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Having visited an antique convention in the Hague a few months ago, I found this postcard being sold that was labeled as being from Leiden. Supposedly a postcard of the city painted in 1934 by artist Bernard van Vlijmen (1895-1972) as indicated on the bottom left corner initials of B.V.Vlijmen, the watercolor art is drawn from the perspective of someone overlooking the cityscape, half of the painting being the city streets and its buildings with people walking by, and the other half being a canal, with everything being interconnected by bridges and walkways.
The photograph seen here is of the Insular Ice and Cold Storage Plant during its final stages of completion located in Ermita, Manila, Philippines. Inspired by one of Mesha Murali and Surajit Sarkar's accession cards for the Centre for Community Knowledge (CCK)'s Delhi Memory Archive (see related links for the original accession card), I felt inspired to look towards some old photgraphs of Manila from the American colonial period to find some of, what they refered to as "the relational and intangible aspects of the everyday urban experience". This is one such photograph.
In this photograph from the Missouri Historical Society archive, titled by author Jessie Tarbox Beals (1870-1942) as “As God made them… Pierre Chouteau”, it depicts 4 Bontoc Igorot (an ethnolinguistic group of indigenous Filipinos from the Cordillera region of the Philippines) boys as they dance what is most likely the Ballangbang, a cultural dance performed during mass celebrations and social gatherings.
Attached here is an archival photograph from the Missouri Historical Society of the 1904 St. Louis World’s Fair, specifically of indigenous Filipinos from the Cordillera region of northern Luzon known as the Igorots. Titled by American photographer Jessie Tarbox Beals (1870-1942) as “Mrs. Wilkins teaching an Igorrote boy the cakewalk at the 1904 World’s Fair,” the photographs presents two people in the image, the eponymous young Igorot boy dancing with Vienna opera singer Mrs. George S. Wilkins, as she teaches him the cakewalk, a popular dance of the time period.
Pictured in the first photograph is pictured the champorado, a Filipino dessert dish made of sticky rice and tablea (tablets of ground roasted cocoa beans) and topped with milk and sugar. The champorado is often served for breakfast or merienda (afternoon tea), and is served alongside dried fish as a salty balance to the dessert’s sweetness.
The first photograph is one that depicts a Jacquard loom print card, a piece of cardboard that has been punctured with holes in order to consistently replicate a complex design on a weaving loom. This particular print card would have been used to create handmade Dutch damask linen in the 19th century, as part of the W.J. van Hoogerwou & Zonen mill whose pieces are currently located at the Textielmuseum in Tilburg, Netherlands. One such product of damask linen would be a tablecloth, which was also on display nearby.
In 1904, the United States introduced Filipino culture to the American public with their Philippine Exposition at the St. Louis World’s Fair, a faux recreation of indigenous Filipino villages located at the outskirts of the exhibition fairgrounds and populated with various indigenous Filipino tribes from across its various islands, the most well-known being of the Ifugao people of northern Luzon, referred to at the time as Igorots (Taft, 1904, 29-30).
The first photograph was one taken by Italian actress and photojournalist Gina Lollobrigida in 1975 Cubao, a district within Quezon City, one of the most populated cities in the Philippines. The photograph captures 6 onlookers (including the driver) watch as an artist paints onto the driver’s jeepney a man blowing wind into the mountains while the sun rises. The other photograph, of jeepney artist Vic Capuno in 2018, shows him painting a monster truck onto the side of a jeepney in his San Pedro workshop.
In this photograph taken by American photographer Jessie Tarbox Beals (1870-1942), are eight Negrito young men at the 1904 World’s Fair in St. Louis with a statue of King Louis XIV in the background. As they are in an open field, this photograph could have been taken during the “Anthropology Day” games held by the fair committee to show off the indigenous Filipinos’ skills in various sports games to the public. In this case, the boys would have shown off their skills with a bow and arrow, whose straps can be seen over their shoulders.
Magtanim Ay ‘Di Biro or ‘Planting is not a joke’ is an old children’s song from the Philippines, often sung as a nursery school rhyme. While it is considered by many (including my own family growing up) as a traditional song, the origins of the rhyme are much more recent, as I found out after being inspired by another accession card discussing Surinamese children's rhymes.
This photograph, taken from the Philippine National Commission for Culture and the Arts (NCCA)’s book on living traditions in the Philippines, is of a trainee artisan as he pounds a brass plate into the shape of a gangsa, a round, smooth-surfaced handheld gong used by the Cordillera peoples in the Benguet region of Luzon.
