Bicol Culture, Arts and Literature

“HISTORY OF THE BICOLANO PEOPLE”

Bicolano people are the fourth-largest Philippine ethnolinguistic group. Their native region is commonly
referred to as Bicolandia, which comprises the entirety of the Bicol Peninsula and neighbouring minor
islands, all in the southeast portion of Luzon.

They are largely an agricultural and rural people, producing rice, coconuts, and hemp. Nearly all of them
are Christians, predominantly Roman Catholics, but with some Protestant minorities. Their language
which is actually a collection of closely related varieties to other languages of the central Philippines, all
of which belong to the Austronesian (specifically Malayo-Polynesian) super-family of languages.

According to a folk epic entitled Ibalong, the people of the region were formerly called Ibalong or
Ibalnong, a name believed to have been derived from Gat Ibal who ruled Sawangan (now the city of
Legazpi) in ancient times. Ibalong used to mean the “people of Ibal”, was shortened to Ibalon. The word
Bikol was replaced Ibalon, was originally “bikod” (meaning “meandering”), an Archaeological dating
dates back to as early as the Neolithic, accidental findings resulted from mining industry, road-building
and railways project in the region reveal that the Bicol mainland is a rich storehouse of ceramic artifacts.
Burial cave findings also point to the pre- Hispanic practice of using burial jars. Spanish influence in Bicol
resulted from the efforts of Augustinian and Franciscan Spanish missionaries. Through the Franciscans,
the annual feast of the Virgin of Peñafrancia, the Patroness for Bicolandia was started. Father Miguel
Robles asked a local artist to carve a replica of the statue of the Virgin in Salamanca, now the statue is
celebrated through an annual fluvial parade in Naga City. Bicolanos actively participated in the national
resistance to the American and Japanese occupations through two well-known leaders who rose up in
arms: Simeon Ola and Wenceslao Q. Vinzons. Historically, the Bicolano people have been the most
rebellious against foreign occupation. Bicolanos live in Bicol region that occupies the southeastern part
of Luzon, now containing the provinces of Albay, Camarines Norte; Camarines Sur, Catanduanes and
Sorsogon, as well as Masbate.
“BICOL CULTURE, TRAITS AND VALUES”

Culture is comprised of values, attitudes, norms, ideas, internalized habits and perceptions as well as the
concrete forms of expression they take in. Social roles, structures, and relationships, codes of behaviors
and explanations for behavior that are to a significant extent shared among a group of people has its
own culture rooted from the influences of our ancient ancestors during the pre- Spanish era and the
different colonizers we have, the Spaniards, Americans, Japanese and other countries we have engaged
in trades. One aspect of Bicolano culture is their love of food/ delicacies in their particular region that
serves as an identifying factor of their characteristics. Bicolano cuisine is primarily noted for the
prominent use of chilli pepper and gata (coconut milk) in its food. A classic example is the gulay na lada,
known outside the region as Bicol Express, a well-loved dish using siling labuyo (native small chillies) and
the aforementioned gata. Meals are generally rich in carbohydrates and viands of vegetables, fish, and
meat are cooked in various ways. Bicolanos almost cook their vegetables in coconut milk: for meat
recipes such as: pochero, adobo and tapa. A special meat dish is the dinuguan. Fish that serve as
common viand are mackerel and anchovy; in Lake Buhi, the sinarapan or tabyos (known as the smallest
fish in the world) is common.

The livelihood of the Bicolanos are:

1. Copra processing and abaca stripping-generally done by the hand.

2. Fishing is an important industry and fish supply is normally plentiful during the month of May through
September.
3. Mining and manufacture of various items from abaca are important industries
4. Coconut and abaca are two dollar-earning products that are grown in the coastal valleys, hillsides, or
slopes of several fertile volcanoes respectively.
5. Bicol River basin or rice granary provide the peasants rice, corn, and root crops for food and small
cash surplus when crops evade the dreaded typhoons.
