A Local Search for Greatness

 A Local Search for Greatness

(A quick reflection on Bayambang's Matalunggaring Awards)

I recently joined a fruitful conversation surrounding the town's conferment of its highest official honor, called the Matalunggaring Awards, together with the town officials and the officials of LGU-Alaminos and Pangasinan State University-Alaminos Campus.

"Matalunggaring" is reportedly the Pangasinan word for "outstanding," but this, I learned, is not an exact translation, for the word, like so many Pangasinan words, has other shades of meaning.

It was an enjoyable exchange as we Bayambangueños shared what we have learned so far while giving out such awards every year, upon the latter's request for a "benchmarking activity" in view of their wish to have a similar undertaking for "Alaminians."

It made me think of the lessons we've learned from it since we started giving it in 2018.

We tackled the various facets of this award, including history/backgrounder, laying out the selection process, choosing the judges or selection committee members from third parties to avoid politicization, institutionalization through municipal ordinance together with approval from the provincial board/council, budgetary requirements, etc. These subtopics are, of course, the expertise of our overall organizer, our quick-witted, often humorous, and indefatigable dynamo of a Sangguniang Bayan Secretary, Joel V. Camacho, and the founder and the brainchild of this award, our former mayor, the visionary Dr. Cezar T. Quiambao, together with our Municipal Administrator, Atty. Rodelynn Rajini Sagarino-Vidad, and the team of consultants that Dr. Quiambao formally requested to conceptualize the name and implementing rules of the award: former college deans, Dr. Clarita Jimenez and Dr. Annie Manalang, and Dr. Frank Zaragoza, all from PSU-Bayambang, and former Bayambang District Hospital chief, Dr. Nicolas Miguel.

I came to this meeting as a frequent nominator, for I strongly believe in the project, particularly in the power of personal stories of success to inspire an entire town, if not an entire nation. I go to great lengths to find potential nominees and exert effort to make in-depth research on my subject by way of a triangulation of sources or references.

What I've learned from my own end are the following:

- I would not have learned about many of the honorees if not for the senior citizens of our town. I am particularly indebted to the likes of former Museum head Gloria Valenzuela as well as Mr. Joey Ferrer from overseas, who tipped me on a number of deserving names.

- The award paved the way for us to discover, or rediscover, many individuals worth emulating who we didn't even know are from this town or have roots in it. Having a mother or a father (or even grandfather or grandmother) from the town -- or having lived here continuously for at least 10 years and made an exceptional impact, makes one eligible.

- Ever heard of the expression "the power of one?" While it's true that the success of a single individual is hardly ever his or hers alone (so many other individuals, in big and small roles, contributed to it), an individual's story of his or her rise to success has the potential to become synonymous with the name of an entire town. A single person has the capacity to "bring honor to us all."

- Even with a clear set of criteria, selection ultimately has a subjective aspect. Different people will have different judgments on who deserves to be honored with the town's highest official accolade.

- Not everyone I nominate is selected by the screening committee, so hard feelings are inevitable. It is always a difficult, because embarrassing, part of the process for me to break the negative news to the target recipients and their families.

- Nonetheless, this difficulty is a minor matter compared to my belief in the power of telling the whole world about someone's compelling life of passion, of dedication to excellence in whatever field, of living life to the fullest in the service of God, our town, our country, or humanity in general.

I believe each town should have its own award like our Matalunggaring Award. Who knows which overlooked individuals from across the years deserve the spotlight because they have the hidden capacity to inspire everyone to be the best they can be?

Pride of PSU-Bayambang: Matalunggaring Dance Troupe

Pride of PSU-Bayambang: Matalunggaring Dance Troupe

 

The Matalunggaring Dance Troupe is a folk dance group founded by Prof. Januario Cuchapin in 1986 at the Pangasinan State University (now called the Pangasinan State University, Bayambang Campus).

 

In the Pangasinan language, "matalunggaring" means "possessing a character of excellence," thus "manaltalon lanang" or always winning.

