100roses’s Blog
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It’s Time for the Business of Creativity
You read and hear often enough about the Pinoy’s “world class” creativity: the jeepney, the Lunar Rover (or Moon Buggy), woodcarvings from Paete. And then there’s the truly world class creative furniture designs of Kenneth Cobonpue.
But “world class” creativity, while a feel good label, counts for next to nothing in a peso driven economy unless it earns money as a viable business. Banal or uncreative as this may sound, this reality leaves creative people and organizations with only two business models to choose from: the heroic but starving artist (unfortunately the dominant model)—or Kenneth Cobonpue.
Cobonpue of Cebu might be the icon of the successful creative person/entrepreneur the fledgling “Creative Industry in the Philippines” earnestly seeks to develop, and whose existence is a major force for growth in economies such as the United Kingdom, Hong Kong and Singapore.
The now world famous Cobonpue manages Interior Crafts of the Island, Inc., a family-owned furniture design and manufacturing company. Among Cobonpue’s more recent awards was the 2005 Design For Asia Award that he won in competition against 500 other entries.
His is a shining success story for Filipino creatives, and is the outstanding Filipino example of world-class design and creativity. “Brangelina” are two of his satisfied customers.
“Creativity or in economics/business terms the act of value-adding and, more importantly, value-creating provides a differentiating factor in the ability of the Philippines or a Philippine company to deliver a product or a service,” said Rhea Matute, Officer-in-Charge, Operations Group 1 for the Center for International Expositions and Missions (CITEM), and who is deeply involved in pushing creativity as a competitive weapon in the export market.
“Most especially, applied creativity de-commoditizes a product or service and elevates it where the creative input or content greatly determine its value. This enables Philippine companies to have a stronger hold on the market and reverses the relationship from a mere supplier to a business partner.”
She noted that for a creative country like the Philippines, there is tremendous potential for Philippine companies to use this creativity to carve out a niche in the global market instead of playing the game through somebody else’s rules.
“Creativity allows us to develop our own strategy, our own game in this globalized economy that maximizes the natural inclination of our human capital for creative expression. Especially in this fast changing world, it is ones ability to adapt, re-invent and capitalize on an opportunity that will spell success.”
Having the creative potential is only the beginning, however. The bigger challenge, she said, is developing the ability to harness creativity and use it in the operations of the company: be it developing products, services or a company’s competitive advantage, and managing creativity to truly reap its full economic benefits.
CITEM is one of the spearheads in advancing the Philippines’ “Creative Economy Agenda” through the Creative Industry Task Force. Its strategic partners in this push are the Cultural Center of the Philippines (CCP), the National Commission for Culture and the Arts (NCCA), the Department of Foreign Affairs (DFA) and The British Council.
Matute said the Creative Industry Task Force aims to harness the country’s creative talent and knowledge to fuel activity in the whole spectrum of the economy—from manufacturing to services.
“In doing so, the initiative brings the creativity of the Filipino to a new level, recognizing its value as an economic asset that enables differentiation of Philippine products and services in the global market. In the process, we enhance the country’s international image and make our people even prouder of things Filipino.”
With the holding of the “1st Philippine Creative Industry Forum” in 2005, the government tacitly recognized the existence of the Creative Industry as an industry alongside others such as manufacturing and services. Held in September at the CCP, the forum was the first real effort to take a closer look at this nascent but vital industry. “Nurturing Creativity” was the conference theme.
The three-day event brought together representatives from countries that acknowledge the existence of, and benefit economically from, their creative industries with those from government and business. The speeches showed the wide gap between the Philippines and countries with recognized creative industries.
While foreign guests talked from experience and cited upbeat economic data to bolster their case for developing a creative industry, Filipinos outlined plans for nurturing a creative industry, and were in agreement that bold action must now be taken by the government to grow the vital industry.
Young or unborn?
CCP president Nestor Jardin said the creative industry “has been outpacing and outgrowing the rest of the industries in percentage growth” in the United Kingdom, the USA, Japan, Singapore, Hong Kong, Australia, Thailand, Malaysia and Vietnam. He cited Australia whose creative industry contributed “a staggering 13% to the GDP,” well above the Asian norm of about 5%.
He described the Philippines’ creative industry as “a young or perhaps an unborn sector of the Philippine economy.” He said the creative industry could be classified to include the Performing Arts; Visual Arts; Literature and Publishing; Architecture, Crafts and Design; Audiovisual and New Media; Cultural Heritage and Cultural Activities.
What defines the creative industry as a unique sector of the economy, he said, is that its collective outputs are products of human creativity “and because they are such, they are products with intellectual property rights.”
Jardin said an important challenge that must be surmounted is to formulate a workable national creative industry plan that will identify the gaps and propose policies, strategies and policy reforms and programs that would help develop and promote the creative industry.
He acknowledged, however, that the most important and most challenging problem is how to convince government leaders that the creative industry needs attention.
“In simple terms, we’re all ‘KSP’ or ‘Kulang sa pansin (unnoticed)’,” he said. “I’m tired of trying to convince them that arts and culture should be given more support because they are vital to the establishment of a national cultural consciousness that will define our cultural identity.