6. Carabaos-drawn plough and harrow are generally used; sickles are used for cutting rice stalks;
threshing is done either by stepping on or beating the rice straws with basbas and cleaning is done with
the use of the (winnowing basket).
Bicolanos are expected to lend a hand in household work. They are anticipated to offer assistance after
being married. Men are expected to assume the role of becoming the primary source of income and
financial support of his family. Close family ties and religiosity are important traits for survival in the
typhoon-prone physical environment. Some of the persisting traditional practices are: pamalay,
pantomina, tigsikan, beliefs on God, soul and life after death are strongly hold by the people, pabasa,
tanggal, fiestas, Flores de Mayo, tawo sa lipod, dwende, bongo, tambaluslos, kalag, katambay, aswang
and mangkukulam Spanish religious doctrines and American materialism merged with the traditional
animistic beliefs. It is a multi-cultural system which evolved through the years to accommodate the
realities the erratic regional climatic conditions in a varied geographical setting. Such traits can be
gleaned from numerous folk tales and folk songs that abound the most known of which is the Sarung
Banggi. The heroic stories reflect such traits as kindness, a determination to conquer evil forces,
resourcefulness and courage. The folk song comes in the form of awit, sinamlampati, panayokyok,
panambitan, hatol, pag-omaw, rawit-dawit and children’s songs and chants. Bicolanos use light material
for their houses to suit for their climate, others now have bungalows to withstand the impact of strong
typhoons. Light western styled clothes are predominantly used. The typical Bicolano wears light,
western styled clothes similar to the Filipinos in urban centres. Seldom are there Bicolanos weaving
sinamay or piña for clothing as in the past. Sinamay is reserved for pillow cases, mosquito nets, fishing
nets, bags, and other decorative items. Prior to Spanish colonization, the Bikolanos believed in an
indigenous pantheon of deities. They were honoured in Feasts and everyday life ways.
Among the most notable deities in Ibalon (Bicol) are:
1.Adlao- happy and optimistic, known as the “golden man”, he was reluctant of his brother’s plans but
loved Daga too much to go against him. He became the sun after being struck by Languiton.
2. Anitos- They depict in little wooden idols, as million names of ancestral spirits venerated in
communities and households; believed to guide their living descendants and leaving them good graces
and fortune.
3. Asuang- He was Gugurang” s equal until Gugurang’s proved he is superior to all. He tried to steal
Gugurang’s sacred fire but failed. He was also from the heavens but descended to Mt. Malinao. Asuang
is the father of Oryol, who was the most beautiful and powerful female in the land of Ibalon before
Magayon and her sisters came. Some say Asuang is tall, and muscular, having long dark hair and is
extremely attractive, but the moonlight reveals his true form which is ugly and monstrous. Even though
he is considered by all as a dark and evil god and beast, he is afraid of the young god, Bulan (god of the
moon). The two are worshipped side by side by the cross__dressing priestess called “Baylan”. It is said
that upon Asuang and Bulan’s first encounter, the moonlight was shining brightly, casting moonbeams
upon Asuang, and showing his true form. Instead of being horrified, the comely god, Bulan stood
unwavering. He befriended Asuang, not because he was monstrous, but from the goodness of his heart.
The two became extremely close afterwards.
4. Bakunawa- Gigantic female sea serpent deity of the deep and the underworld who is often considered
as the cause of eclipses. She saw Bulan, when he descended to swim with the Magindara, and had fallen
in love with him. Unnoticed by the boy moon, she swore to eat him instead. She transformed into a
huge eel-like dragon (some say dragon with grills with the mouth the size of a lake). As the devourer of
the sun and the moon, she became the adversary of Haliya as Bakunawa”s aim is to swallow Bulan,
whom Haliya promised to protect for all of eternity. During eclipses (where Bakunawa tries to swallow
Bulan), the people would light torches to take notice/to invoke Bakunawa’s rival Haliya. Haliya is
portrayed to always hear the people’s voices in those times, and comes to always rescue Bulan
successfully.
