The Philippines’ Biggest Arts Fest Welcomes Nearly 60,000 Attendees

The special lighting on the facade of the CCP main building for the Pasinaya Festival (Photo by Roel Hoang Manipon)

About 60,000 people flocked to the 2025 Pasinaya: The CCP Open House Festival. And with its two-day schedule brimming with events and activities, involving numerous artists, performers, cultural workers and volunteers, it remains to be the Philippines’ largest arts festival.   

            The total audience number was pegged at 58,417, as revealed by Cultural Center of the Philippines (CCP) vice president and artistic director Dennis N. Marasigan during "Pagdiriwang," the closing program of the festival, showing an increase from last year’s count of 50,626. Attendees in Pasinaya Festival’s regional legs have seen dramatic increase.

            The regional celebrations started last year with Iloilo City, Iloilo, in partnership with the Iloilo Museum of Contemporary Art, and Tagum City in Davao del Norte with the Musikahan sa Tagum Foundation, Inc. This year, three more sites were added—Batangas City in Batangas, Himamaylan in Negros Occidental and Sorsogon City in Sorsogon. The five sites were able to attract 20,044 attendees. These regional events were held simultaneously on February 1 and 2, 2025, together with the main celebration at the CCP Complex in Pasay City with extensions at the Circuit Makati in Makati City and in Manila.

“For CCP Pasinaya, we will continue to make this festival bigger, better, and brighter for everyone. Since 2005, CCP Pasinaya has always been a safe space for both our artists and our audiences. It is the best platform to showcase world-class talents and encourage arts education and appreciation,” said CCP president Kaye Tinga during the opening program called “Panimula” at the CCP Front Lawn.

“Panimula,” which showcased several performances, was also graced by Marasigan; National Commission for Culture and the Arts (NCCA) chairman Victorino Mapa Manalo; Teresita Calixto-Robles, chairperson of the Pasay Culture and Arts Council; CCP vice president for Administration Jose Victor Gaite; and head of the NCCA Subcommission on the Arts Arvin Villalon.

The year’s theme, “Para sa Lahat!” (For all!), articulated the festival’s aim to embrace and engage as many people as possible to explore, support, and celebrate the arts. To make it more accessible, the CCP enabled the attendees to enjoy all features as they can for a one-time donation of any amount.

“Ang CCP Pasinaya ay talagang para sa lahat (is really for everyone). We go above and beyond to bring CCP Pasinaya to more and more parts of the country so everyone can experience the magic of this one-of-a-kind festival. Our dream is to have CCP Pasinaya in every town, in every city in our country,” Tinga added.

            Conceptualized by former CCP vice president and artistic director Chris Millado, the Pasinaya Festival was meant to give audiences a sneak peek at the year’s offerings of the CCP resident companies. Over the years, it welcomed other cultural groups and has become an overall celebration of the different fields of art and of National Arts Month.

“CCP Pasinaya is the official kick-off of National Arts Month, marking the start of a nationwide celebration of Philippine arts and culture….As the first major event of Arts Month, CCP Pasinaya sets the stage for a series of activities that aim to make the arts more accessible to the public, fostering a deeper cultural appreciation across the country. Join us in celebrating our shared history, heritage, and culture,” Tinga said.

Manalo lauded CCP for continuously holding the Pasinaya Festival and other programs despite budget constraints and the ongoing rehabilitation of its iconic main building. 

CCP invited volunteers to mount Pasinaya Festival, a way to partly address minimized funding and encourage the spirit of volunteerism. A total of 1,405 staff members and volunteers worked on this year’s festival.

Manalo also praised CCP for gathering different performing and cultural groups, some of which would be performing in a national event for the first time, from all over the country. He enthused that the festival is a good platform for young artists to showcase their works and performances. 

“Puwede nating sabihin ito ay pasinaya na rin para sa kabataan, unang okasyon na sila’y namulat sa lakas ng sining. At sana maging pasinaya na rin ito para sa ating lahat na tayo rin ay makilala natin ang puwersa at pag-unawa na handog ng sining (We can say that this is also an introduction for the youth, their first occasion to realize the power of art. And I hope that this will also be an introduction for all of us, that we will also know the power and insights that art offers),” he said.