“Try explaining this to a DBM officer and halfway through your passionate dissertation, the official becomes fidgety and you begin to feel that you’re speaking to him in the Swahili language.”
Jardin, however, recognizes that economics is the language the government understands, and that the pioneering work of the United Kingdom in quantifying the economic impact of creativity has inspired creative industries everywhere to amass the economic data needed for investment and growth.
The UK: Creative Industry Leader
British Ambassador Peter Beckingham said that the United Kingdom today ‘boasts an economy based substantially on creativity.”
After four years of mapping or determining the extent of its creative industry, the UK found out this industry, surprisingly, had an economic value of P10.5 trillion (112 billion pounds sterling) and accounted for more than 5% of the UK’s GDP. Its exports were valued at P1.03 trillion.
“Perhaps the most significant figure of all,” said the Ambassador, “the rate of growth in these creative industries was more than twice that of the economy as a whole.”
He noted that one of the most interesting things about the creative industry is that they mostly tend to be small businesses. They also tend to want to come together “because they recognize they can feed off each other.”
The UK came to realize the immense value contributed by the creative industry because one man wanted to know what the creative sector was worth. In 1997, Chris Smith, then the new secretary of state for culture, wanted this information but was stymied because no statistics existed.
He went to work to answer this question, gathering government and business leaders and creating a task force to manage this complex undertaking. The data obtained by 2001 “surprised everybody,” said Beckingham.
Along the way, they crafted a definition of the creative industry that has come to be accepted almost universally: “Creative industries are those industries that have their origin in human creativity, skill and talent and that have a potential for wealth and job creation through the generation and exploitation of intellectual property.”
The data obtained two years later was more surprising because it showed creative industries accounting for 8.2% of gross value added in 2002, and had grown 8% from 1997 to 2000.
The UK had 122,000 creative businesses in 2002 that employed 1.9 million persons. Employment in creative industries grew by 3% annually compared to 1% for the entire British economy. And more telling was a report that creative industries are now more important to London’s economy than financial services, hardly surprising considering London’s eminent position as a center for culture and creativity.
The British define their creative industry as including advertising, architecture, art and antiques, markets, crafts, design, designer fashion, film and video, interactive leisure software, music, performing arts, publishing, software and computer services and radio.
The British realized, as the Philippines soon will, that the development of creative industries is a process that involves the government, government agencies, economists and the creative and cultural sector.
Mapping for success
They also discovered that “mapping” or providing the economic data that shows the current value of the creative economy, is absolutely vital to growing this industry. Although a complex task, mapping exposes the economic impact of creative industries and reveals the economic loss of not providing adequate protection for intellectual property rights.
Mapping has taken place throughout the UK for the past decade. It has given British cities and regions economic evidence of what the creative sector contributes and an understanding of its potential.
In 2001 also, the British decided to share their experience with creative industries with the rest of the world through a program called “Developing Creative Economies.” Six countries—including the Philippines as the final pilot—are involved in this program that also allows each country to develop its creative economy in a way that reflects its culture.
Each program is to run for five years.
The Philippines is now busy sourcing funds for the mapping project, said Matute. It is tapping the private industry to provide the bulk of this funding.
Hong Kong’s creative industry consists of 11 sectors and has been mapped, according to Prof. David Hui, director of the Center for Policy Research at the University of Hong Kong and a speaker at the forum.
Mapping showed that in 2001, Hong Kong’s creative industry contributed 3.8% of total GDP and had a value of P287.8 billion (HK$46 billion).
“We compared it to the other studies that were carried out by other countries and we found out that it’s actually close to our region like New Zealand, Australia and Singapore from the region of 2.8 to 5%,” he pointed out.
He said that, like the UK, Hong Kong discovered that creative industries grew faster than the general economy. Knowing the ups and downs of the industry, which mapping uncovers, allows Hong Kong to put in place policies that reduce the downs and enhance the ups.
Singapore’s creative strategies
Singapore in 2003 adopted the “Creative Industries Development Strategy” whose aim is to double the GDP contribution of creative industries from 3% to 6% by 2012. This three-pronged approach adopted the UK’s definition of a creative industry.
Baey Yam Keng, director, Creative Industries Singapore, said the first part of the strategy focuses on the arts, the second on design and the third on media.
The arts strategy seeks to integrate arts and culture development into Singapore’s economy, thereby unleashing the potential of Singapore’s creative cluster.
“We need to continue to invest in talent, content and infrastructure for the arts, and adopt a cluster development strategy,” he said.
The design strategy aims to develop excellence in design as a key driver in national competitiveness. The Design Singapore Council works very closely with schools and students “to cultivate the precision of design and include design as a creative learning tool in the curriculum in schools,” said Yam Keng.
Singapore’s media strategy hopes to develop Singapore into a global media city. One of the initiatives that advance this strategy is the “Asia Media Festival” that drew over 300,000 participants in 2004. This “Made by Singapore” approach also extends to producing content for new media and gaming
Most important, said Yam Keng, is that Singapore “must create the environment that allows such creativity to happen but also to uphold Asian values.”
