When the Spaniards first encountered the Visayan inhabitants, they were impressed by

their beautiful tattoos. The Spaniards referred to the islands as “Islas de los Pintados”
(Islands of the Painted Ones). However, the inhabitants already had their own names
for their islands, such as Panay, Cuyo, Negros, Cebu, Leyte, Ibabao, Samar, Bohol, and
the Calamianes.

In 1569, after facing resistance and blockades, Miguel Lopez de Legazpi relocated from
Cebu to the island of Panay. His grandson Felipe del Salcedo led one group to Panay,
while Sergeant-Major Luis de la Haya went to Araut (now Dumangas, Iloilo). Juan del
Salcedo, another grandson of Legazpi, took command of the Spanish settlement in
Panay. Legazpi also sent Juan del Salcedo to help the villages of Aklan and Ibajay
against the pirates of Mindoro.

Legazpi established one province encompassing the Pintados islands and distributed
land grants to his men. The first encomienda in Aklan was granted to Antonio Flores in
1571, consisting of several villages and the town of Calivo (now Kalibo). Panay became
known for its abundance of resources, including rice, swine, fowl, wax, and honey. It
served as the granary of the archipelago and supplied rice and provisions to Manila.

During Spanish colonization, Legazpi, as governor general, consolidated the Pintados

islands into one province and distributed land grants called encomiendas to his men.
Aklan’s first encomienda was granted to Antonio Flores on November 3, 1571,
consisting of six villages and the town of Calivo (now Kalibo). Panay, particularly Aklan,
became known for its abundance of resources, including rice, swine, fowl, wax, and
honey. It played a crucial role in supplying provisions to Manila and was considered the
granary of the archipelago.

In the Philippine Revolution against Spain, Aklanon individuals like Candido Iban and
Francisco del Castillo joined the Katipunan. They played significant roles in organizing
chapters in Panay and fought against Spanish forces. Del Castillo was killed in battle,
and Iban was among the 19 Katipuneros executed in Aklan, now known as the “19
Martyrs of Aklan.” The province celebrates their martyrdom as a special holiday.

During World War II, Panay became a battleground, and the Panay resistance
movement and guerilla force fought against Japanese troops. The war ended in 1945,
and the country gained independence the following year. Aklan eventually separated
from Capiz, and political leaders from the province achieved national prominence. There
were also unsung heroes who fought for justice and made sacrifices for their cause.

Sources:

- The Aklanons: A Historical Perspective

- Aklan – Wikipedia

- The 19 Martyrs of Aklan

- Aklan Province | Philippine Information Agency

From 1571, handwoven textiles were part of the natives’ tributes, but the decline began
when cheaper, machine-made textiles were imported. Aklan towns specialized in
different aspects of the industry, with Tangalan, Banga, New Washington, and Batan
focusing on knotting fibers. Ibajay and Makato produced coarse sinamay fabric, while
Numancia made abaca mosquito nets and fishnets. Batan women crafted bags,
baskets, hats, and fans from buri. Banga cultivated pineapples for piña fiber, and Kalibo
wove sheer piña cloth for affluent fashion.

Source: Aklan Province | Philippine Information Agency

In the 1950s, the Aklan industry faced a decline as plastic and synthetic fibers replaced
natural materials. Each town adapted by specializing in different utility goods: Nabas
became known for hat and mat weaving, Ibajay and Lezo for pottery, Banga for
metalsmithing, New Washington for buri sacks, and Malinao for abaca rope and
farmer’s hats.
In the 1970s, the collection of puka shells for shell necklaces boomed, but quickly
ended when the government banned their collection due to depletion. Shellcraft
workshops in Kalibo and Nabas were affected by this ban.

The tabuan, a weekly market where lowland and upland people converged to barter
their products, serves as a barometer of the Aklan market’s rise and fall. Each town
takes turns hosting the tabuan, attracting bulanteros (itinerant traders) except on
Mondays, the rest day.