            This year, the festival featured 316 groups and 6,941 individual performers, perhaps the largest gathering of such kind in the country. 

            The 2025 Pasinaya Festival featured more than 200 performances, as well as workshops, talks, pitching sessions, cultural interactions, a market, tours and other activities that stimulated creativity, categorized into sections or components. A parade was also held to open the second day, participated in by participating artists and performers and partners, and led by a float bearing higantes made in Angono, Rizal.  

In Metro Manila, most of these were held at the CCP venues—the CCP Front Lawn, Tanghalang Bamboo Pavilion at the Liwasang Kalikhasan and Tanghalang Ignacio Gimenez—as well as at Circuit Makati, Manila Metropolitan Theater, Intramuros, and Aliw Theater.

            This year’s festival welcomed the addition of new components called Palaro and Paandar, where the makeshift Mess Hall was also an open-mic venue in which anyone can showcase their talents.

            Palaro showcased the works of the grantees of the CCP Game and Comics Development project. Attendees were able to play digital games developed by Filipinos and pariticpate in tournaments. 

The featured games were Sinag by Ranida Games, a mobile 1v1 fighting game that combines Philippine folklore and mythology with engaging gameplay; Pearls of Asia by Synthillate featuring Filipino business figures, and historical and cultural properties; Gala by Kendikorp that enables users to travel around the Philippines; Treasure Seekers, a team-solving game, by Metamedia Information Systems Corp.; and the adventure game Kata by Katakata Creative.

“Whether you're an experienced gamer or a first-timer, CCP Pasinaya’s Palaro delivers a unique fusion of innovative technology and Filipino culture. It’s a chance to experience our rich history and mythology in an entirely new way—through interactive, inspiring gameplay that highlights the creativity of local game developers,” said Marasigan. 

Aside from the games, Palaro also featured the works of Filipino animators and comic artists including Makopaby Friendly Foes; Tungkung Langit at Alunsina by Komiket Inc.; Datu Pat i Mata by Lea Zoraina Sindao Lim; Tulogmatian by Ethel Mae Reyes; Teduray by Julius Sempio; Sinogo by Alfred Ismael Galaroza; and Legend of Sleeping Beauty Mountain by Marco Sumayao.

            The other components were Palihan, Palabas, Paseo Museo, Palitan, Pagtitipon, and Pamilihan.

A popular feature, Palabas showcased different live performances as well as film screenings, mainly at CCP venues and partner venues such as Samsung Performing Arts Theater of Circuit Makati and Aliw Theater. Aside from the CCP resident companies—Philippine Philharmonic Orchestra, Bayanihan, the National Dance Company, the Ramon Obusan Folkloric Group, Philippine Ballet Theatre, Ballet Philippines, National Music Competition for Young Artists Foundation or NAMCYA, Tanghalang Pilipino, and the Philippine Madrigal Singers—it also featured professional, amateur, school-based and community-based performing groups such as Alice Reyes Dance Philippines, Philippine High School for the Arts’ Sanghiyas Pangkat Mananayaw, Musika Ibarang, Likhang Sining Dance Company, Marikina Dance Guild, Kalilayan Folkloric Group, Adamson Dance Company, Sandiwang Kayumanggi Folk Dance Troupe, and Nueva Ecija’s Bungkos Palay Performing Arts Foundation, University of Santo Tomas Salinggawi Dance Troupe, Indak Kultura Dance Company, Philippine Baranggay Folk Dance Troupe, Barangay Ukulele, Philippine Suzuki Youth Orchestra, Sing Philippines Youth Choir, Eastern Chamber Singers, Himig Rizalia of Rizal Technological University, Timoteo Paez Elementary School Rondalla, Koro Ilustrado, Kapisanan ng Diwa at Panitik, Makabayang Musikero Laban sa Tiwali or MAMULAT of the Philippine Normal University, Laya Philippines, Kapisanan ng mga Mag-aaral na Manunulat sa Pilipino, Sintalab, Ang Pinoy Storytellers, Lipa Actors Company, and Komedya ng Don Galo.

Selected films from the Gawad CCP Para sa Alternatibong Pelikula at Video and Cinemalaya Philippine Independent Film Festiva films were also screened.

Some of the performances were staged at the sites visited by the Paseo Museo, another popular feature. This component was a hop-on-hop-off tour to different museums, galleries, cultural spaces, and heritage sites in Pasay and Manila, where performances were staged and workshops held. 