5. Batala- He is a lesser God, kind and helpful Batala commands the ánito” or all ancestral spirits of man.
He is invoked in times of need and trouble. He comes in a form of a bird and is believed to be a middle-
aged man with a robust physique.
6. Bituoon- Lovely and bright and the only daughter of Paros and Dagat. She was made of silver. She was
accidentally killed by Languiton thus became the stars.
7. Bulan- Fairest son of Dagat and Paros. He is comely, and docile. Bulan obeyed his brother’s will
without question. He became the beautiful moon when he was restored back to life by the powerful
Gugurang and placed him in the “Karapatan” or Heaven. The god of the pale moon, he is depicted as a
pubescent boy with uncommon comeliness that made savage beast and the vicious mermaids
(Magindara) tame. He was pursued by Magindang (the god of the sea) when he descended into the
waters of Bicol. He is a close friend of Asuang. He has deep affection towards Magindang, but plays with
him by running away so that Magindang would never catch him. The reason for this is because he is shy
to those he loves. If Magindang manages to catch Bulan, Haliya always comes to free him from
Magindang’s grip. There is a story concerning Bulan and the takay flower, that the moon god saw a
lovely maiden drown and made her into the “takay” flower or the Bicolano water-hyacinth.
8. Cagurangan- Former supreme to Gugurang and Asuang; until Gugurang proved to be far more
powerful and superior. He had control over the winds and all the flying beasts.
9. Daga- Enormous as he is strong, his body is made of rocks. Arrogant that he had inherited most of his
father’s powers of the wind in addition to his strength. Daga persuaded his brothers to attack Languiton
to steal his power but failed. He was strucked down and his body became the earth.
10. Dagat- the divine embodiment of the seas and ocean and daughter of Tubigan who took Paros the
winds to be her husband and equals. They ruled over the skies and the seas. Love is one thing stronger
than the gods for it killed her and Paros, other belief that they have found contentment and had simply
slept the sky and the sea. When she died/slept from the water the god Magindang was born.
11. Gugurang- the Bicolano supreme deity who defeated Cagurangan and declared Asuang to be his
inferior. He commanded light fire. Depicted as tall, muscular with silver hair. He once resided in
Kamurawayan or heavens but left to reside in Mt. Mayon, in his place he appointed Bulan in the heaven
with the wind people. He is the symbol of the good (an mga marhay), ready to punish the bad ( an mga
maraot). When the people saw fire (kalayo) flowing out of the crater of Mayon, they would grow afraid.
They would then offer a sacrifice (Atang) to him to pacify his wrath. The Baliana, priestess, officiated in
the ceremony. Always when they committed wrong, they would be loud moaning of the earth followed
by an eruption of fire and lava.
12. Haliya- The masked moon goddess of moonlight and the arch-enemy of Bakunawa and protector of
Bulan. She is the goddess of moonlight and Bulan’s sister, confidant and protector. Her cult is composed
primarily of women. She is strong and adamant as Bulan is weak and submissive. She is depicted as a
very lovely young woman. Haliya and Bulan are the most pursued and fairest beings in the heavens. She
wears a mask hide her beauty, was convinced by the wind people or Tawong Lipod to go down to the
waters of the earth to bathe. She is worshipped by women, the symbol of strength in women. There is
also a ritual dance, called Halea/haliya and I performed to be a counter-measure against Bakunawa, who
wants to swallow her brother.
13. Languiton- The primal Bikolano god representing the sky. Sovereign of all the flying creatures in the
skies. The four children of Paros and Dagat rebelled against him, albeit two of the siblings had doubt.
Languiton ultimately won, striking the four deities with his powers which led to the creation of the sun,
moon, stars, and earth. Of the four, only the moon Bulan was revived by Gugurang.