Design – made in Holland
There are 46,100 designers in The Netherlands. Together they contribute P166.9 billion (2.6 billion Euros) to the Dutch economy – in other words, 0.7% percent of The Netherlands’ GNP. In fact, the design industry accounts for a larger share of the economy than the Dutch oil industry or traditional sectors such as shipbuilding.
The figures quoted above stem from two studies carried out by Statistics Netherlands (CBS) and the Netherlands Organization for Applied Scientific Research (TNO) for the Premsela Foundation (which represents the Dutch design sector) and the Dutch Ministry of Education, Culture and Science. The purpose of the studies was to investigate the economic significance of design.
Subsectors
Almost 60% of all Dutch designers work in visual communication, a subsector of the design industry. That 60% is made up of 27,400 commercial artists, window dressers, ornamental painters, graphic designers, illustrators, quick-draw artists and advertising designers.
One out of three designers (13,900 persons) works in product design. This category consists of industrial designers, fashion designers, goldsmiths and silversmiths. It also includes flower arrangers, because their design skills also add value to a product. The third subsector, environmental design, accounts for 10% of all Dutch designers.
It is represented by 4,800 interior architects, garden designers and landscape architects. In summary: 59.4% of Dutch design professionals are involved in communication design, 30.2% in product design and 10.4% in environmental design. All in all, the number of people working in design is comparable to the number working in the insurance and pension industry (53,000 persons).
Design specialists
Seventy-two percent of all designers work in the service sector, 20% in industry and 8% in the non-profit sector. TNO’s report also distinguishes between different corporate categories.
The first category consists of the “design specialists”, which employ 16,900 designers or well over a third of the total. The design specialist sector is made up of companies such as advertising agencies and interior and fashion design houses, whose core activity is design.
Advertising agencies employ 14,000 designers and represent the largest group in the design specialist sector. The sector accounts for 24.5% or EUR 635 million of the EUR 2.6 billion that the Dutch design world contributes to the nation’s economy.
The second category consists of companies that employ a considerable number of designers. The include publishers, furniture manufacturers, service engineers for consumer items, firms of architects, consulting engineers and technical design and drafting firms and consultancies.
These companies employ 21,600 designers. In other words, one out of every two designers works in this category, which represents 35.6% of the design world’s economic value, or EUR 922 million.
Design pays
TNO’s report also concludes that design plays a key role in innovation. Fifty-eight percent of the companies that combine technical and design innovation say that innovation has a major impact on their competitiveness, as compared to only 47% of companies that do not do so. Design is therefore a significant competitive factor.
This is the first major survey of the Dutch design industry. Never before has its economic significance been analyzed in such detail. A follow-up report is scheduled to appear in 2010. Industry representatives have stated that their contribution to the Dutch economy should have increased to EUR 5 billion by then.
Creativity’s value to the EU
Europe has also taken pains to study its creative industries. According to the European Commission, Europe’s cultural sector contributed a staggering P42 trillion (EUR 654 billion) or 2.6% of the EU’s GDP in 2003. In 2004, it employed some 5.8 million persons, which increased to 7.2 million last year and is on the uptrend.
Trends in the last decade show digital culture set to develop vigorously, thanks to the virtuous circle between culture and technology (multimedia, e-commerce, telecommunications). While the sector will act as an important employment booster, challenges involving education and training still need to be faced.
The Philippine: leading with design
As for the Philippines, the bottom line in developing a creative industry “is the creation of jobs and livelihood as a poverty alleviation method,” said Zorayda Alonzo, undersecretary of the Department of Trade and Industry.
“We have to nurture key industries that make up the Philippine creative economy by directing investments, programs and policies towards the development of the infrastructure, both hard and soft, and the environment that can stimulate the growth and international competitiveness of the creative industries,” she said.
She said that a strongly enforced intellectual property rights would protect Filipino creatives and their works.
Alonzo cited the inroads made in Europe by “Movement 8,” a creative alliance and design collective formed in September 99 by the late Eli Pinto Mansor of CITEM , together with design great Budji Layug , featuring Tes Pasola, Milo Naval, Renato Vidal, Carlo Cordaro, Tony Gonzales, Luisa Robinson, Ann Pamintuan and Kenneth Cobonpue.
Movement 8 is a prime example of design leading the successful transition from mere commodity exports to value-creating exports.
By focusing on the design and designer aspect of furniture and home accessories, the market began to appreciate Philippine products, its originality, and elevated the Philippines from just a production center to a developer of original design and original content. The Philippines became integral partners in the business and not just an element in the global supply chain.
The economic value of creative industries lies in the intellectual property it produces. Protecting intellectual property has become extremely important in the “copy and paste” environment facilitated by computers and the Internet. Making sure creatives have proper copyright protection in a digital environment is, therefore, vital if the industry is to profit and grow.
Stricter enforcement of copyright protection laws will immensely benefit the animation industry, which for years has been hyped as a shining example of Filipino creativity and business success. Revenues generated by the animation industry in 2005 rose 25% to $52 million (from $40 million in 2004).