Twenty sites were included in this year’s Paseo Museo—Bulwagang Roberto Chabet, Liwasang Kalikhasan, Adamson University Gallery, Asian Institute of Maritime Studies’ Museo Maritimo, Bahay Tsinoy, Baluarte de San Diego, Casa Manila, Centro de Turismo, Museo de Intramuros, Fort Santiago, Galleria Duemila, Government Service Insurance System’s Museo ng Sining, Manila Clock Tower Museum, Manila Metropolitan Theater, Museo Pambata, Museum of Contemporary Art and Design of the De La Salle-College of Saint Benilde, National Museum of Anthropology, National Museum of Fine Arts, National Museum of Natural History, and Jose Conrado Benitez Gallery of the Philippine Women’s University’s School of Fine Arts and Design Studio.

Palihan comprised a wide range of different workshops conducted by artists and other experts, while Palitan was a pitching session where concepts and projects were proposed to producers, and CCP Kaisa sa Sining regional network members gathered in Pagtitipon. Pamilihan, located at the parking area of Tanghalang Ignacio Jimenez, was a market selling food, handicrafts, merch and other products. 

“The CCP continuously creates more opportunities for all Filipino artists to showcase their talents to a wider audience. While we pursue our vision of cultivating and enhancing appreciation of Philippine arts, we also give the public free opportunities to experience exceptional artistic performances that can inspire and change their lives,” Marasigan enthused.

A group from Magalang, Pampanga, reenacting the Christmas lubenas tradition (Photo by Roel Hoang Manipon)

A workshop on playing the kulintang (Photo by Roel Hoang Manipon)

Bayanihan, The National Dance Company of the Philippines perorming at the Aliw Theatre (Photo by Kris Angel Ditan)

Dance workshop facilitated by the Bayanihan, The National Dance Company of the Philippines (Photo by Orly Dupaquil)

Palaro, the newest component of the Pasinaya Festival (Photo by Dave Ramirez)

The CCP float bearing Angono higantes at the opening parade of the second day of the festival (Photo by Althea Montes)

The National Museum of Fine Arts was one of the stops of the Paseo Museo tours (Photo by Andre Cristobal)

The performance of Dulambuhay Philippine Playback Theatre at Casa Manila in Intramuros (Photo by Ching Danseco)

The Philippine Madrigal Singers performing during the closing program (Photo by Roel Hoang Manipon)

PHSA Makiling Dance at Aliw Theatre (Photo by Kris Angel Ditan)

The Adamson University Dance Company at the Baluarte de San Diego in Intramuros (Photo by Kane Delgado)

The Ramon Obusan Folkloric Group (Photo by Athena Fontamillas)

The Sining Tanglawan ng San Jose del Monte Performing Group during opening program (Photo by Athena Fontamillasi)

The UP Symphony Orchestra (Photo by Orly Dupaquil)

The UST Salinggawi Dance Troupe at Fort Santiago in Intramuros (Photo by Athena Fontamillas)

Pamilihan (Photo by Roel Hoang Manipon)

Muntinlupa Dance Company at the National Museum of Anthropology (Photo from CCP)

Read article in the Daily Tribune at https://tribune.net.ph/2025/02/16/the-philippines-biggest-arts-fest-welcomes-nearly-60000-attendees

Festivity and Inclusion at the 2025 Bambanti Festival

A decorative arch at the main venue of the festival at the Isabela Capitol Complex in Ilagan City (Photo by Roel Hoang Manipon)

Recognition and inclusion, especially of the long-marginalized LGBTIQ+ community, were emphasized in this year’s celebration of Isabela’s Bambanti Festival, held from January 19 to 25, 2025. 

“The theme of Bambanti Festival 2025, ‘Ang Piyesta ng Bagong Pilipinas,’ will be focusing on inclusivity, solidarity, and equitability of Isabeleños in terms of being able to unite themselves towards a better future path ng Isabela, in terms of agriculture, in terms of culture, in terms of arts, heritage, and tourism,” explained Nilo Agustin, the overall creative director of the festival.

            He also revealed that in several events of the festival, LGBTIQ+ participation and representation were required. This would be the first time that LGBTIQ+ concern was pushed in the local government-organized, touristic and cultural festival of the province in northeastern Luzon.   