Aklan is rich in mineral resources, including gold, marble, silica, and limestone.
However, mining activities have raised ecological and conservation concerns, especially
in areas within the Northwestern Visayas Peninsula Park. Protest rallies and public
hearings have been held against mining, while renewable energy sources like wind
farms and hydropower projects offer alternative options.

Sources:

- Aklan Province | Philippine Information Agency

- Rutten, M. (1993). The politics of development in a Philippine province: Aklan in

the seventeenth century. Ateneo de Manila University Press.

Typhoons have been the most devastating natural catastrophes in Aklan, causing
trillions of pesos in losses. Typhoons Seniang (2006), Frank (2008), and Yolanda (2013)
resulted in significant damages, with Typhoon Frank alone costing Aklan over 2 billion
pesos.

Migrant workers’ earnings, through remittances or wages, provide some relief for
families in Aklan. In 2010, there were 8,577 overseas workers employed in various
industries. Additionally, seasonal workers from upland villages work in plantations or as
unskilled laborers in Manila.

Boracay Island is Aklan’s largest income earner, generating 27 billion pesos in 2014
from tourism. Land claims have become a challenge for the local residents, who are
descendants of old settlers. The original settlers, the Ati or Aeta population, have
ancestral land rights.

Boracay is under the jurisdiction of Malay municipality and has faced interest from the
national government and absentee landlords since 1975. Land titles were nullified in
2006, leading to a flurry of land buying and selling. Local residents were forced to sell or
face eviction, and conflicts over land ownership persist.

Sources:

- Villanueva, R. (2008). Typhoon Frank: The Aklan Experience. Aklan Forum

Journal, 1(1), 1-4.

- Balalad, J. (2015). Boracay: The Island of Paradise and Struggle. Aklan Forum
Journal, 8(1), 17-19.

Boracay, under the jurisdiction of Malay municipality, has been subject to national
government interest since 1975. In 2006, it became a target for absentee landlords
capitalizing on the island’s business profits. Land ownership underwent significant
changes, with local residents’ titles nullified and forced to buy their land again. Evictions,
demolitions, and conflicts over land ownership remain unresolved.

Despite Boracay’s profitability, the resourcefulness of its people, and the abundance of
natural resources, 46% of Aklan’s population still lives below the poverty line.

Source:

- Balalad, J. (2015). Boracay: The Island of Paradise and Struggle. Aklan Forum
Journal, 8(1), 17-19.

In traditional Panayanon government, the datu served as the head of a sakup

and acted as a judge, protector, and feudal lord. Succession among the datu’s
 sons often led to conflicts and the creation of new sakups. Warriors called timawa
protected the datu and were descendants of the datu and slave women. The
oripun class supported the datu and timawa economically and politically.

Legislative decisions were made publicly with the guidance of the ponuan, a
council of elders. Amendments to tradition were possible with consensus from
other datus. Crimes were punishable by fines, which could be paid through
servitude.

The Maragtas Code, also known as the Sumakwelan Code, was considered the
earliest legal system, covering aspects of human behavior and relationships.
Village criers called umalahokan summoned people to gatherings where the
datu’s messages were announced, a practice still observed in rural areas.

Source:

- No specific source provided

Traditional Panayanon government was led by the datu, who served as a judge,
protector, and feudal lord. Succession disputes among the datu’s sons often led to the
creation of new sakups. The timawa warriors protected the datu, while the oripun class
supported them. Legislative decisions were made publicly with the guidance of the
ponuan council of elders. Crimes were punished with fines or servitude. The Maragtas
Code governed human behavior and relationships, and village criers called umalahokan
summoned people to gatherings.

The traditional social hierarchy consisted of five classes: datu, timawa, oripun, Aeta, and
outsiders. The datu class served as the headman and had personal vassals called
timawa. The oripun class economically supported the upper classes. Slaves could gain
freedom and move up within their class. The datu maintained the noble line by marrying
princesses from other sakups. By the 17th century, the noble classes were absorbed into
the Spanish colonial structure.