The Animation Council of the Philippines, Inc. (ACPI), a national association of animation industry players and stakeholders, counts 35 member organizations. ACPI is working with the government to increase in the number of animators from the present 6,500 to 25,000 by 2010 to take advantage of vast global opportunities and erase the problems posed by the small number of Filipino animators.
The Philippines is known as a provider of high quality animation in contrast to rivals India and China, which are low cost providers. India’s animation industry generated $285 million in revenues in 2005; China earned $604 million.
Matute described animation as a major creative sector of the Philippines. She noted the Philippines has been a major producer of animation for the North American, European and Japanese markets since the 1980s, with major projects completed for Hanna Barbera, Disney, Warner Bros, Nelvana, Toei Japan and many other internationally recognized producers of animated features worldwide.
She said a sustained, strong track record and a reputation for creativity in animation—and the benefits of English proficiency, a western sense of humor, and varied cultural exposure—make Filipinos the preferred choice for the world’s animation requirements.
She also pointed out that an emerging sector of the IT and IT-enabled industry is game development for the X-box, Play Station and other hardware makers. Anino games recently won an international award in Barcelona, Spain for the technical superiority of a game they developed.
CITEM’s vast experience in exports serves to confirm the immense value of creativity as a competitive advantage, said Matute. She noted that over the past years, from their conversations with foreign investors, Filipino entrepreneurs, manufacturers and exporters, and most especially the SME’s, it became more and more apparent the value that Filipinos bring to the market—the element that differentiates us from our neighbors and other nations in this global environment—is creativity.
“Creativity and spirit of innovation inherent in Filipino workers and professionals are the elements why investors come to the Philippines; why international buyers buy Philippine-made products despite being more expensive than other Asian countries; why there are Philippine engineers, architects, designers and other creative professional being hired from the Philippines and sent abroad to work; why back room operations and other creative work such as animation, software design and development are being outsourced to the Philippines.”
CITEM always emphasizes that its clients nurture this creative potential and always keep in mind the content value, be it product development for home style and living to fashion to food to e-services/BPO/KPO.
Business must play a key role
The Creative Industry, however, belongs to the private sector where the need to generate revenues trumps other considerations such as employment generation. One of the interesting findings revealed by mapping is that most creative businesses are micro-enterprises or small businesses with minimal employment.
Business can foster a culture of creativity by ingraining the quest for innovation and creativity their corporate cultures. This is a must not just in private enterprises, but most especially in the education sector because this is what creativity all boils down to—education.
There also needs to be a major change in the mindset of business and about work. Government and business have to treasure creative industries, understand and appreciate design and be willing to invest into creative people/designers.
“The better one understands the creative worker or what Richard Florida, a recognized expert in the Creative Economy and author of the Rise of the Creative Class, calls the ‘Creative Class,’ then it is more likely that businesses can develop an environment that will value their input, challenge them, have mechanisms for mobilizing resources around ideas and are receptive to both small challenges and the occasional big idea, or what Florida calls the ongoing movement of capital toward more effective mechanisms for harnessing human creativity,” Matute explained.
The challenge for business, therefore, is how to keep stoking and tapping the creative core of each human being. And since the Creative Class blurs the line differentiating work, life and leisure, it even becomes a challenge for communities and cities to develop and nurture the kind of experiences that reflect and reinforce their identities as creative people.
For the creative economy to flourish, however, it must not just depend on technology but on talent and tolerance, as well. Tolerance being defined as openness, and the acceptance of a diverse population and diverse ideas.
Needed: a Creative Industries Coalition
These insights mean that it makes sound business sense to band together Filipino creatives under the premise that their strength lies in unity. Creating a “Creative Industries Coalition” of individuals and organizations, private and government, local and abroad, as proposed by Henry Schumacher would be a giant leap in furthering the growth of the Philippines’ Creative Industry, and supporting the Creative Economy Agenda.
As Schumacher contends, it is necessary to focus on the design sector initially. A design environment be created that would allow design to thrive as a service industry in the Philippines. Initiatives will have to be undertaken to develop the next generation of Filipino creatives.
In this Knowledge Society, it’s a smart move to arm Filipino creatives with the knowledge of what’s out there in the realms of ideas, technology, trends, fashion, materials, methods and financing.
Material ConneXion is a leading knowledge base for information about new and innovative materials. It has libraries of innovative materials and provides information for the packaging, architectural, interior design and the apparel industries, among others.
New technology gives designers and companies’ new tools with which to play the game. It expands the capabilities of manufacturers and service providers, and enhances the delivery of the products and services. Technology must be viewed as a partner of creativity and competitiveness.
A Material ConneXion-type library has to be established in the Philippines for the use of the creative industry, especially those involved in furniture, furnishings and interior design.
These businesses have long been a source of Philippine export strength, especially in Europe, and the many exhibitions built around them such as Manila FAME International continue to be cash cows for the country. The increasing Philippine participation in European trade fairs is another reason for upgrading Filipino creativity.
Over 80 countries and thousands of buyers and guests flocked to the World Trade Center in Pasay City for the October edition of Manila FAME International 2006, which generated revenues of $57.3 million. Among the guests was George Beylerian, President of Material ConneXion, whose seminar was one of the highlights of the trade show. The next FAME will take place this April.