14. Magindang- The powerful god of the sea and ruler of all its creatures. Venerated by fishermen and
sea voyagers. He gives bountiful catch and safe passage to all who call to him. He is depicted as
handsome, tall and muscular with long flowing hair. He was tricked by Oryol, who commanded the
Magindara (vicious mermaids) to kill the beautiful maiden Malinao. He has deep affection to the lunar
god Bulan and pursues him despite never catches him. Due to this, the Bicolano reasoned that is why
the waves rise to reach the moon when seen from the distant horizon.
15. Okot- The god of the forest and hunting protector of flora and fauna. Tall, muscular with brown skin
and is said that he has a belt of vines. He whistles to imitate the call of birds and human. He is prayed
upon in times of hunting.
16.Onos- God of storms, deluge and flood waters. He is muscular and tall, with white tattoos all over his
body. He sends storms to villagers and farmlands when people forget their “Atang” (offerings and
prayers). He is the guardian of Takay, a lesser god. Takay fell in love with Kanaway, so Onos tried to
separate the two. He shot Kanaway with his lightning but he (Kanaway) only turned to stone. Angry,
Onos attacked Mount Asog with numerous lightning bolts, thus making it sink and turn into Lake Buhi.
17. Oryol- A demi-goddess in Bicolano myths, She is mentioned in the Ibalong epic. Believed to be the
daughter of the deity Asuang. Oryol possesses inhuman beauty and prowess when it comes to
seduction. Aside from being beautiful in stories, it is told that she has a beautiful voice that could hear
anyone (both men and women, even animals) Half of her body is a serpent. It is believed that the Naga
and the Maguindara obeys her every command for she is a demigoddess.
18. Tubigan- The god of water and the celestial ocean, ruled over all the swimming beast.
“BICOL ARTS AND LITERATURE”
Writing tradition in Bikol has roots in its ancient folkways. There are still existing and known charm verses
exploiting the possibilities of words in folk poems and narrative with mythical content, and bound with historical
fragments which form part of the people’s lives. (Maria Lilia F. Realubit). Colonization stifled native writing;
however only after about two centuries later did the people begin to write poems and plays adapted from Biblical
stories—this time in the Spanish writing system. These dramatic tropes were street presentations during May
Festivals, Christmas, Easter and Lent. In 1890, the Bikol Newspaper, An Parabareta, (The Newsman) was published
by Mariano Perfecto, who established the first printing press- Imprenta de Nuestra Señora de Peñafrancia. In the
midst of numerous devotionals and religious poems, there appeared two protest plays” An Pagguiao kan mga
Pastores can Pagcamondag ni Jesus domain sa portal sa Belen.” (The awakening of the Shepherds of Jesus birth) by
Mariano Perfecto and “Comedian a Dapit sa Dios” o “magna cahayagan can pagkamondag ni Jesus.” (A play about
God or Matters Concerning the Birth of Jesus). The plays says that the people accepted the faith but not Spaniards,
the second tries to localize the character Mary, humanize Herodes and make the coronation of her an occasion of
revelry through two comic characters. Corridos or metrical romances became the main reading fare for many
years. Translation form Spanish to Bikol were eagerly awaited that writers switched to translating for money it
brought them. In time Bikol corridos were written, the most popular was Mag amang Pobre (The Poor Father and
Son). The comedia or moro-moro stayed for a long time. Almost every town boasted. of a comedia writer and a
theatre group. The lavish and impressive display of comedia that Juan Alvarez Guerra saw in 1880s in Albay has
been so well described. Count on the Bikol to write protest Comedias- Comedia ni Hadeng Grimaldo sa Reinong
Iriandaby Sabas Armenta and Drama en Comedia de la Vida Conde Urbano y Juan Miraflor. The first is a deviation