            But the festival remains to be a tribute to the farmers of the largely agricultural province. Its name is from the Ilocano word for the “scarecrow,” a common object in fields and farms during harvest season, transformed into an icon of the festival, construed as a symbol of the farmers’ diligence and resilience and as protector and guardian not only of crops but also of the province. The image of scarecrow and its meanings serve as the overall theme and motif of the festival.  

The Bambanti Festival started in 1997 by then governor Benjamin Dy to celebrate the founding anniversary of Isabela. Conceived by his wife, Cecilia La Madrid Dy, it was also intended to promote Isabela as well as its heritage of agriculture and culture.

Initially, the festival was held in May for several years, but it has been postponed a few times because of the elections, which are held in May.  It was not held from 2005 to 2010, when journalist Grace Padaca became governor of Isabela breaking the political dominance of the Dy family. The festival was also not held in 2021 and 2022, because of the coronavirus pandemic and restrictions against big gatherings. 

            In 2011, then governor Faustino “Bojie” G. Dy III, brother of Benjamin, revived the festival and moved its celebration to January. In 2019, governor Rodolfo “Rodito” T. Albano III sanctioned the celebration of the Bambanti Festival yearly. 

            Among the festival’s achievements are winning the Best Festival Practices and Performance award at the Aliw Awards in 2015, 2016, and 2017, and achieving the Guinness World Record for the most number of people assembled dressed as scarecrows in 2019.

            Now, the Bambanti Festival continues to be held with Bojie G. Dy III, who is currently the province’s vice governor, serving as its director general. It has grown over the years. Last year, it was able to attract more than 250,000 attendees, according to provincial tourism officer Joanne Dy Maranan. While it is now the biggest festival in the Cagayan Valley Region, Dy and Agustin planned it to be the biggest in the Philippines.

            Like other modern-day festivals in the country, the Bambanti Festival had a full slate of events including a fair, street dancing, sports tournaments, a beauty pageant, shows and different kinds of contests and gatherings, mostly held in the capital city of Ilagan.

 

Ambassadors Attend

            This year’s festival was made special with the attendance of a diplomatic delegation consisting of 38 diplomats, including 21 ambassadors, two chargés d’affaires, and one Deputy Chief of Mission, and their spouses from 24 countries, including Argentina, Austria, Bangladesh, Belgium, Brazil, Cambodia, Czech Republic, Germany, Greece, Hungary, Indonesia, Japan, Malaysia, Myanmar, New Zealand, Oman, Poland, Romania, Russia, Singapore, Switzerland, Thailand, Timor Leste and Vietnam. They were welcomed by governor Rodolfo “Rodito” T. Albano and his wife, Mylene Garcia Albano, Philippine ambassador to Japan. 

            Accompanied by Department of Foreign Affairs officials, the diplomats participated in a trade forum; explored tourism, trade and investment possibilities; engaged with the province’s local government and business officials; and joined in the celebration.

            They also embarked on a familiarization tour on January 24 and 25, visiting Isabela’s heritage and tourist sites as well as the Philippine Crocodile Conservation Center in San Mariano, Nagkaisang Magsasaka ng Isabela Agriculture Cooperative rice mill in Cauayan City, Universal Leaf Philippines factory in Reina Mercedes, and Mr. Moo’s Dairy Farm in Ilagan City.

            This is the first time that the province hosted such a sizable diplomatic gathering. 

 

The Bambanti Village

Trade and tourism fairs are regular features of modern-day festivals, comprising booths of different barangays or towns. Over time, these booths become more spectacular and attractions themselves.

During the Bambanti Festival, the Bambanti Village was set up at the Isabela Provincial Capitol Compound for the Agri-Ecotourism and Giant Bambanti Installations Exhibit and Sale, showing the different produce and products of the different towns as well as the creativity of local designers and artisans in the designs of the booths and bambanti installations. At night, the 34 agricultural and tourism booths with giant bambanti installations were lit up, delighting visitors who took endless selfies. For the first time, representation of the LGBTIQ+ community was clearly expressed in a giant bambanti installation, particularly that of Alicia’s. 