 

Composed of college students, the dance troupe showcases Filipino folk dances, especially Pangasinan folk dances which require a high level of dexterity. Their consistently well-applauded performances testify to Cuchapin's rigorous training and the members' sense of discipline, commitment to craft, and respect for dance traditions.

 

MDT, as it is now called, has performed, not only during special occasions in Bayambang, but also in big gatherings in the province, the region, and beyond.

 

Some of its most memorable performances were during the National Tourism Month in the City of Manila as well as in Pasig City, Cultural Center of the Philippines, Paskuhan Village in Pampanga, and SM City Rosales, and in front of foreign visitors of the province of Pangasinan.

 

The group also once had a chance to perform in a contest on the popular noontime TV show “It’s Showtime” and became a weekly winner.

 

One of the troupe’s most popular performances is the Bayambang version of the “Sayaw ed Tapew na Bangko.”

 

The 'MDT' is currently under the direction of Mr. Jordan Neri. In 2022, the group is in its 36th year of promoting the cultural dances and songs of Pangasinan.

 

Reference: Prof. Januario Cuchapin

 

 

PSU's Pride: Pangkat Kawayan

PSU's Pride: Pangkat Kawayan

The Pangasinan State University’s Pangkat Kawayan has become Bayambang's pride.

Founded by music professor Rufino Menor in the early 1980s, Pangkat Kawayan regaled audiences with peculiar music from carefully handcrafted bamboo instruments, including the angklung (main bamboo tube instrument), bamboo xylophone, bamboo cymbals, and sibakong (bamboo base).

Mr. Menor explained that he borrowed the angklung concept from the Indonesians, but no one taught him how to make the instruments per se – he only caught the idea on TV and from then on, it was solo flight for him all the way. He said it took him a huge amount of time to make his instruments because the bamboo tubes had to go through a painstaking treatment and adjustment process to emit the right sound when struck. The bamboos had to be submerged in seawater for a certain time, and to make a wooden tube emit the right note, Mr. Menor had to slowly chip off a part of it bit by patient bit. Then he’d varnish the pieces one by one.

At first, only the elementary students played the bamboo instruments. Every time there was an important event on campus, Mr. Menor and his bamboo band were sure to be there, regaling the PSU community and guests with number after lively number. The bamboo band spurred high interest among all audiences because, when played in an ensemble, the instruments are a joy to behold and to listen to. Each and every note is assigned to a group of players who have to raise and shake the angklungs at exactly the right time when it is their turn. It takes a level of skill to play the instruments because a player needs to have a strong sense of being an indispensable part of a team. Gentle tinklings in unison and harmony are produced this way, and listeners are relaxed by the melodic tremolos because it is almost like listening to 'nature sound.'

The Pangkat Kawayan would initially perform folk songs such as “Bahay Kubo,” “Leron, Leron Sinta,” and “Malinac lay Labi,” then surprise the audience by performing the pop music hits of the day. The crowd would then roar and erupt in applause, apparently pleased by the disorienting effect of the sudden shift in song choice.

The bamboo instruments would bring PSU’s Pangkat Kawayan outside home, performing around Pangasinan and the Ilocos region. Then, in 1987, the “singing bamboos” abruptly turned silent.

According to Prof. Januario Cuchapin, Mr. Menor’s superior at the time, it’s because the latter devoted himself to producing the bamboo instruments for sale, which of course took up a lot of time and energy. Mr. Cuchapin reveals that Mr. Menor’s unprecedented passion for his bamboo instruments was a product of his own professional research, which he turned into reality, thanks to some amount of government funding.

Mr. Menor himself recalls how it took him eight long years of research. And that there were only three of them in the entire Philippines working on a Pangkat Kawayan. He was the only one in Pangasinan.

Mr. Cuchapin also recounts that Mr. Menor used to buy all the bamboo stems from his native Malasiqui, but when he entered into mass production for commercial purposes, he began putting up bamboo farms. He would travel all the way to a mountain in Mayantoc, Tarlac to procure bamboos of all kinds – cauayan bolo, bayug, kiling, etc.