The Aklanon kinship system followed the Philippine pattern, with relationships traced
along paternal and maternal lines. Marriage arrangements required parental approval
and arrangement. The father is the head of the family, while household matters are the
mother’s responsibility. Grandparents are respected, and children inherit property
equally.
Source:

- No specific source provided

The Panayanon people have a fondness for bathing, a favorite occupation that has
been observed by chroniclers over the centuries. Spanish missionaries in the 1600s
noted the practice of pouring water over the feet upon entering a house. A French
traveler in the 1840s described the Filipinos’ daily bathing ritual as indispensable and
performed with great care. Bathing in the river is a daily activity, supplemented by twice-
weekly baths at home.

Sources:

- Chirino, P. (1904). Relacion de las Islas Filipinas. Manila: Imprenta de “El

Renacimiento.”

- Mallat, J. (1983). The Philippines: History, Geography, Customs, Agriculture,

Industry and Commerce of the Spanish Colonies in Oceania. Manila: National
Historical Institute.

Early Panayanon believed in multiple gods, with Bululakaw residing in the sacred
mountain of Madya-as. The chief goddess Laon was believed to live in Mount Kanlaon
on the nearby island of Negros Occidental. Mediators to the gods, known as babaylan,
played important roles in political, social, religious, and cultural aspects of pre-Christian
society. They advised the datu, acted as spiritual and physical healers, and officiated
ceremonies. Despite the majority of Aklanon being Christian now, belief in the power of
the babaylan persists, albeit with declining numbers.

Source:

- No specific source provided

Belief in supernatural beings called engkanto and their dwelling places called mari-it
persists alongside reverence for patron saints. Aswang, tiktik, bagat, sigbin, bawa, and
amaeanhig are different forms of supernatural creatures. Kama-kama are dwarfs,
tamawo are spirits, and hiwit or barang is a ritual for inflicting pain on enemies.

In pre-Spanish times, a religious ceremony was held every seven years for the
strengthening of the universe. Sickness is believed to be caused by neglected ancestral
spirits or environmental spirits in the palhi, and rituals like taos and kiyaw-kiyaw are
performed for appeasement. These rituals involve incense, rice cakes, boiled fowl, and
other offerings.

The ceremony concludes with the praying of the rosary, performed by the albularyo
(traditional healer) while circling the offerings and inviting spirits. The feast, called
pataw, is then shared with guests.
Involving offerings brought to the palhi tree. It includes a roasted pig, a cooked rooster,
rice cakes, miniature replicas of weapons, red cloth, and coins. Before leaving for the
tree, the babaylan marks a cross on each household member’s forehead with ginger.
The offering is placed by the tree, and prayers are addressed to the spirit within. After
the spirit is believed to have finished the meal, everyone solemnly partakes in eating.

The coastline of Aklan, like many islands in the Philippines, is rugged and irregular.
Offerings were traditionally placed on promontories for the spirit-dwellers, such as
Nasso at Potol Point.

The first Catholic mission in Aklan was established by the Augustinian Order in 1581.
Today, most Aklanon people have been Christianized, but animistic practices continue
alongside Catholic rituals. The devotion to the Santo Niño (Child Jesus) began in Ibajay
in the mid-19th century and has become a lavish festival in Kalibo, merging religious
rites and merrymaking.

Two Archbishops of Manila, Gabriel M. Reyes and Jaime Cardinal Sin, are from Aklan.
Roman Catholics make up 91.6% of Aklan’s population, followed by Muslims, Iglesia ni
Cristo, Filipinas Independiente (Aglipay), Evangelicals, and Seventh-Day Adventists.
- Chirino, P. (1904). Relacion de las Islas Filipinas. Manila: Imprenta de “El
Renacimiento.”

- Barrios, E. (2014). The Santo Niño Festivals of the Western Visayas, Philippines.
Asian Ethnology, 73(2), 199-218.

- No specific source provided for the population statistics.