            The best booths and giant bambanti installations were recognized on January 24, during the finale of the Bambanti Festival street-dancing competition. (An article, “Colors and creativity at the Bambanti Village,” was previously published on February 4, 2025, and can be read at https://tribune.net.ph/2025/02/03/colors-and-creativity-at-the-bambanti-village).

 

Festival King and Queen Creative Costumes Competition

            In the Bambanti Festival, competitions were created for the festival kings and queens and another for their costumes, the Bambanti Festival King and Queen Costume Competition, which showcased spectacular designs interpreting local cultures, promoting touristic festivals, and making use of local materials.

The Bambanti Festival King and Queen Costume exhibit, together with the Queen Isabela Creative Attire exhibit, was mounted and was on view at the Northstar Mall in Alibagu, Ilagan City, from January 20 to 22. The Bambanti 2025 Festival King and Queen Presentation was held at the Queen Isabela Park on 23 January, featuring pairs of entries from 13 municipalities and cities—Roxas, Jones, Cauayan City, Palanan, Echague, Alicia, Ilagan City, Santo Tomas, San Manuel, Santa Maria, San Pablo, Luna, and San Isidro. (An article, “Creative costumes articulate touristic festivals and local cultures,” was previously published on February 3 and can be read at https://tribune.net.ph/2025/02/02/creative-costumes-articulate-tourist-festivals-and-local-cultures).

            

Queen Isabela Beauty Pageant

            The Philippines is known for its fondness for beauty pageants, which are a staple in many fiestas and now a fixture in modern-day festivals. The Queen Isabela beauty pageant is one of the highlights of the Bambanti Festival. 

            Having secured a franchise of Miss Universe Philippines, Queen Isabela will be sending this year’s winner as the province’s official candidate to the Miss Universe Philippines contest.

            The pageant was held at the newly-opened, 10,000-seat indoor stadium Capital Arena in Ilagan City on January 22. It was notable for featuring the Ilocano handwoven textile or inabel. 

Ilocano textile weaving is practiced in the province, along with other hand-weaving traditions of other ethnic groups such as the Gaddang. According to Isabela officials, Ilocano weaving is confined in only one town, Quezon. 

The cloth was used in making the official gowns of the 33 candidates of the pageant. Prominent designer Albert Andrada was tapped to design the gowns.

            At the end of the pageant, Filipino-Indian student, Jarina Sandhu, from Cauayan City was crown as Queen Isabela and designated as Isabela’s official Miss Universe Philippines candidate. 

            The roster of winners included Queen Isabela Tourism 2025 Mhira Angelene Valenciano from Cordon; Queen Isabela Culture and the Arts 2025 Johnlene E. Ariola from Ilagan City; first runner-up Jhudiel Eunesse Taguinod from Echague City; and second runner-up Criselle Anne Gregorio from Ramon. 

 

Makan ken Mainum ti Isabela Competition

            The Makan ken Mainum Competition is the main culinary event of the Bambanti Festival, where promising young cooks and chefs can showcase their skills in using local ingredients and innovating on traditional dishes.  

            Now on its tenth year, the contest is spearheaded by chef Mary Ann Arcega-Dy, wife of Bojie Dy, and includes two categories, Makan (food) and Mainum (beverage).

“Makan ken Mainum is a very important component activity of the annual Bambanti Festival celebration. It aims to discover signature dishes and beverages of the Isabeleños na puwede nating ipagmalaki sa ating probinsiya (that we can be proud of) not only in Isabela, but in the entire country,” explained Arcega-Dy. “And this year in Makan ken Mainum competition, we shine a spotlight on something that embodies the soul of Isabela. Sa araw na po ito, gagamitin po natin ang kakao or kakao powder sa ating (Today, we will use cacao or cacao powder in our) Mainum category, and the much awaited and exciting part of the competition as we unveil the mystery box in the Makan cooking category.”

“May this competition remind and inspire us all to continue cultivating the values and traditions that make Isabela truly one of a kind,” she enthused. 

            Twenty-two teams from different municipalities and cities competed in this year’s contest, held on January 23 at the Bambanti Village. Aside from incorporating ingredients of the mystery box into their entries, another requirement this year was having at least one LGBTIQ+ member as part of their team.

            The mystery box was revealed to contain the pinilisa variety of rice from Jones and locally grown squash. 