The demise of the bamboo band would deprive several batches of students of getting to know something that is uniquely a part of PSU’s identity and history. But Mr. Menor found his new preoccupation quite lucrative, and even found a buyer from as far as Palawan.

It is thus gratifying to witness the bamboo band revived, thus keeping alive Mr. Menor’s legacy, by no less than his daughter Leah M. Bumatay, starting August 2017, to be exact, in time for the Linggo ng Wika celebration. His daughter is herself a singer, composer, and music teacher teaching at PSU’s MAPEH Department and High School Department, now renamed PSU Integrated School. Bumatay says she revived her father’s band after Prof. Felipe Moreno, Chairman of PSU’s MAPEH Department, suggested to have the Pangkat Kawayan presented again to the public.

As if by miracle, things fell into place, she said. New to the service and lacking in financial capacity, Bumatay encountered a lot of obstacles, but PSU's then Campus Executive Director Dr. Cesar Della helped her secure financial assistance from Mayor Cezar T. Quiambao through Levin Uy -- incidentally, both Mayor Quiambao and Uy are into bamboo farming. Then when Dr. Della was replaced by Dr. Rhodora Malicdem, Malicdem inspired Bumatay to carry on by assisting her each time she encountered a new problem. Soon, PSU Prof. Salome M. Montemayor became a consultant and wrote the bylaws of the Pangkat Kawayan. Along the way, other people gave help when needed.

Thanks to this chain of events, the Pangkat Kawayan is back. Luckily, her father had passed on the technology by this time to a group of workers. The band is now composed of not just MAPEH Department college students but also high schoolers, all keeping the old bamboo magic intact.

Bumatay reveals that the band needs a minimum of 30 players, but she is planning to add more instruments to the ensemble.

Mr. Menor -- who happens to be the composer of the PSU Hymn, the creator of the PSU Kitchenette Symphony Orchestra, Rhythm Band, Ukelele, Harmonica, Bottle Xylophone Ensemble, Elementary Rondalla, Children’s Choir, Elementary Drum & Bugle Corps, Drum & Lyre Corps, and the organizer of PSU Band -- has retired from all of his former preoccupations, but his passion for music remains aflame. He is now an active member of Bayambang Municipal Council for Culture and the Arts, sharing wisdom and experience gained from his field whenever he can.

 

Reference: Leah Menor Bumatay, Prof. Rufino Menor, Prof. Janurio Cuchapin

 

The Untold Story of PSU-Bayambang: A Teacher of Teachers

The Untold Story of PSU-Bayambang: A Teacher of Teachers

Before it was known as the Pangasinan State University-Bayambang Campus, it used to be called by other names.

According to the account of its former college dean, Dr. Clarita DG. Jimenez, PSU-Bayambang “first came into being as the Bayambang Normal School in 1922, one of the only 10 or so normal schools in the country. It offered then the secondary normal course which prepared much needed teachers for the country. The school closed in 1935 due to inadequate funds but opened up in 1948 under a new name -- Pangasinan Normal School, which offered the two-year collegiate teacher education program. It was in 1952-1953 that the college like any other regional normal school began offering the four-year bachelor’s degree program for elementary teachers."

"In 1953, the normal school with the elementary schools in the District of Bautista and the Bayambang National High School were merged to become the Philippines-UNESCO National Community Training Center (PUNCTC). It operated as a school division in Pangasinan."

"Republic Act 5705 converted the school into a chartered institution, the then Central Luzon Teachers College on June 21, 1969. As provided in the charter of the college, the major functions of the institution are instruction, research and extension service."

"In 1981, Art and Science courses were also offered in the College of Education in Bayambang. In 1982, the seat of the University Administration was transferred from Bayambang to Lingayen with the completion of the Administration Building there. The College of Arts and Sciences was also formally created in Lingayen with the transfer of some courses from Bayambang.

PSU-Bayambang Campus is a school of many firsts, making it an historic school of national import or significance.

