The Return of One of Cebu's Gems: The Museo Sugbo
The Early History
Before it housed artifacts and other assets that witnessed the history
of Cebu, Museo Sugbo once housed criminals as it was originally constructed to
be the Carcel del Distrito, or the
main prison of the District of Visayas. In 1870, in accordance with Domingo de
Escondrillas’s design, the foundation of the prison was built after it was
reviewed and approved in Manila.
During the period of American
occupation, Carcel del Distrito was subsequently renamed The Cebu Provincial
Jail, with certain quarters now featuring additional second floors. During the
Revolution, the Cebu Provincial Jail was used as the prison for unlawfully
captured revolutionaries before being executed at the Carreta Cemetery, which was just a few steps away from the jail.
From 1946 to 1976, the front
section of the infrastructure served as the Cebu Provincial Detention and
Rehabilitation Center (CPDRC). Around these years, female prisoners were now
incarcerated. After CPDR was transferred to a more spacious area in Barangay
Kamputhaw, Lahug, in December 2004, the goal was converted into a museum.
On August 5, 2008, Museo Sugbo
was finally inaugurated, starting with four galleries. The following year, on
August 13, 2009, spearheaded by former Cebu Governor Gwendolyn Garcia and chair
of the National Historical Institute, Dr. Ambeth Ocampo, Museo Sugbo unveiled
its national marker.
The Galleries
As of its return in August 29, 2025, Museo Sugbo was sectioned into
seven galleries: the Precolonial, the Spanish Colonial, the Revolution and
World War II, Politics and Publishing: The Vicente Rama Memorabilia, Customs
and Commodities: The Vibrant Trade and Commerce in Early Postwar Cebu, CJJ
Museo Media Gallery, and the National Historical Commission of the Philippine’s
Quincentennial Gallery.
The Precolonial Gallery
The precolonial gallery displayed items that date back before the
arrival of the Spaniards. Some artifacts were dated as early as the Metal Age,
approximately around 1500 BCE – 900 CE, and these were fragments of earthenware
excavated in a cave in Barili, Cebu.
Upon entering the gallery, you
will also be greeted by an unusual artifact that resembles withered tree bark,
but in actuality, it is an ancient Visayan boat coffin. Boat coffins were
common in those times, as natives believed the soul would travel by sea before
going to Kalualhatian or heaven.
However, the displayed coffin was not intended for burial purposes, but rather
for ceremonial use. More about Visayan death rituals, on the right side,
encased in a nipa hut display, was a Guangdong jar that was accidentally
excavated in Ronda and was reportedly contained with human skeletons. And why
would there be human remains in a jar? No, there is no crime committed for
which the body was hidden there, but it was the tradition of not just the
Cebuanos but most of the Filipinos in precolonial times. Years after the corpse
was buried, relatives will perform a second
burial as they take out the bones and transfer them to a jar to make way in
case another relative dies. This was the same ritual performed on the
well-known Manunggul Jar of Palawan.
Chinese porcelains were also on
display, an obvious evidence of the trading relationships between China and
Cebu, dating back to the bygone years. Aside from goods from East Asia, there
were also several Siamese (Thailand) and Vietnamese wares, a tangible testament
to the stable trading relationship between Cebu and its Asian neighbors.
Remember
those early school days when we discussed precolonial Philippines—civics and
culture books featured pictures of the "Golden Tara" and the
"Manunggul Jar" to gain a better understanding of precolonial
existence. c As previously mentioned,
Manunggul Jars, which originated in the Neolithic era (890-710 BCE), were used
as secondary graves. Even before the introduction of Christian (particularly
Catholic) customs for the repose, the jar was one of the evidence of the
elaborate ceremonies and the deep reverence that Filipinos had for the body of
a deceased relative.
The Golden Tara was another
testament to the Philippines’ rich trading with the neighboring countries.
Found in 1917 by Bilay Campos, a Manobo woman, in the Wawa River, the artifact
was believed to be crafted during the Majapahit era. The 21-karat gold statuette
has no specific place of origin except for speculation between India and Java
(Indonesia). The statuette was also speculated to be either a Hindu goddess, a
Buddhist Bodhisattva, or a hybrid of both. Nonetheless, she was a goddess in a
lotus position, with her right hand in a position similar to Jnana Mudra, meaning the wheel of law,
and her left hand positioned in Karana
Mudra, meaning demons are expelled. The overall meditating pose of her
body, along with the hands, was similar to Varada
Mudra, indicating charity or compassion. These are just opinions based on
observing the replica of the Golden Tara, along with cross-referencing research
with different kinds of mudras of the Bodhisattvas.