            The team from Tumauini emerged victorious in the Makan category. Other teams placing in the same category were the teams from Cordon (second), San Mateo (third), Santiago City (fourth), and Burgos (fifth).

            In the Mainum category, the team from Luna bagged the first place, followed by the teams from Alicia (second), Tumauini (third), Cauayan City (fourth), and San Isidro (fifth).

 

Street Dancing and Showdown Competition

            The highlight of the Bambanti Festival was the Street Dance and Festival Dance Showdown Competitions at Isabela Sports Complex on 24 January at Isabela Sports Complex.

Thirteen contingents competed with dancers in colorful costumes. This year, the swing jazz style was incorporated in the dance movements which depicted the bambanti, farming life and local lore.

            Two set of winners were declared in the Street Dance portion, Category A (for cities and first-class municipalities) and in Category B (for second- and third-class municipalities). The contingent from Jones took the first place in Category A, followed by the contingents from Ilagan City (second), Echague (third), Alicia (fourth), and Cauayan City (fifth). In Category B, the group from Luna emerged on top, followed by the contingents from Santa Maria (second), Santo Tomas (third), San Manuel (fourth), and San Isidro (fifth).

            In the Festival Dance Showdown portion, the Ilagan City contingent clinched the first place in Category A, while the Luna contingent topped in Category B. The Category A roster of winners included Echague (second), Alicia (third), Cauayan City (fourth), and Roxas (fifth), while Category B included Santa Maria (second), San Isidro (third), San Pablo (fourth), and Santo Tomas (fifth).

            A special award, Foreign Ambassadors’ Choice in Dance Showdown, was given to the Ilagan City contingent, the while the Jones contingent was bestowed the Foreign Ambassadors’ Choice in Street Showdown award.

            The event was graced by Cultural Center of the Philippines (CCP) president Kaye C. Tinga, CCP Board of Trustees vice chairperson Ma. Carissa Coscolluela, and National Commission for Culture and the Arts chairman Victorino M. Manalo.

            After the street dance and showdown event, winners of the different competitions were revealed in a grand awarding ceremony led by governor Albano and vice governor Dy. Ilagan City was declared the overall winner with their nine wins, bagging P1 million worth of funding for projects. Other winners were Luna (first runner-up), earning project funding of P750,000; Cauayan City (second runner-up), winning project funding worth P500,000; Alicia (third runner-up), receiving project funding valued at P300,000; and Echague (fourth runner-up), awarded with project funding worth P100,000.

 

Musical Events and a Grand Concert

            Every night during the festival, shows were held at the Queen Isabela Park—“Acoustic Night,” featuring Over October, ShortNoticed Unplugged, and DJ Dom; “Rap Night,” featuring Kiddotin, Robledo Timido, Dyco and Halfway Velocity; “Battle of the Bands,” featuring Midnight Cravings, Farah, Rivals of Tomorrow, Bandila, 5id, Myx-Ture, Reverie, Kahidlaw, Maria, and Banyuhay; “Acoustic Night 2,” featuring the MYMP and Marya Klara; “Ginuman Night,” featuring Hale, Shao Lin, Nik Makino, and Cosmic Superstition; and the finale, featuring Maki, Pulse Melody and DJ Mayel.

The Bambanti Musical 2025 was held after street dance and showdown event, featuring Pinopela, Lara Maigue, Gian Magdangal, Alyn Magadia-Dela Cruz, Nonoy Peña, Ralph Angelo Babaran, and the Whiplash Dance Company. 

The following night, the Bambanti Grand Concert capped the festival, showcasing Ely Buendia, Bea Alonzo, Moonstar88, and Regasco Rappers. The event was graced by former senator Paolo Benigno “Bam” Aquino. 

 

A Success

            Dy expressed his gratitude to all those who contributed to make the 2025 Bambanti Festival possible and the hosting of diplomats a success during a convocation at the provincial capitol on January 27.

“Ang tagumpay na ito ay hindi lamang tagumpay ng ating lalawigan, kundi tagumpay ng bawat Isabeleño na nagpakita ng talento, sipag, at dedikasyon upang maipamalas ang ganda at yaman ng ating kultura sa harap ng mga dignitaryo (This success is not only the success of the province, but the success of every Isabeleño who gave their talent, diligence and dedication to show the beauty and richness of our culture to the dignitaries),” he said.