In 1953, when it became the seat of the PUNCTC "by virtue of Republic Act No 1142," "waves of educational dignitaries from all over the country and other countries arrived to attend conferences and visit model communities of the municipality."

In 1955, "the first Child Study Center in the country was put up at the then PNS." "The Center made initial studies on the Filipino child in order for the Philippines to have its own data about its children."

In 1956, it experimented with the country's first pre-elementary school or kindergarten, to "provide a working laboratory for the Child Study Center."

In the same year, it also established the first Opportunity Class for exceptional children.

In 1962, it became the venue of the first National Institute in Physical Education and Recreation in the Philippines.

PSU reportedly also pioneered in child nutrition studies in the Philippines, being the seat of the Applied Nutrition Project, with Sylvia Manlungat as head.

Among PSU's pride are its Pangkat Kawayan and Laboratory High School Rondalla, among nearly a dozen other musical groups, all founded by the prodigious Prof. Rufino Menor, and its Matalunggaring Dance Troupe, founded by Prof. Januario Cuchapin.

In the 1980s, PSU formed the Tambayo Cultural Group featuring Pangasinan folk songs culled from a dissertation of resident professor, Dr. Perla Nelmida, and presented in a concert, "Glimpses of Pangasinan Life & Culture in Songs & Dances," directed by Dr. Natividad I. Parin.

Together with fellow professors, Prof. Elsa F. Quinto edited a book compiling notated Pangasinan folk songs, the Komisyon sa Wikang Filipino-funded “Cancansion na Pangasinan,” while Prof. Januario Cuchapin focused his efforts on researching Pangasinan dances, to come up with the National Commission for Culture and the Arts -funded compilation of notated Pangasinan dances, “Bali-Balin Pangasinan.” Among Cuchapin’s notable findings is that Bayambang has its own version of Sayaw ed Tapew na Bangko, a rambunctious one.

Inside PSU-Bayambang's sprawling campus is the PSU-Department of Science and Technology (DOST) Region I's Food Innovation Center (FIC). It was formally launched on August 11, 2018 to serve the region's needs in the area of cutting-edge food processing technology. Even before its formal opening, the PSU-DOST 1 FIC has assisted in the conceptualization of at least three products in Bayambang: peanut butter, rice cracker, odorless buro, etc. On December 19, 2017, 1Food Corp., assisted by LGU Bayambang, entered into a Memorandum of Understading with the FIC for assistance in producing a line of vacuum-fried vegetables (okra, onion, squash).

References: 400th Pista'y Baley Souvenir Program, Unpublished coffee table book on Bayambang by Dr. Clarita D.G. Jimenez, Dr. Annie Manalang, & Dr. Anecita Gloria, Dr./Sr. Natividad Parin

 

St. Vincent Ferrer Prayer Park: A 2nd World Record for the Town

 St. Vincent Ferrer Prayer Park: A 2nd World Record for the Town

 

A project that probably no one else in Bayambang had ever conceived before is the St. Vincent Ferrer Prayer Park. The mere thought of a gigantic statue rising in a rustic town like Bayambang – not of Jesus Christ or the Blessed Virgin Mary, but of a patron saint – and one touted to be taller than the Christ the Redeemer in Sao Paolo, Brazil and the Statue of Liberty in New York City was preposterous, the real threat of quakes and typhoons notwithstanding.

 

But in a simple ceremony on June 20, 2018 at its site in Brgy. Bani, the project indeed broke ground for all eyes to see, one of St. Vincent Ferrer, and it was to be made of a steel frame and, what is probably even more head-shaking, it was to be covered in ‘engineered’ bamboo panels from China. With this statue, Bayambang was eyeing to clinch another title in the Guinness Book of World Records after clinching the record for the world’s longest barbeque grill in 2014.

 

Little by little, the work went round the clock to beat the deadline: March 31, 2019, to give ample time for the official unveiling on the succeeding date of April 5, during the quadricentennial of the St. Vincent Ferrer Parish in Bayambang and the 600th "birth date in heaven" of the esteemed patron.