Excellent Philippine design was also visible at the just concluded furniture fairs, the Cebu International Furniture and Furnishings Exhibition or Cebu X 2007, and the Philippine International Furniture Show (PIFS) both held in late February.
The Cebu International Furniture and Furnishings Exhibition or Cebu X 2007 was held for the 18th time this February. Its organizers describe Cebu X as the “Design Destination in Asia” for retailers and wholesalers.
The show introduced world-class products and excellent booth presentations from participating companies from all over the Philippines. Last year, Cebu X took part in Macef 2006 in Milan.
Macef is the world’s leading trade show for those who work in the table, kitchen and silverware, home decoration and textile, celebrations, gift, ceremony and stationery, jewellery and fashion accessories sectors.
PIFS, which exhibited some of the Philippines’ finest furniture, had as its special guest, Gaetano Pesce, an architect-artist-designer based in New York City. In more than 40 years of practice, Pesce has created an extensive body of work recognized for its emotive and tactile qualities, unrestrained use of color and insistence upon innovative building materials developed through new technologies.
It would also make sense to invite international designers to develop a top rate School of Arts and Design in the Philippines funded by the private sector. Creative laboratories will also have to be established. The government of Singapore is heavily involved in advancing that country’s design sector.
Mapping the Philippines’ Creative Industry, of course, is one of the first priority and an absolute necessity. But it still has to happen since funding is practically non-existent.
Jardin said mapping is, clearly, the basic step. “We need to undertake a creative industry mapping that will tell us where we are now, what our strengths and weaknesses are, what success stories we have that we can all learn from, how much we contribute to the GDP and GNP and to national employment,” he said.
Taken together, these initiatives will take the Philippines along the same road traveled by the UK, Singapore and Hong Kong—and will hopefully yield similar positive results.
In this day and age, a country that does not keep building or investing in its creative capital will fall behind in the race to improve its quality of life, said Matute
“And for a country like the Philippines to not recognize and appreciate the great opportunity that we have before us, and to not appreciate the potential that lies inherent in the Filipino, it will be like again losing another opportunity to develop this country to its full potential”.
Components of the Creative Industry in the Philippines*
- Performing Arts (Music, Theater, Dance, Performance Art and all their related products and services)
- Visual Arts (Painting, Sculpture, Photography, Video Art, Graphic Design, Installation Art and all their related products and services)
- Literature and Publishing (Books, Magazines, Newspapers, Periodicals, e-books, Print Advertising and other printed and electronic materials and services)
- Architecture, Crafts and Design (Architectural and Landscape Design, Fashion, Accessories, Furniture, Décor and other design products and services)
- Audiovisual and New Media (Film, Television, Video, Radio, Entertainment, Software, Internet Activity Sites, Electronic Media Advertising and other products and services)
* As defined by the UNESCO Framework for Cultural Statistics
Asia’s Top Airlines See Filipinos as ‘Significant Market’
By Cynthia De Castro/Asianjournal.com
April 19, 2008
LOS ANGELES – More and more Filipinos are traveling the world over and this has made them a “significant market” in the global airline industry.
“We recognize the significance of the Filipino market in the airline industry that is why we have daily flights to Manila and Cebu,” declared Tony Tyler, the Chief Executive Officer of Cathay Pacific during the recent LA press conference of Oneworld, the world’s leading quality airline alliance.
The CEO of Japan Airlines, Haruka Nishimatsu, echoed the same sentiment when he stated at the same event in the Ritz Carlton Hotel in Marina del Rey last week that the “Filipino market is very important” and JAL recognizes “the value of Filipinos” in their corporate strategy.
Major increase in international and domestic travels
Recent surveys substantiate the Filipino market’s value in the airline industry. In the second half of 2007 Travel report by MasterCard Worldwide, the Philippines ranked in the top 5 in outbound travel across Asia Pacific. The report anticipated an increase in year-on-year growth in the volume of outbound air travel in the Philippines (5.7 percent), Australia (5.6 percent), Indonesia (5.6 percent), Hong Kong (4.9 percent), and New Zealand (2.1 percent).
But the most recent report by MasterCard (200 
has even increased the forecast for the Philippines outbound travel to a 5.9% year-on-year growth, expecting 1.3 million Filipinos traveling outside of the country in the first six months of 2008.
The increase in the number of airborne Filipinos is not just confined to outbound travelers. Recent industry data reveal that the air travel within the Philippines is the third fastest growing market in the world, after India and Mexico. The country’s domestic air travel market grew by 23 percent with almost 10.4 million Filipino travelers in 2007 compared with 8.5 million passengers in 2006.
Hawaiian Airlines now flies to Manila
Noting the considerable growth of the number of Filipinos traveling to and from the Philippines, another international airline has taken a major corporate move targeting the market. A few days ago, Hawaiian Airlines made its first flight to Manila, marking their first route to Asia in their 79-year history. The maiden flight launched the first of four weekly nonstop flights to Manila.