The traditional house of the Aklanon is similar to the Visayan house. It is square-shaped
with one or two rooms, a pyramid- or hip-shaped thatched roof, and main posts made of
agoho timber. Bamboo is used for smaller posts, roof beams, and rafters. Wooden pegs
and mortise-and-tenon joints are used instead of nails. The walls are made of woven
bamboo slats or amakan, and the floor is elevated and made of bamboo slats. Interior
partitions are made of woven amakan. Good luck is believed to come from having at
least one window facing the east, and the number of steps is determined by reciting
“oro, plata, mata” to avoid ending on the word “death.”

Source:

- No specific source provided

The traditional Aklanon house is similar to the Visayan house, with a square shape and
one or two rooms. It has a thatched roof, bamboo walls, and an elevated bamboo floor.
Main posts are made of agoho timber, and wooden pegs are used instead of nails.
Good luck is believed to come from having a window facing the east and avoiding
ending the number of steps on the word “death.”

Source:

- No specific source provided

The Aklan house has a more austere appearance compared to houses in Iloilo and
Capiz. The nipa roof is neatly trimmed, and the walls are made of uniformly lined split
bamboo. Decorative accents include gables with scalloped bamboo and windows with
fanciful lattice or rows of X’s. In rural areas, the bamboo or nipa house is situated in the
middle of the field, overlooking agricultural activities.

City or town planning in Aklan shows Spanish influence, with a central plaza surrounded
by the cathedral, government buildings, and stone houses. Watchtowers made of wood
and bamboo were built along the coastline as lookouts and lighthouses to prevent
shipwrecks.

Sources:

- Perez, R. B., et al. (1989). Philippine Architecture during the Pre-Spanish and
Spanish Periods. Manila: National Historical Institute.

- Fernandez, D. (2006). Philippine Ancestral Houses, Volume 1. Quezon City: Anvil

Publishing.

- Wilkes, C. (1906). The Philippines: A Geographical Reader. Chicago: Rand

McNally & Company.

- Dampier, W. (1906). A New Voyage Round the World. London: James Knapton.
The residential stone houses of the Spanish period, still standing today, are based on
the traditional rural house. They have a hip-shaped roof, originally made of nipa but now
replaced with galvanized iron. The stone walls have a wooden frame using the post-
and-lintel structure. The ground floor is used for various purposes, while the upper floor
includes living spaces and amenities.

The Church of San Juan Bautista, also known as Kalibo Cathedral, is closely monitored
by the Heritage Conservation Society due to its historical significance. The church has
undergone reconstruction and rehabilitation over the years due to site transfers, fires,
war, and earthquakes. It houses the revered image of the Santo Niño, central to the
annual Ati-atihan Festival.

Sources:

- Panublion/Heritage (2008). Heritage Conservation Society, Aklan Chapter.

- No specific source provided for the residential stone houses.

The Museo it Akean is a neoclassical school building called the “Eskuylahan it Hari.” It
features curved balusters, arched windows, and an arched doorway on its façade.

The Golden Sarok Rotonda, built in 1973, is a roundabout at the intersection of Toting
Reyes Street, Osmeña Avenue, Jaime Cardinal L. Sin Avenue, and Desposorio
Maagma Sr Street. It is a monument to Aklan’s farmers and commemorates the “Barter
of Panay” episode in Panayanon folk history. Conservationists have opposed plans to
replace the golden sarok with a welcome arch and traffic lights.

Sources:
 - Panublion/Heritage (2008). Heritage Conservation Society, Aklan Chapter.

- “Preserve Aklan’s Golden Sarok” (2016). The Daily Guardian.

The traditional weaving method of piña, called pili or sinuksuk, embellishes piña fabric
with a floating weft technique. Designs include clusters of five-petalled flowers
surrounding a butterfly. Weavers like Magdalena Marte and Sosima de la Cruz Marte
continue this tradition.

Tam-o is the art of weaving palm leaves into sculptured shapes, named after objects
they resemble. In Barangay Gibon, mat weavers embroider floral patterns into mats
using white buri leaf strips.

Telesforo Sucgang was a prominent Aklanon visual artist, known for his sculptures and
portraits. Contemporary visual artists include Sumra I. De la Cruz-Rojo and Anna India
de la Cruz-Legaspi, who organize exhibits of Aklanon artists through the Aklan Visual
Artists Association (AVAA).