 

The 51-meter statue was to be the centerpiece of the Prayer Park, which features a chapel near the base of the statue, fountains in front, candle shed, business stalls, landscaped gardens and wide open spaces conducive to meditation and recreation and an overall design that can be described as sleek, modern, and minimalist, yet awe-inspiring.

 

The contractor chosen for the project was Far East Industrial Supply & Company (FEISCO), whose one notable major project in its portfolio is Manila’s first Skyway. JQS Builders, together with RAA–Architects, Engineers & Consultancy Services, were the architectural/design team, with assistance from Palafox Associates to determine the best location.

 

Modern technology was instrumental in making this project a reality. Two models were considered for the statue: a life-like model and an abstract one, and the latter was the one approved. One of the first challenges faced by those involved at the planning stage was visualizing the placement of the bamboo panels on the statue. This was solved by getting the help of Puzzlebox 3D with its cutting-edge three-dimensional printing technology.

 

Another question that everyone wanted to ask was, "Will bamboo be a wise choice? What about the sun, rain, wind, and possible termite attack?" But everyone was assured that the bamboo tiles, imported all the way from China, had been treated in such a way that "they are stronger than steel," thus the term "engineered bamboo." The bamboo strips had to go through pest and decay prevention, carbonization, moisture balancing, strip milling, strand weaving, extreme pressure treatment, and finishing.

 

The naming of this colossal project has an equally interesting background. Mayor Cezar T. Quiambao, in his State of the Municipality Address of 2017, stated that the idea behind the project was originally that of his wife Mary Clare Judith Phyllis Niña Jose-Quiambao, who thought of building a shrine in time for the twin celebration earlier stated.

 

However, St. Vincent Ferrer parish priest Fr. Allen Romero cautioned against the use of the word shrine, as the term, he said, cannot be used anywhere without Vatican's prior approval. So a meeting was called at the Municipal Conference Room, whereupon Mayor Quiambao suggested that it be named St. Vincent Ferrer Park. After a frantic research for alternative terms using online thesauruses accessed by Google search came other suggestions such as "prayer monument," "prayer garden" (Fr. Romero's suggestion), etc. Pointing out the loss of the monumental nature of the project with the use of "garden" and just with the word "park" added on, one objector suggested that it must be "St. Vincent Ferrer [something else] Park," and thus was born the name "St. Vincent Ferrer Prayer Park," which Mayor Quiambao himself had the honor of suggesting, with the whole body in unanimous approval.

 

Another discussion during the planning stage centered on whether to place or not to place a lighted halo over the head of the statue, in compliance with a national regulation requiring tall structures to have a danger signal light on top for low-lying aircraft. Doing away with the halo won, while complying with the regulation.

 

Initially estimated to have a cost of P80 million, the project's cost bloated to P247 million in the end, a project that required hundreds of workers. The sponsors shouldering 100% of the cost were listed as Stradcom, Kasama Kita sa Barangay Foundation Inc. (KKSBFI), and CSFirst Green – essentially code words for Dr. Quiambao's private funds.

 

It must be noted that the land the Prayer Park occupies has been hobbled by a dispute between the donor of the land, the legal claimant Engr. Abelardo Palad, and a number of residents who claim to have been occupying the property as farmers for several decades. Of course, the gargantuan statue project did not escape criticism from a few members of the public after mistaking the local government as the source of the funding, saying it is a wrongful prioritization of public spending on infrastructure projects.

 

Despite all these, the project forged ahead.

 

During the groundbreaking ceremony, a time capsule, wherein the message of Mayor Quiambao and other materials relevant to the event were placed, was buried on the site of the ceremony. It will be opened on June 20, 2029, exactly 10 years after the momentous event.

 

“Now we are creating a landmark for people to remember and recognize Bayambang,” Mayor Quiambao announced. In the eyes of Fr. Romero, however, the park is meant to be “a beautiful place where people can go and have peace of mind, where pilgrims from different places can visit, and where people can pray and meditate and venerate our patron.” Vice-Mayor Raul R. Sabangan added that, with the Prayer Park, Bayambang will not only be known as the fifth capital of the Philippines or the record holder for the world’s longest barbeque grill, it will also be known as the religious town where the tallest statue of St. Vincent Ferrer in the entire world can be found.