Displayed on the walls and
pillars of the gallery were visual aids with more information about the
precolonial Visayas. There was one about gold, another about the arrival of
Chinese, Siamese, and Vietnamese trading vessels, and another, placed under a replica
itself, was about the salakot crown
of Reyna Juana (Hara Humamay in
legend).
The Spanish Colonial Gallery
In March 1521… A line that is
cemented on every Filipino’s head thanks to Yoyo Villame’s song, ‘Magellan’, is
indeed a very effective way of introducing the history of the arrival of the
Spanish fleet on the Philippine shore.
Inside the Spanish Colonial
Gallery of Museo Sugbo is an array of artifacts introduced during the
beginnings and the height of the colonial era in Cebu. Much like the
Precolonial Gallery, there are visual aids on the walls narrating the scenes
from Antonio Pigafetta’s notes. One of which was the baptism of Rajah Humabon
and his subjects, and the Battle of Mactan.
Solemnly perched on the ledge of
the Capiz window, on the right side
upon entering the gallery, was the image of Señor Santo Niño de Cebu. Though
the display showcased the common regalia of the Holy Child in red capes with
neatly ornate gold and white beadings that mimic the true gold accessories,
pearls, and medals, the real image of the Señor Santo Niño was humbler when
He arrived when Magellan’s fleet landed on the busy port of Cebu. Originally,
he was only garbed in a simpler white tunic-like clothing, in the style of how
Flemish craftsmen usually design and create holy images, as it was believed
that this was where the Holy Infant’s image was crafted.
There were other holy images
inside the Colonial Gallery. Aside from the image of Señor Santo Niño, there
were statuettes of saints like St. Francis de Assisi, San Roque, and most
especially images that depict different Marian titles. The relics were clearly
withered with age, but details were still visible, and the precision of the
craftsman was distinct, knowing that his works stood the test of time.
Aside from religious objects,
another fascination, placed around the pillar, were civil works during the
colonial period. Another thing that was enthralling about the preserved
documents was the cursive handwriting, neatly written with precision, along with
its captivating illustrations that supplemented it.
Some tools, common in those
times, were also a highlight of the gallery. The tools on display were mostly
for farming, and it is beguiling to study and understand the ways our
ancestors’ daily life on the farm through the tools that were displayed inside
the gallery. An example of this is the tool used to grind wheat. Looking at the
object, imagine the labor exerted by the farmers back then—beating the heat of
the sun as they bent their backs and muscles exhausted, following the rotating
motion of the antique machinery.
The Spanish colonial gallery
showcased a very different phase in Cebu’s history. In contrast to the
Precolonial gallery, which highlights our strong relationship with our
neighboring Asian countries, the artifacts in the Colonial gallery show how
trading became widespread beyond Asian routes and into the Western Hemisphere.
A little fun fact to add—a local legend in Cebu, the legend of Maria Cacao, has its obvious inspiration
from the Acapulco Galleon Trade, to
which goods from the Philippines were exported to Mexico and vice versa.
Observing and studying the
articles and displays, you can see the shift in Cebu after it was colonized and
the integration of the European culture into the Visayan precolonial culture.
The Revolution, The Spanish-American War, and the World
War II Gallery
The War Gallery is one of the extensive collections of Museo Sugbo,
showcasing artifacts that witnessed life before, during, and after the outbreak
of war in the Philippines.
Upon entering, through a
staircase from the Spanish Colonial Gallery, you are first greeted with
memorabilia from the Revolution. On the far-right side, you will see an old
Philippine flag along with displays about Jose Rizal, particularly news
articles about his imprisonment and death. Together with it were news articles
about Don Leon Kilat, the local hero who led the Battle of Tres de Abril, stating his death, and there were even photos of
him, notably, a photo of his exhumed bones.
Displayed, as well, were objects
like photo albums, everyday objects used by ordinary citizens, like vases,
exercise equipment, and, notably, various kinds of typewriters from different
eras. At the center were articles of traditional Filipiñanas, showcasing the authentic look and patterns woven on
both baro and saya.
Aside from war memorabilia,
there were a handful of written works that evolved during the eras between the
Spanish-Filipino War (the revolution), the American-Filipino War, and World War
II. Some works displayed were those written by Vicente Yap Sotto and Vicente
Rama.