from the Moro as villain theme; the second advocated democracy and favors electing town leaders. The
Commonwealth Period were years of poetic and dramatic productivity. The sarzuela did not escape the Bikol’s
questioning bent. Asiscio Jimenez’s Pagkamoot sa Banuang Tinubuan (Love for the Native Land) demonstrated that
national change can be affected through armed revolt. He wrote 25 other sarzuelas’ in varying themes, mostly
social criticism. Crowds would attend the presentations. In the mid-thirties, shorter plays became the fashion. New
themes were poor vs. rich, laziness vs. hard work and Rizal and Nationalism. Outstanding was Anti Cristo by Justine
Nuyda who wrote of the inevitable conflict between individual morality and material comfort. This play is still
presented today in schools in the region. Rawit-dawit or narrative poem was a whick of social and political
criticism. Personal poems were more plentiful. The period also produced about twenty translations of Jose Rizal’s
Mi Ultimo Adios to Bikol. Four poets and their works stand out. Manuel Fuentebella’s An Pana (An Arrow),
Clemente Alejandria’s Pagaroanggoyong (Perseverance), Eustaquio Dino’s Balosbalos Sana (Retribution) and
Mariano Goyena’s Hare. Dali (No…Don’t). Great sensitivity and exquisite images are marks of these poems
reaching up to lyricism. The Post-War Period was unproductive. Cathedral players of the Ateneo de Naga sparkled
the cultural scène, students led by Rev. Fr. James Reuter. S.J. translated English plays into Bikol and delighted the
Naga folks with Sunday presentations at the plaza kiosk. In the rural towns they played in church patios and plazas.
If Post-War writing was not as significant the Bikol milieu was not encouraging either. The stories and novels
written in the 50s were dull and mere narrations; the novels fantastic and improbable. Writing in the Rainbow
journal were largely cerebral and critical of politics, church and society. It was the people’s interest in the folk story
Ibalon, which inspired two musicals the Handyong written and presented by Orfelina Tuy and Fe Ico, and Ibalon
Opereta written by Jose Calleja Reyes. Contemporary Writing has just begun to burst with creative energy. The
writers now possess the courage to deal with big themes. It began with Francisco Peñones Jr. who sounded a
clarion call in his poem “An Opon sa Ibalon: Kan Mahale an Maskara” (The Board in Ibalon When Unmasked”.
Society, he declared, is the boar that brought hunger and poverty to the land. For this poem, Peñones received a
CCP award. Merlinda C. Bobis in a masterly poetic drama entitled “Dara gang Magayon” (Beautiful Maiden) over
turns the passive maiden in the legend and makes her decisive to do her part in changing society. In her poems,
Bobis subtly presents an idealism associated with remembering one’s childhood, each of them a strong and
evocative portrait only thoughtful, sensitive poet can create. For this she merited a Palanca award. Carlos O.
Aureus weaves together theology and philosophy to present Bikol values and a panorama of Bikol scenes. In ten
well-written stories, a novel and a play he wins the coveted Palanca, CCP, Free Press and Graphic Literary awards.
The young literary fictionist, Marco Lopez, Alvin Yaban, Ulysses P. Aureus and Lorenzo D. Paran III are searches for
self, identity and nation. Seasoned writers include Luis Cabalquinto, Gode Calleja and Ruby Alano. The young
writers are Home Life Magazine winners Angelica Gonzales, Honesto Pesimo, Jazmin Yllana, Victor Velasco, Niño
Manaog, Xavier Olin and Cynthia Buiza. Emelina G. Regis has a Palanca Award for her environmental play Dalawang
Mukha ng Kagubatan” (Two Faces of the Forest). Barbara Barquez Ricafrente writes poems and paints with rage.
She is the first novel awardee of the U.P. Creative Writing Center. Bicolanos can write memorable and significant
pieces. The native literary tradition has been resurrected and kept. The problem that we still to resolve is how to
influence people to read, be aware and how to multiply these writings for information dissemination.