 

But more than a sculptural and artistic engineering feat, more than an unprecedented privately funded project, the St. Vincent Ferrer Prayer Park is a gift, in thanksgiving to God’s provision and prodigious blessings through the miraculous intercession of St. Vincent Ferrer, and ultimately a symbol of Bayambangueños' deep faith.

 

Gabaldon Buildings

Gabaldon Buildings

 

Bayambang has a few Gabaldon buildings scattered in three educational institutions: the two surviving ones at Bayambang Central School (currently in varying states of disrepair), the main building of Bayambang National High School (thankfully restored), and the main building and elementary school building of Pangasinan State University-Bayambang Campus (preserved except for the cementing of the floor of the main building).

 

According to local school teacher Carmencita Pacis, "Bayambang Central School is a product of Act No. 1801 framed by Assemblyman Isauro Gabaldon of Nueva Ecija. In 1914, seven years after the Gabaldon Act of 1907 was signed into law, the first Gabaldon building in Bayambang was built which came to be known as Bayambang Elementary School (thereby making it the pioneer school in Bayambang). ... The first of the five Gabaldons was a three-classroom structure constructed in March 1914 at the southeastern part of the approximately three-hectare territory. ... In 1922, the second building, an elevated bungalow-type structure was finished...the Home Economics building."

 

Designed by American architect William Parsons, a typical Gabaldon is characterized by the simple lines of Roman arches and columns, high-ceilinged hallways, wide staircases, an often decorated clerestory, and large capiz shell windows. Most Gabaldons are a bit upraised, creating a silong (a space beneath an upraised floor). All these features undoubtedly are considerations made in response to the tropical weather, especially to address ventilation, rain and flooding issues. The result is an interesting fusion of American and Filipino architectures.

 

Spaciousness of the surroundings is a key part of the architecture. A sense of stateliness is established in the positioning of an edifice in relation to the others nearby, as the viewer sees it slowly emerging from his or her line of sight upon entry, thanks to the vantage point of being at the center of a wide open field.

 

Such an aesthetic behind Gabaldon buildings, to paraphrase Gemma Cruz-Araneta’s own observation, results in an environment conducive to learning as the wide space instills an equally expansive mind in learners and serves as an inspiration and source of pride among students, teachers and the community at large.

 

References: "Those Gabaldons" by Gemma Cruz Araneta, http://gabaldon.ivanhenares.com/2006/08/those-gabaldons.html; https://www.esquiremag.ph/culture/what-are-the-gabaldon-school-buildings-a00290-20190208-lfrm  

The Dauz House and Sabangan House: Examples of Bahay na Bato Long Gone

The Dauz House and Sabangan House: Examples of Bahay na Bato Long Gone

Unlike in other old towns, there are hardly any bahay na bato left in Bayambang, whether built in the Spanish or American colonial era. 

There are four most probable reasons, and the first is the most obvious one: the ravages of the elements: fire, flood, and typhoons, not to mention termites. The second is the need to keep up with the aesthetics en vogue with the approach of modernity and novel aesthetics, with great consideration given to the prevailing economic realities (i.e., the price of materials and labor).

Another reason could be the accounts of the so-called juez de cuchillo or massacres that happened during the Palaris rebellion, when the houses of local residents who refused to join the uprising were torched or that the houses of those who did, received the same destructive fate.

A fourth, and historically confirmed, reason is World War II. According to the account of local historian and educator, Dr. Clarita D.G. Jimenez, in the 1940s, "The Japanese atrocities left bitter memories among the Bayambangueños. Big buildings like the church, the schools and the big houses were the target of bombings as these were suspected to be the headquarters of the enemy. ... Many Bayambangueños joined the guerrilla forces which fought against the Japanese Imperial Army. Some of them were tortured, killed and forced to join the infamous Bataan Death March."