The president of Hawaiian Airlines, Mark Dunkerly, was excited with the company’s new flights to Manila. “ We think there’s going to be a growing economic relationship between the state of Hawaii and the Philippines,” he added.
Filipinos in North America- major market
A considerable number of Filipino air travelers visit North America.
For the US inbound travelers, most of the Filipino visitors go to California. In 2006, of the 154,000 Filipino visitors, 69%, or 105,000 visited California. These Filipinos tended to center their trip itineraries on the major cities of Los Angeles (69%), San Francisco (48%) and Anaheim (11%).
For the US outbound Filipinos, a majority of them travel to visit the Philippines. The Philippine Department of Tourism estimates an average of 1 million balikbayans visit the country every year, most of them coming from the US. And this number continues to increase with 80,000 Filipinos migrating to the US yearly, adding to the current 4 million Filipinos in America.
Another country in North America with a substantial number of Filipino travelers is Canada. Last week, Statistics Canada reported that the country’s “visible minorities” now number more than five million due to the huge influx of Asian immigrants, coming mostly from China and the Philippines.
Cathay Pacific CEO Tony Tyler took note of this highly profitable market stressing that “The Filipino market in our North America routes is specially important to Cathay Pacific”.
Tyler, who admitted that he feels a special attachment to the Philippines having lived there for a time while working in the Cathay Pacific Manila office, said Cathay is enhancing its services to better serve its Filipino passengers, continually offering promotions and special offers to attract and satisfy its market.
“For our Filipino passengers- like our other passengers, we give very, very good rates -from first class to economy. Cheap rates compared to others, “ said Tyler.
More Filipina Flight Attendants
Perhaps another recognition of the Filipinos’ contribution to the airline industry is the move of several airlines to include Filipina flight attendants to their cabin crew.
Haruka Nishimatsu, the CEO of Japan Airlines, highlighted the fact that the JAL Group recognizes the value of Filipinos in their corporate strategy as demonstrated by recent major corporate moves taken by its subsidiary JALways Co. Ltd.
In what Nishimatsu calls a “unique project”, JALways has recently employed 20 Filipina flight attendants and opened a training center in Manila.
JAL Manager for Public Relations, Stephen Pearlman, reported why the JAL Group took the unprecedented move involving the Filipinos. “We recognize the Filipinas’ excellent bilingual skills, their very hospitable nature, and their innate warm and caring service. This is why the JAL Group decided to hire a big number of Filipinas,” said Pearlman,
“We are confident that the Filipinas can further enhance our service. They will surely give our passengers the JAL brand of care and attention and maintain our high standards of service, “Pearlman added.
Another airline, Atlasjet Airlines, Turkey’s leading private airline company, also recently recruited 56 Filipina flight attendants for their operations in Jeddah, Saudi Arabia. The Filipinas underwent a three-week training program and were assigned to service domestic flights in Saudi Arabia.
With all these significant developments in the travel industry, RP President Arroyo has reported the government’s ambitious aim of reaching 5 million tourists by the end of the decade. With ventures such as the opening of a Shangri-La hotel in Boracay and the Manila Ocean Park in 2008, and promoting the country’s ecotourism and medical tourism, the number of Filipino travelers is indeed anticipated to grow at an even more sustained pace in the future.
http://asianjournal.wordpress.com/page/24/
phood (eccentric squares (Kuya)) by noel
noel: hey fuki, check out these pictures from the motherland
fuki: is that your dad in this picture?
noel: yup, that’s him eating balut.
fuki: he looks so young
noel: he’s 62
fuki: oh, it must be from eating all the unborn duck fetus
balut is the name of a filipino delicacy. it’s a boiled duck egg with a duck embryo inside. one of my uncles actually has a balut farm balut nursery duck morgue duck matrix baby duck killing camp sells balut. my dad loves it. i’ve never seen him happier than he is when eating balut. my mom is afraid to eat it now though. my sister and i, while we haven’t tried it, aren’t morally opposed to it.
there are often times, when for fun, i’ll try to challenge my uber catholic parents on some of their views. usually i’ll try to find fault with their argument by citing some biblical precedent. my mom is usually obsessed with me getting a haircut. so when she starts going on and on about how long my hair is (it never is), i’ll usually say “well you know who had long hair…Jesus!” and then my mom usually concedes. with my dad, i said “how can you be pro-life, but continue to abort unborn duck. you can’t be against abortion, but for balut.” in response, i think he bit off the unborn duck’s head.
any discussion of food in the philippines warrants the obligatory inclusion of lechon. i’m not too big a fan of pork, but i do heartily approve of it’s use for decorative purposes. in the mega malls, we found another filipino favorite: tsitsaron (pork rinds). due to the pronunciation of tsitsaron, (chi-cha-ron), apparently they decided to give (as flips are so wont to do) the snack a nickname:
FLIPS EAT CHINKS FOR BREAKFAST!!!
taken alone, the text above would seem to suggest that all the food we ate still had all of its organs and appendages intact (where they had properly formed). that would be all the westernized meals (i <3 filipino spaghetti) that we ate at home and in the mega malls. all the fast food chains you’d recognize in the states are in the philippines, but they often have a filipino twist. the 7-11s in the philippines have a sio-down (cha siu bao) and the food packaging tends to be more colorful.