On the World War II side of the
gallery, you can watch a documentary and learn, especially about what happened
in Cebu at that time. You can also explore the displayed war tools, uniforms,
documents, and booklets on the sensibilities of that time of crisis. You can
even take a closer look at the infamous “Mickey
Mouse Money”.
The gallery was a vessel of
chaos and a testament to the perseverance of all Filipinos. Amidst the fiery
tensions brought by war, there was valor witnessed by the objects that now
rested inside Museo Sugbo’s War Gallery.
Politics and Publishing: The Senator Vicente Rama
Memorabilia
Senator Vicente “Nyor Inting” Rama, a Cebuano writer,
publisher, and legislator, was recognized as the “Father of Cebu City” for he created the bill for Cebu to become a
city, which was then approved on October 20, 1936. Vicente Rama was also the
founder of the Cebuano periodical, Bag-Ong
Kusog.
In Museo Sugbo, a part of their
divided galleries was dedicated to Don Vicente Rama. The gallery honored the
works and legacy of the Cebuano legislator, showcasing his personal items like
his suitcase, photographs of him and his family, his certificates, and even a
telegram about his beloved wife’s passing.
Provided with a distinct visual
aid, you can learn more about Don Vicente Rama, his life, achievements, and
contributions to Cebu.
Customs and Commodities: The Vibrant Trade and Commerce
in Early Postwar Cebu
Have you ever wondered about the
economy before World War II erupted? History books do not state much about this
period in Cebu’s history. Well, in this period, one thing is certain: the vast
and competitive growth of Cebu’s economy.
The Customs and Commodities
Gallery featured local products that were typically exported abroad. Printed
magazines highlighted various products manufactured in Cebu, as well as exports
from different parts of the globe. Additionally, accounting tools were
exhibited, including the columnar, the abacus (an ancient Chinese calculating
device), and a vintage Point of Sale system used by shops during that era.
Through these artifacts, we can gradually gain insight into the economic
landscape of Cebu during that period. A distinct influence from the
Precolonial, Spanish, and American eras was evident, particularly in the focus
on consumerism and the significance of trade with other nations, not merely for
marketing purposes, but also to foster relationships through the exchange of
tangible goods and cultural elements.
CJJ: Museo Media Gallery
The Media Gallery of Museo Sugbo showcased the various achievements of
honorable people from the media.
Upon entering the gallery, you
are greeted by a diorama of what a broadcast booth looked like, along with
standees of two well-known broadcasters.
Aside from visual posters that
displayed images and stories about the people of the media, there were tools
used for circulating news to the public. Displayed also were different types of
old booth mics, a hardbound book containing initial news writings being edited
before publication, and one thing that might be everyone’s fascination was the
various antique cameras displayed on the right side as you enter the gallery.
National Historical Commission of the Philippines:
Philippine Quincentennial Museum
In 2021, the Philippines joined the Quincentennial celebration of the
first circumnavigation. The year-long event also commemorates the various
significant historical events during the arrival of Magellan’s fleet.
In the same year, Museo Sugbo
unveiled a gallery dedicated to the event, exhibiting the life of the natives
during the pre-colonial period and the time when Magellan arrived on the
Visayan shores.
As you enter the gallery, you
will immediately see a large replica of a galleon’s bow. Inside it was an array
of visual aids and miniature dioramas depicting the lifestyle and objects that
were prominent during precolonial times.
How To Get There?
Museo Sugbo is specifically located at M.J. Cuenco Avenue, Barangay Tejero. To get there, you can ride by
taking a taxi, booking a Grab, or booking motor taxis like Maxim, MoveIt, Angkas, etc. Alternatively, you can take a public jeepney.
For the Jeepney, you can ride
these routes:
O1K – Route from Urgello (Sambag
I) to Parkmall (vice versa)
03A – Route from Carbon Market
to Panagdait (vice versa)
20, 21, 22, 23 – Route from
Mandaue Ibabao to Metropolitan Cathedral (vice versa)
Operating Hours and Entrance Fees
According to their Facebook page, Museo Sugbo is open from Monday to
Friday, 9:00 AM to 4:00 PM.
Entrance fees are the following…
●
General
Admission – Php. 50.00
●
Discounted
Admission (Students, PWD, Citizens,
and Teachers) – Php. 25.00
● Photo Shoot – Php. 500 for 5 persons
- Excess will be charged the general admission fee
-------------------------------------------------------------------------------------------------------------------------------------------
Comments
Post a Comment