Narrative types in Aklanon folk literature include origin myths, legends, fables, and
folktales. Trickster tales feature Bonifacio Bautista or Payo, who cleverly protests
Spanish rule. One story has Payo sleeping under a boat instead of ferrying visitors,
while another has him hiding crabs by eating them. In an amusing tale, Payo fills the
gobernadorcillo’s bag with horse dung.

An origin myth tells of Makagagahum, the Powerful One, who created life by scattering
seeds. Birds, monkeys, fish, fairies, evil spirits, and humans emerged from these seeds.
Legends are based on true events, such as the Spanish crew arriving in Panay and
exclaiming “Pan hay en esta isla!” (There is bread on this island!). This legend explains
the etymology of Panay’s name and the Spaniards’ material motives for colonization.

Aklanon folk literature also includes komposo, ballads based on historical events or
village incidents. One komposo recounts the heroic resistance of Aklanon
revolutionaries against American forces in Tina, Pudyot, and Kalimbahan.
Aklanon folk literature includes a ballad form called komposo, which can be based on
historical events or fictional stories. One komposo tells the story of Aklanon
revolutionaries bravely resisting American forces at barrios Tina, Pudyot, and
Kalimbahan in Makato, Aklan. The Aklanon balitaw is another form of poetry, featuring a
poetic exchange between a suitor and his lady. In the 1930s, Aklanon writers
contributed to newspapers like Ro Akeanon, La Vanguardia, Ro Announcer, and
Banhaw. Notable writers include Jose Tansinko Manyas and Mariano Baltazar Estrada,
who wrote under the pen name “Yona.” Unfortunately, Estrada’s poems were lost during
World War II.

Source: Philippine Literature

Aklanon literature has been enriched by the contributions of various writers. Ramon L.
Concepcion, known as Iluminado P. Racon, wrote satirical verses in La Vanguardia.
Desposorio Maagma y Macabales, also known as Riodesma, celebrated the virtues of
the poor and idyllic barrio life in his poems. Juan Melchor of Ibajay used his verses to
satirize political abuses and champion the oppressed. Rosendo Militar y Legaspi, or
Ratilim, wrote romantic stories before becoming a Catholic priest. Jose M. Enriquez won
a prestigious prize for his short story in Banhaw in 1931.

In more recent times, Aklanon literature has seen a resurgence. The weekly news
magazine Aklan Reporter, edited by Roman A. De la Cruz, featured a poetry page for
Aklanon poets. Dominador I. Ilio, from Malinao, authored The Diplomat and Other
Poems and Collected Poems. Roman A. Dela Cruz, known as the “Patriarch of Aklanon
Writers,” wrote significant works such as “Song of the Ati-Ati” and Alone along a Lonely
Road, which explores rural life and the Aklanon experience during World War II. The
late Vellyzarius I. De la Cruz, his son, has published volumes of poetry and an Aklanon
translation of The New Testament. Joi Barrios, a US-based writer, also hails from New
Washington town. Additionally, National Artist for Literature N. V. M. Gonzalez, though
born in Romblon, has connections to Aklan through his father’s migration from Ibajay
town.
The 1990s marked a revival of Aklanon literature, thanks to the efforts of Leoncio P.
Deriada, an Ilonggo writer. Deriada conducted poetry workshops in Kalibo, leading to
the establishment of the Akeanon Literary Circle (ALC). Melchor F. Cichon and John E.
Barrios, participants in Deriada’s workshops, became the first Aklanon grantees of the
Cultural Center of the Philippines (CCP). Since the 1920s, anthologies such as Ani 21:
Aklanon, Patubas, and The 35 Best Aklanon Poets have been published, breathing new
life into Aklanon literature. The magazine Madyaas Pen has also contributed to the
literary scene, publishing supernatural stories by Ambrosio Villorente and children’s
stories by Erlinda Belayro. The works of the new generation of Aklanon writers blend
traditional Aklanon literary elements with contemporary themes.