“PROMOTING ARTS AND CRAFTS IN RINCONADA”
The name “Rinconada” is derived from the Rinconada district in Camarines Sur where the language
originated developed and is largely spoken. However, the origin of how the term “Rinconada” was
assigned, to the area are still unclear. Popular wisdom ascribes the name to have come from the Spanish
arrinconada, “cornered”, from the root “rincon” that means” corner or small district”. Rinconada might
have been given by the Spaniards to the then-newly explored and established colony in southeastern
corner of Luzon Island, natives formerly called the area Sumagang (Sumagan), meaning “far east.” From
the plain-looking handwoven slippers to embroidered bags and embellished baskets, the seagrass craft-
making in San Fernando, Cam. Sur, has upscaled into a full-blown home-based business industry
enterprise providing additional income to rice farmers in flood- prone areas (Rena S. Hermoso,”:
Bicolana Artist Helps Popularize Craft Making Using Seagrass in Camarines Sur). The Department of
Agriculture-Regional Field Office (DA- RFO)-5 Bicol Integrated Agricultural Research Center (BIARC)
reported that the majority of the floodprone rice producing areas were left fallowed, thus additional
costs on herbicide and labor are needed to remove various weeds and sedges that emerge after the
fallow (uncultivated) period. BIARC Manager Luz R. Marcelino shares that while many people use various
weed species as forage (food suitable for house or cattle), indigenous farmers surprisingly explored
promising potential uses of “sea grass.” This sea grass craft making gives promising income-generating
opportunity to the farmers. “Sea grass (Rynchospora corymbosa), locally known as “ragiwdiw” and
“bankuan” is a perennial sedge that grows abundantly in flood-prone areas in Bikol. Dried stalks from
the sea grass are hand twined together to create the raw materials for handicraft making. “Salapid”,
which can be made into various products such as bags, slippers, hampers and decorative items.
Marcelino said that the best characteristic of sea grass is its resistance to molds when stored for a longer
period of time. In coordination with DTI- Product Development and Design Center of the Philippine
Farmers’ Co-operators Association were provided with skill and product Development training and
sponsored their participation in national trade fairs. To support the association’s full operation and meet
the increasing demand of sea grass in the local handicraft/ industry, BAR extended institutions support
through the provision of common service facilities and production equipment. BIARC continued their
efforts in upscaling and expanding the sea grass craft industry in Cam. Sur. They tapped the creativity
and entrepreneurial skills of Bernadette de los Santos, owner of Bidibidi Enterprise, a social enterprise
that combines fashion arts, and upcycling while providing livelihood to local women and out of school
youth in Baao, Camarines Sur. De los Santos is a part of the Gender Responsive Economic Actions for the
Transformation of Women (GREAT WOMEN) project, a Phil.- Canadian brainchild that aimed to provide
support for women to start businesses and obtain a better-paying job. Boa-Boahan Festival, Nabua,
Camarines Sur_Nabua celebrates its fiesta with the now-famous annual Boa-Boahan Festival on the third
day of May. The highlight of the festival is the re-enactment of the traditional “Boa Feast”, a 13th
century rite where ancient Bicolanos offered chains of coconut embryos called boa to their pagan
deities, in the belief that this would give them ample harvest, favourable weather, and make their lives
more prosperous and happier throughout the year. The feast is enlivened with frenzied street theatre,
heart-pounding street dances and spectacles, and a riveting display of colorful and glaring ethnic
costumes. This annual festival was initiated and given importance and funding by then Mayor Ulpiano
Duran and the town’s first lady then, Mrs. Delia Duran, in tandem with the late District Supervisor Mrs.
Patricia Romano and the principals, teachers, and pupils from both public and private schools. The first-
ever festival was held in 1974 a street pageantry that was graced in the evening by a memorable
dramatic venue performed by the legendary U.P. Mobile Theater under Professor and National Artist
Wilfrido Ma. Guerrero, with the help of the touring company’s long- time national coordinator, Mr.