The street dancing contingent from Cauayan City (Photo by Roel Hoang Manipon)

The group from Roxas ready for the street dancing competition (Photo by Roel Hoang Manipon)

The rousing perfromance of the San Pablo contingent (Photo by Roel Hoang Manipon)

The dance of the Santo Tomas contingent promoting their Inatata Festival (Photo by Roel Hoang Manipon)

Echague group clinched prizes at the street dancing and showdown competitions (Photo by Roel Hoang Manipon)

The Makan ken Mainum Competion (Photo by Roel Hoang Manipon)

Ely Buendia sang iconic Eraserheads sings during the Bambanti Grand Concert at the Isabela Sports Complex (Photo by Roel Hoang Manipon)

Grand fireworks capped the last two nights of the Bambanti Festival (Photo by Roel Hoang Manipon)

The winners of the the Queen Isabela Pageant 2025 (Photo by Roel Hoang Manipon)

Isabela provincial tourism officer Joanne Dy Maranan, Isabela vice governor Faustino “Bojie” G. Dy III, Bambanti Festival creative director Nilo Agustin and fashion designer Albert Andrada

The Bambanti Village at the Isabela Capitol Complex was a main attraction (Photo by Roel Hoang Manipon)

Colors and Creativity at the Bambanti Village

The Bamabanti Village was a popular attarction of Isabela's Bambanti Festival (Photo by Roel Hoang Manipon)

Beside the agricultural and tourism booth of the town of Alicia was its giant bambanti (scarecrow) installation, made of dry rice stalks and grains, depicting a farmer holding a bigao, a woven winnowing pan. It wore a hat and skirt in rainbow colors. 

“The municipality of Alicia boasts of gender sensitivity. This shows that Alicia wants to include the LGBTQ+ in its ascension to progress. Let us not belittle the economic contributions of this group in the town,” its statement said. 

For the first time, representation of the LGBTIQ+ community was clearly expressed in a giant bambanti installation, as the Bambanti Festival 2025 highlighted inclusion. The bambanti as well as the booth highlighted the town being as the “rice granary” of lsabela. 

            Alicia’s booth was one of the 34 agricultural and tourism booths with giant bambanti installations that participated in the trade and tourism fair at the Bambanti Village. The fair was one of the most attended attractions of the Bambanti Festival of the province of Isabela in northern Luzon.

Inspired by the scarecrow, called bambanti in Ilocano, and said to pay homage to agriculture and workers, the festival was created in 1997 and has grown to be the biggest touristic and cultural event in the Cagayan Valley Region with a series of events and activities including the fair.  

            Most modern and local government-organized festivals in the Philippines featured trade fairs, where local products and cultures are showcased. Many feature booths of different barangays or towns, and over time, these booths become more spectacular and attractions themselves. Competitions among the best booths are also held.     

            The Bambanti Village is a prominent example. Aside from the booths, which mostly made of local materials, the village also sports giant installations of the bambanti or interpretations of the bambanti. 

In this year’s Bambanti festival, which was held from 19 to 25 January, the Bambanti Village was again set up at Isabela Provincial Capitol Compound, serving as a one-stop destination of the province’s best offerings and drawing crowds. At night, the booths lit up, delighting visitors who took endless selfies. 

            The fair also became a venue for artists, designers and craftsmen to showcase their creativity in making the booths that best highlight local produce, heritage and cultures.   

            The booth of San Pablo featured its heritage structures— the casa real and the

Ruins of Saint Paul the Apostle Parish Church—as well as a local product, chicharong baka, which covered the booth and bambanti installation. 

            The colorful booth of Roxas sported a crown that depicted the vegetables and other ingredients used in making the Ilocano dish pinakbet, as the town regularly holds the Pinakbet Festival. Its bambanti installation was in the form of the wasay-wasay or praying mantis to symbolize “the resilience, industriousness and solidarity of our people to build a stronger and

More progressive Isabela sa Bagong Pilipinas” and their thanksgiving to God. 