Notable contemporary Aklanon writers include Melchor F. Cichon, who has received the
Gawad Pambansang Alagad ni Balagtas and has published Ham-at Madueom ro Gabii
and Other Poems. Nynn Arwena G. Tamayo’s poem “Haead kay Arsenia” is a popular
piece at poetry readings. John E. Barrios has released a collection of short stories titled
Engkan(taw)o ag Iba Pang Mapig-od nga Istorya, which explores supernatural and real
experiences of the Aklanon. Rommel Constantino, June Mijares, George Calaor,
Alexander de Juan, Ex Junior Osorio, Ronel Advincula, Mila de la Rosa, and Chary Lou
Navarro Defante are also notable Aklanon poets.

Source: Philippine Literature

Aklan’s performing arts showcase a variety of musical instruments, such as the toltog
palanog (clay flute), tulali (bamboo flutes), budyong (shell), tan-ag (percussion
instrument), and bulibaw (drum). Traditional dances like Gayong-gayong tell humorous
stories, while Pukoe showcases children’s games and involves rhythmic coconut shell
striking. The dances reflect the merrymaking and cultural traditions of rural gatherings.

Source: Philippine Folk Dance Society

Pahid is a lively ballroom dance originating from Madalag and Libacao in Aklan. It is
widely popular throughout the province and is accompanied by a song. The Ati-atihan
Festival in Kalibo is a major celebration held every third Sunday of January. It has
evolved into a multi-day event that combines Catholic rituals, social activities, and
indigenous performances. The festival features rhythmic drumbeats, colorful costumes
made of natural materials, and a competition between different tribes. The festival’s
origins are rooted in myth and legend, with various versions explaining its beginnings.
The Spaniards incorporated Catholic elements into the festival, and it has now become
a renowned tourist attraction, recognized as Asia’s best tourist attraction by the United
Nations Committee on Tourism in 1983.

Source: Philippine Folk Dance Society

In Ibajay town, the sayaw is performed on the third or fourth Sunday of January. It is a
playlet depicting the battle between the Moro and the Visayan. Legend has it that the
celebration originated with the appearance of a wooden image of the Santo Niño to a
childless couple in Sitio Boboc-on, Naile. The image performed miracles for them, and
pilgrims came to worship it. The sayaw is a war-dance-verse-drama resembling the
moro-moro, dramatizing the victory of Christians over Muslim invaders. The text was
written by Marianito Dalisay Calizo in the mid-19 th century. The festival also includes
vespers, the reenactment of the transfer of the Santo Niño image, and the Ati-atihan
parade.

To showcase Aklan’s history and culture, ACC formed Teatrong Akeanon in 2010. They
produced dance dramas that depicted historical figures, mythical places, and significant
events in Aklan. Some of the plays they produced were Sto. Niño it Ibajay, Dalagsaan,
C + Iban, Sin: Santo it New Washington, Vivo, and Engkanto it Tigayon. Another theater
group, Siyens’yatro, was organized in 1991 and performed plays like Sobra/Kulang and
Karoling. The Northwestern Visayan Colleges’ Performing Arts Guild staged Diwata it
Tigayon, while the Kalibo Performing Arts Group presented Barter of Panay during the
Ati-atihan Festival. Aklan also has a vibrant media arts scene, with radio programs like
Ieitsahan and Komposo, and indie filmmakers like Tuesdaywhat Productions creating
films that express and enrich Aklanon culture.

- Nocheseda, R. (2011). Aklan: History, Culture, and People. Quezon City: New
Day Publishers.
 - Rutten, M. (1993). The Philippine Artisan. Quezon City: Ateneo de Manila
University Press.
Source: Philippine Folk Dance Society

- Madyaas Pen (2009). “Aklan Visual Artists Association (AVAA) Organizes Group
Exhibit.” Madyaas Pen.

- Zabal, J. (2014). “Aklan Visual Artists Association: 20 Years of Promoting Aklanon

Artistry.” The News Today.

Source: Philippine Folk Dance Society