Timothy O. Albano (incidentally, he and his staff volunteered to research extensively the legend and
authentic lore behind the festival’s underlying mythology). Meanwhile, the celebrations of the towns’
festivals were eagerly sustained through the Deped Memo, #177_s.2019 that includes promotion of arts
and cultures in the SHS Curriculum by celebrating National Arts Month thru the lead of the National
Commission for Culture and the Arts. The celebration is pursuant to Presidential Proclamation No.683
dated January 28, 1991 entitled “Declaring Every Month of February of Every Year as National Arts
Month. Schools in the different divisions should have a culminating day for the students to showcase
their skills, knowledge and performances in arts. This year celebration of 29th National Arts’ Month has
a theme: Ani ng Sining Philippine Arts Festival. During the National Art’s Month Celebration, NNHS
HUMSS Group -1 was awarded Champion (First Place) on the National Art’s Month Celebrations’ Festival
Dance Competition against the other SHS strands. Ms. Aliyah P. Peape (Festival Queen) and Mr. John
Albert T. Ayagan (Awarded as Best Festival King-1st Place Award) lead the group of Bowa-Bowaan
Festival Dancers held last February 20,2020, with (me as coach); and Mr. Crispin Tomenio (Sir Giliw) as
Trainor. This is under the leadership of Sir Victor C. Sorellano, Ph.D. (Philosophy/Per.Dev’t and Mapeh
Group Head) and Mrs. Odessa D. Bulalacao, Teacher-III (Group 1-C Head). under the administration of
Ma’am Ella D. Mirandilla, Ed.D.(School Principal-IV), Mrs. Noemi B. Callope, Shs Asst. Principal –II for
Academics and Mr. Gerry A. Ocampo, Shs Asst.Principal II for Operations and Learners Support. Other
awards received by the group was 2nd Place Tala Dance Challenge. Trophies were turned over to the
SHS Department thru the custody of Mr. Jeffery S. Albania, the SHS school coordinator, Nabua National
High School, Nabua, Camarines Sur. This school culminating program was sponsored by the CPAR
Teachers (Sir Vic Sorellano, Sir Joseph Alfelor, Ms. Mary Quennie Shane Quinio (Chairman of the
Activity), Mrs. Joan G. Sombrero, and (your’s truly) Mrs. Lourdes A. Dacara.

“HGQ HANDICRAFT PRODUCTS- A SUCCESS STORY”

The entrepreneur journey of Ms. Hunny G. Quiaño began in 2003, when she worked in the bag
production of a Manila-based handicraft Japanese exporter. The company sources its materials in Albay,
so Quiaño, being a single mother accepted the opportunity. At work she was exposed to the nitty-gritty
of the handicraft business-from raw materials sourcing to skills and design development. Her knowledge
and skills were honed through time from training opportunities and productive experiences with the
company. She bring the weaving technique in Camarines Sur, for she admired the Bicol artisans, and her
passion and dream inspire her to build a production area for handicraft inside her residence, at Topas
Proper, Nabua, Camarines Sur; and started to hire her neighbors. Her passion to help the unprivileged
people in the rural areas urged her to farm out materials and labor to families in neighboring barangays.
In 2005, she resigned from Japanese company who later on gave her the chance to become its supplier
of semi-finished woven products in Bicol under her own enterprise, H.G.Q. A year after, she signed a
contract with the company as its exclusive supplier of handwoven bags and baskets. Under that
arrangement, her enterprise received subsidy to purchase equipment and raw materials and hire the
services of a designer and support from the Department of Trade (DTI) through business counselling,
trainings, and participation in trade fairs. They continue to partnered with the local government of
Nabua to support communities in Bicol, by training out-of-school youth, single parents and farmer’s
wives in handicraft-making. In 2013, her enterprise decided to become a single proprietor and
independently join DTI trainings, trade fairs and business development activities while maintaining ties
with the Japanese company. They also provide skills trainings on bag making on Bicol communities. One
project that stood out was the training for jail inmates in Iriga who are now earning income from bag
and basket making. For them success goes beyond the bags but on its creativity, passion and social
purpose. Dubbed as the world’s smallest, edible fish. Sinarapan can be found in certain bodies of water
in Camarines Sur.These tiny 12mm-long fish are usually sold in the markets dried sheets or cakes. They
can also be sautéed with some garlic, onions, and tomatoes for a hefty meal paired with hot rice.