filipino mcdonald’s (mcdo) has the usual american menu, but non american-sized. for example, you can actually order a small drink and a small fries in the philippines. the american fatass sized meals, such as the double quarter pounder with cheese and even “super-sizing” is not available in the philippines. those are regional meals unique to the states. unique to the phillippines are the taro pie and the McRice burger. i’ve got to say, i like the international mcdonald’s pies (as recommended by angela) better than the american ones. abroad, they’re fried, which makes them crispier. i liked the taro pie, but not McRice burger not so much. basically the bun was just made of rice. maybe if they used banana sauce instead of ketchup…
one thing that surprised me about filipinos in the philippines was how often they ate. there were two breakfasts, lunch, merienda, dinner, and some more snacks during the day. i suppose i had a different idea growing up. my mom used to tell us stories of how often times when they were young, they’d only have a bowl of rice to eat for a day. now that i think about it, there’s been days when i’ve only had a bowl of rice to eat. but that’s usually with banana sauce. oh and i suppose that’s just because i’m lazy.
fruit at a filipino market
the food i’ll miss the most though will definitely have to be the fruits (and fruit products). the bananas, the pineapple, the chico, the list goes on and on. there are these dwarf bananas that are really sweet. but the mother of them all has got to be the filipino mango. i’ve tried buying mangos in the states, but they’re never near the quality of the ones that come from the philippines. my mom said that often, the mangos labeled “manila mangos” are actually from mexico. the mangos in the motherland are super sweet, not fibrous, and are so soft, that the way we usually eat them is with a spoon. cutting up mangos into small slices means you have an inferior mango. we had all things mango in the philippines, including mango ice cream. i really wish i could have smuggled some back.
Food Writing 101
August 8, 2008
The world of culinary has gone beyond cooking and garnishing and is now opening new avenues to develop the creativity of the food professional. Food writing is one of them.
Being a food writer requires more than a flair for the written word and an interest in food. The food writing field needs people with a strong grasp of culinary principles and familiarity with trends in the hospitality and foodservice industry. Having solid writing skills is also a basic.
A great food writer is someone who writes about food using ideas from his or her very soul. The piece of writing contains not only information but reflects the writer’s passion in showing what the food is all about. Hence, the food writer finds a better word than delicious and involves all the senses to effectively bring the message across.
Aside from writing, food writers research, edit, proofread, test recipes, attend classes, and socialize occasionally. A food editor reviews cookbook proposals and works in the development of a book from contract to print. Food writers who work as editors for magazine and newspapers provide the direction for the content of the food section. They likewise set the tone and style for the publication. Even those popular TV food shows require the expertise of a food editor. The career options for the food writer is definitely varied and continues to expand as the global interest for food develops.
Food writing in the Philippines has gained popularity thanks to the ushering in of the blogging era and the proliferation of dining establishments all over the country. It also helps that Filipinos have an innate fondness for food, and using food as a vehicle to create and celebrate gives the Pinoy food writer an appropriate foundation for writing.
To date, we see quite a number of food-related publications in the local market. These glossy magazines attract not only the homemakers always in the hunt for tested recipes but also foodservice professionals who want to stay afloat in what’s going on in the industry. Even food travel writing gets a lot of attention because it lets people discover the cuisine in other parts of the world without actually traveling. In other words, food writing aims to inform, educate, and even entertain.
As a food writer, the learning never ends. The myriad of colors that appear in a dish and the melding of emerging aromas never fail to fascinate me. Getting deep into food history and culture presents a unique kind of wisdom. Talking with chefs and entrepreneurs allows me to realize how passion plays an essential role in making wonderful things happen.
Food writing is a satisfying hobby and may even be a rewarding career. Go ahead, it’s time to eat, live and love!
John and Yoko: Cosmopolitan Japanese
Saturday, August 16, 2008
Rice-based dishes fascinate me: Spanish paella, Chinese congee, Italian risotto, Filipino lugaw, Japanese sushi. So when I heard about “Japaella” offered at johnandyoko, I went to try it out. As the name of the dish suggests, it is a Japanese version of the paella, Japan meets Spain.
The Japaella
Here I was waiting for my turn since all tables were full.
The JapaellaPriced at P328, the Japaella is good enough to be shared by two, or even three. It is served in the traditional Spanish paellera, and the dish combines chicken and prawns (3 pieces) as its main ingredients. The addition of nori seaweed slivers and the teriyaki flavor makes it very Japanese. As you dig into the sticky rice, you’ll find another Spanish element: the chunks of chorizo. For me, this dish is a winner for 3 reasons: (1) the portion size is good for sharing, (2) the flavors are familiar yet still exciting, and (3) it is a one-dish meal. We Pinoys love to say this, “may kanin na, may ulam pa!”