Aside from old family pictures of locals, archival photos from the National Historical Institute, resourcefully accessed and reproduced by Municipal Consultant on Museum, Culture and Arts Gloria D.V. Valenzuela, confirm that there were indeed such houses in town. 

One of the most historically significant of those must be the Dauz house at the junction of Del Pilar St. and Quezon Blvd. because it became the Malacañang of the North during the revolution against the Spanish government.

Another NHI photo is that of the Sabangan house, which is noted for its exemplary style. 

They were constructed in the American colonial period, but they were fine examples of the bahay na bato (at kahoy) Hispano-Filipino architectural style that bloomed during the Spanish colonial period. Some call the style Antillean, to be exact, to refer to the Antilles in Central America. They featured most of the elements present in such a house, including its fixtures and furniture inside, from antesala to zaguan.

The Dauz House, the caption reads, was "built in 1933 and designed with tall, wide windows with sliding capiz shell panels." The Sabangan House, on the other hand, was also "built in 1933, and features a continuous balcony or gallery at the second floor of the house, cutwork in the eaves and an occasional acroteria in the roof."

Notably, the combination of American, Spanish, and indigenous architectural elements is uniquely Filipino, and this is what makes houses like these historically and architecturally significant. This is a little reminder that it was in the Philippines where, to quote historians, "the first instance of true globalization occurred," thanks to the galleon trade. It is where cultures from all the four corners of the world did not just clash or meet and match, but actually mixed and melded, resulting in the fusion of elements in our cultural markers with those of others. We can observe this consistently not just in Filipino architecture but practically in all facets of Filipino culture -- cuisine, wear, games, literature, music, dance, and so on.

It is only in the Philippines where these various styles traditionally mixed and matched to suit an overall theme or mood: capiz windows that remind of Japanese paper windows, the expected ornate baroque details, and the Art Deco and Art Nouveau flourishes in the ensuing American decades. It is akin to finding pineapple finials and fu dogs (Chinese lions/gargoyles) together in one notable neo-Gothic church, the San Agustin Church in Intramuros, or baroque churches with a Borobudur-like (Javanese) silhouette and Eastern symbols like sun faces (Paoay church), and Churrigaresque detailings, solomonic columns and other neo-Mudejar touches, pagoda-like bell towers, and so on, in other extant old structures throughout the archipelago and even in iconic objects like the jeepney.

There is a pervasive halo-halo sensibility -- as Gilda Cordero-Fernando puts it, though others scoff at it as "mongrel culture" -- but it is one that is not totally thoughtless. The eclecticism, Fernando Nakpil Zialcita notes, is more careful than desultory cherry-picking. The resulting cultural chimera that is the Filipino halo-halo culture to the outsider actually 'works' on some level of collective understanding. There is an azotea (a type of balcony) and there is a banggera (a wooden dish rack protruding from the kitchen), a ventanilla (little sliding windows beneath the sliding capiz ventana) and a batalan (washing area with bamboo flooring), a comedor (dining room) and a dapugan (dirty kitchen). Common furnishings included the sala set (living room chairs and center table), estante or platera (kitchenware cabinet), pugon (clay oven), almario (pillow stacker), and kama (wooden bed) with ikamen or woven mat. 

In specific terms, what this means is that the Antillean house architecture was adjusted to suit the Asian tropics, and this resulted in several elements of the bahay kubo being retained, thus distinguishing the bahay na bato at kahoy from the Spanish pueblo house and similar colonial residential architectures in the Antilles and the rest of Latin America. These ingenious adjustments are the following, as others have taken pains to note: making the structure more earthquake-proof, allowing more light into the house, allowing more air to circulate, shielding the house from the rain and the heat of the sun, and raising the floor as a precaution against flooding. We can say this tendency to Filipinize the foreign is a case of reverse colonialism.

These adjustments were no doubt present in the original houses of Bayambang's oldest families so that the houses looked like upgraded versions of the traditional bahay kubo or alulong.