            Another insect was the inspiration behind the booth of Tumauini, described as “abaling head-shaped structure crafted from banig (palm),” explaining that the “abaling or tateg (salagubang in Tagalog) is the grub or larva of the abal-abal or sibbaweng. They come out from the soil in the month of May after the early rains have softened the ground. These are usually found and gathered near or on river banks in the rainy seasons which only lasts for two weeks. It is considered as exotic food in Cagayan Valley.” 

            On the other hand, its bambanti installation showed how abaling is an agricultural pest, explaining that it “highlights the locals’ appreciation for nature's duality. The abaling insect, though considered a pest, is also a sought-after exotic delicacy among the Ibanags. Deep fried abaling is a flavorful and beloved dish, symbolizing the community's ability to turn adversity into opportunity.”

The Maconacon booth’s design was “inspired by the ruins of industrial buildings and the long stretch of the rain forest of Sierra Madre,” explaining that the “remnants of the company named Acme, owned by Filipino and Chinese businessmen, can still be found in the barangay of Malasin” and that the town was called a “city in the jungle” because of “Acme Group of Firms' presence in the 1960s as a producer of plywood and other wood by-products, a significant economic driver and providing thousands of jobs in the area.”

            “Apart from the economic and employment contribution from 1965 to 1992, Sierra Madre mountain range was exploited due to the volume of trees cut down to the processed and converted into products. A group of rebels or NPA assaulted and destroyed the entire factory in December 1992, leaving behind ashes, coals, and smoldering equipment,” the booth’s information sheet said.  “Years after the destruction, nature began its quiet yet determined healing process. As the once-bustling remnants of the logging company were slowly reclaimed by the land, with vines, trees, and shrubs weaving through the decaying structures as if nature was rewriting the story.”

            Maconacon’s bambanti installation depicted the Philippine eagle, explaining that the eagle’s “presence in the municipality is an indication that the forest is still a healthy environment and a haven for various wildlife species,” and that it “represents courage, strength and greatness of the Maconaconian people despite the natural disasters…”

The booth of the provincial capital, Ilagan, promoted as the “Corn Capital of the Philippines,” was described to be “in its ultra-modern, minimalist design,” while the bambanti installation was said to be a “work of art in its amazing stylized body-form of twirled wires—truly an image of modernization in the tradition of the old, amidst the vast farm lands, corn fields and grazelands.”

            The rest of the booths all also had their own stories to tells about their towns, making the village also a venue for learning.

The best booths and giant bambanti installations were recognized on 24 January, during the finale of the Bambanti Festival street dancing competition. Two set of winners were revealed for the booths and installations—in Category A (for cities and first-class municipalities) and in Category B (for second-, third-, fourth- and fifth-class municipalities).

Ilagan City clinched the first place in Category A of the Best Agri-Tourism Booth, followed by Cauayan City (second place), Alicia (third), Tumauini (fourth) and Palanan (fifth). In Category B, Cordon emerged victorious. Also recognized were San Pablo (second place), Quezon (third), Divilacan (fourth) and Maconacon (fifth).

In the Best Giant Bambanti Installation, Ilagan City again bagged the first place in Category A while Gamu topped Category B. Other winners were Alicia (second place), Tumauini (third), Cauayan City (fourth) and Jones (fifth) in Category A, and Cordon (second), Luna (third), San Agustin (fourth) and Quezon (fifth) in Category B.

The Bambanti Village came alive at night with lights (Photo by Roel Hoang Manipon)

The giant bambanti installation of Alicia expressing inclusion of the LGBTIQ+ community (Photo by Roel Hoang Manipon)

The booth of Roxas depicted ingredients of the pinakbet and its bambanti installation was in the form of the praying mantis (Photo by Roel Hoang Manipon)

The San Pablo booth covered in chicharong baka (Photo by Roel Hoang Manipon)

The booths of San Guillermo and Luna (Photo by Roel Hoang Manipon)

The giant bambanti installation of Gamu was in thr form of a horse (Photo by Roel Hoang Manipon)

The booths of Alicia and Palanan with its revolving door (Photo by Roel Hoang Manipon)

In the booth of Burgos, a map of the grains produced in Isabela (Photo by Roel Hoang Manipon)

Local kakanins, inatata and binallay, offered in the Ilagan City booth (Photo by Roel Hoang Manipon)

Read the article published in the Daily Tribune:  https://tribune.net.ph/2025/02/03/colors-and-creativity-at-the-bambanti-village