book that other judges considered objectionable. One of them was called 'Querida.' But the most objectionable to them was the poem 'Revolt from H***n.'โ€

The 1950 to 1985 marks the critical reception of her work. During those years, the Bureau of Education decided to rerelease her earlier work, Poems (1940). This revision led to the 1950 edition that is deemed more โ€œacceptableโ€ for the student readers. This excludes some of her works, such as "Hate," "For Men Must War," and an entire section containing "Revolt from H***n," "Soledad," "Querida," and "Heloise to Abelard."

Angela Manalang Gloria has proven to be a remarkable Bikolana writer, one who embodies the Bikolnon concept of being an uragonโ€”fearless. In the period where students scrambled for a place in the prestigious UP Writersโ€™ club, she stood apart and aloof from its circle. Where her literary counterparts were writing with nationalist fever, her works were fiercely and unabashedly personal. In a time when womenโ€™s sexuality is a sensitive topic, or even a taboo, she wrote about mistresses and non-virgins. She wrote to the point wherein some of her poems were deleted or revised due to being considered โ€œobjectionable and offensiveโ€.

In her 1928 paper โ€œThe Domestic Relations and Morality of the Bicolanos,โ€ under H. Otley Beyerโ€™s class, she not only defined the geographic scope of Bikol but also articulated the distinct character traits she believed shaped the Bikolnon identity. For her, Bikolnons were โ€œcool-tempered, timid, docile, and family lovers,โ€ valuing happiness and contentment even in the face of poverty. She romanticized their resilience, noting that while they might lack ambition to โ€œexplore the regions beyond,โ€ they found fulfillment within their environment. Angelaโ€™s observations were both personally affectionate and critical.

She passed away on 19 August 1995 in Tabaco City, but her works continue to live on as a lasting testament to her voice. Indeed, as Luis Dato recalls his brother Rodolfoโ€™s words about Manalang-Gloria, โ€œAs a poet, she was a revelation; as a woman, she was a mystery.โ€

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REFERENCES

Academy of American Poets. Angela Manalang-Gloria. Poets.org. Accessed [Month Day, Year]. https://poets.org/poet/angela-manalang-gloria

Alegre, Edilberto N., and Doreen G. Fernandez. The Writer and His Milieu, 65โ€“66. As cited in Stella Pagsanghan, โ€œAngela Manalang Gloria: The Writer and Her Milieu.โ€ Philippine Studies: Historical and Ethnographic Viewpoints 39, no. 3 (2012): 267โ€“280. https://doi.org/10.13185/2244-1638.4945

Banzon-Mooney, Isabela. โ€œIn Focus: Challenging Traditions: Prosody and Rhapsody in the Poetry of Angela Manalang Gloria.โ€ National Commission for Culture and the Arts, May 18, 2015. https://ncca.gov.ph/about-culture-and-arts/in-focus/challenging-traditions-prosody-and-rhapsody-in-the-poetry-of-angela-manalang-gloria/

Manalang, Angela. โ€œThe Domestic Relations and Morality of the Bicolanos.โ€ Bikol Paper No. 63, unpublished paper. Digital Collection, National Library of the Philippines. Accessed August 21, 2025. https://nlpdl.nlp.gov.ph/OB01/NLPOBMN0002002063/bs/datejpg.htm

Manlapaz, Edna Z. Manlapaz. Angela Manalang Gloria: A Literary Biography. Quezon City: Ateneo de Manila University Press, 1993.

Pagsanghan, Stella. โ€œAngela Manalang Gloria: The Writer and Her Milieu.โ€ Philippine Studies: Historical and Ethnographic Viewpoints 39, no. 3 (2012): 267โ€“280. https://doi.org/10.13185/2244-1638.4945. https://archium.ateneo.edu/phstudies/vol39/iss3/3

The Womanโ€™s Outlook. Vol. 4, no. 1 (October 1925). In T. Fernandez, ed. National Federation of Womanโ€™s Clubs of the Philippines.

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