Hip. Modern. Sensual. This is how I describe johnandyoko, an upscale Filipino-owned casual dining restaurant in Makati City. It is located at the 2nd level of Greenbelt 5, one of the newest shopping/dining blocks in Ayala Center. Since it opened in October 2007, it has created buzz among the local foodies and was placed under careful scrutiny by restaurant/food critics and bloggers alike.
Customers can understand better the dining concept in what’s written in the menu:
“John is from the West while Yoko comes from the East. As John is bold, modern, and fresh, Yoko is guarded, conservative and traditional. He is sunset while she is sunrise or the dawn of a new day! In essence, johnandyoko is a successful union of the two worlds. It is union where the new embraces the old and the innovative features the authentic.”
Here I was waiting for my turn since all tables were full.
In the end, going to johnandyoko to try out Japaella was worth it. I found another rice-dish that satisfied my palate. Mission accomplished!
Longganisa Alaminos
Tuesday, September 2, 2008
The City of Alaminos in the province of Pangasinan is best known as the home of Hundred Islands, and the Hundred Islands National Park, the first national park in the Philippines. Dad brought us to Alaminos some years ago and I could never forget the sight and smell as we cruise along the highway. Being a coastal city, Alaminos boasted of rows and rows of stalls that sold dried fish and bagoong.
Growing up with a Pangasinense Dad gave me the edge of discovering the rich food culture of Pangasinan at an early age. We learned how to appreciate all sorts of bucayo (coconut candies), the Pangasinan tikoy (so different from the Chinese tikoy), putong Calasiao (the Putong Calasiao Festival is a must-see!), Bonuan bangus, bagoong, tupig, patupat (until now i am amazed how they make this), buro (fermented rice and fish, not for the faint of heart), padas (so crispy, a special treat for breakfast), a vegatable called baug (you must pronounce this properly), and a whole lot more.
I chanced upon Alaminos Longganisa when I did the grocery last weekend. Shopwise sells a dozen for P105.75. Alaminos Longganisa has its trademark toothpicks but mind you, they are not the commercial-type toothpicks. They are actually mature coconut sticks (the ones used for walis tingting), and the knots used are made of silag or buli (like the ones used for mat-making). A smart use of local materials — good job!
Loaded with garlic that gives much flavor, Alaminos Longganisas are fully organic, meaning no preservatives are used. Another plus point! They have a shelf life of up to seven days, or even a month if frozen.
I found this recipe at the official website of Alaminos City (www.alaminoscity.gov.ph) but you may modify it according to your preference.
Ingredients:
¾ k ground lean pork
¼ k pork fat
4 tbsp. sugar
2 tbsp. coarse salt
2 tsp. ground black pepper
2 tbsp. vinegar
¼ tsp. salitre
½ tbsp. soy sauce
2 tsp. chopped garlic
1 tbsp. rum, atsuete or food coloring
pork casings
Procedure:
1. Mix all ingredients and refrigerate for 5 days.
2. Stuff mixture in pork casings. Tie with strings to desired length.
3. Hang to dry.
A La E Cafe Amadeo
Saturday, August 9, 2008
Putting up one’s own coffee shop seems to be a dream of many. In the Philippines, where the consumption of coffee has grown with the proliferation of coffee shops, the entrepreneurial spirit is very much alive. Aida Gonzales of ABS CBN is one of those who decided to become her own boss by creating “A La E Cafe Amadeo”, a coffee shop that serves only locally grown coffee varieties to help uplift the lives of the farmers in the country.A La E Café Amadeo serves and retails the following coffee varieties: Café Amadeo from Cavite, Siete Baracos (“seven bulls”) from Batangas, Coffee Alamid (Philippine civet coffee), Cordillera coffee, and Monk’s Blend from Bukidnon.
The coffee shop’s slogan is very inspiring. “Sa bawat higop, may nakukupkup (Nurture in every sip)” It’s a simple way to remind customers that by patronizing the coffee shop, they are contributing to the upliftment of Philippine coffee farmers.
A La E Cafe Amadeo has outlets at Sgt. Esguerra St. Barangay South Triangle; Quezon City Circle; Manila Domestic Airport; Land Transportation Office along EDSA, Quezon City; and the Hobbies of Asia Building on Diosdado Macapagal Avenue in Pasay City.
We need more trailblazers like Aida Gonzales, entrepreneurs that promote the best of the Philippines.
My Top 10 best places to dine in Davao..
blog comments:
buffet palace near victoria plaza —- the best..hehehe. we had our lunch there after my graduation with my korean friend.
wala pa ring tatalo sa BLUE CARABAO heheh. Ultimately the best ang sabaw ug ang binagoongan heheh
Hmmmmm Asia Restaurant sarap ng alimango!!!
I still love dencios lalo na ang seafood mandaragat….yum2
tru nyo sa SUTOKIL at V.mapa……busog ka
at home…and of course sa mandarin..ambot i love chinese tea pot
I was not here in davao for almost 3yrs. I said to myself if I’m going back here, first place I’m gonna visit for food trip is Dimsum near Holy Cross Sta. Ana and Taps!!! hehehe
Hi marj..nakakuha k b ng chocol8s nung sat?hehehe
Source: http://www.davaoexchange.com/topic.php?topic=254&page=10
