Batchoy Should Be Enjoyed by All

By Noel Galon de Leon

There are few studies available and published on the internet if we want to seriously deepen our knowledge of batchoy. Even more so, when it comes to food from Western Visayas in general, there is a scarcity of trustworthy and accessible reading materials. That’s why when the news broke last week about the batchoy debate on Facebook, I saw this as an important opportunity to discuss food from Western Visayas, particularly the concept of ownership and the mentality surrounding batchoy. Its complex history, deeply rooted in regional heritage, invites a thorough examination and celebration, making it an exciting subject for gastronomic exploration and cultural discourse.

Food from Iloilo, for example, has long been a topic of discussion even before UNESCO declared the city as one of its Cities of Gastronomy. A significant part of this discourse includes the pioneering works of Doreen G. Fernandez (1934–2002), a renowned Filipino food writer, scholar, and educator. She is widely regarded as one of the most influential figures in the study of Filipino cuisine. Fernandez’s contributions go beyond mere recipes—she explored food as a reflection of culture, identity, and history. This is why, when discussing Filipino food, Doreen G. Fernandez’s name is inevitably mentioned.

Fernandez is credited with elevating the status of Filipino cuisine in both the academic and culinary worlds. She viewed food as an essential aspect of Philippine culture and wrote extensively on how it connects to Filipino identity. Her writings sparked greater interest in Filipino food, not just in the Philippines but also internationally. Her work played a crucial role in promoting the idea that Filipino cuisine was a legitimate subject for academic and culinary study.

When UNESCO recognized Iloilo in 2023 as the first City of Gastronomy in the Philippines, international attention was drawn to its cuisine, particularly the foods that are now being introduced and receiving attention. Among the foods being highlighted is batchoy, which was mentioned by Micky Fenix, a well-known food critic and journalist in the Philippines, in her column Eating Out in UNESCO’s City of Gastronomy—Iloilo published in Positively Filipino. She is a prominent figure in the field of food and restaurant reviews, known for her honest and detailed assessments of local dishes and restaurants, as well as his contributions to promoting Filipino food culture.

Fenix has been part of various newspapers and magazines, where she introduced unique dishes and provided recommendations for food enthusiasts. Her reviews have helped strengthen the culinary scene in the country and introduced Filipino cuisine to a wider audience. Through her articles and critiques, she has played a vital role in drawing attention to the quality of food and service in local businesses. In the article mentioned, which can be found online, she highlighted Iloilo’s batchoy as one of her top picks during her last visit.

It is also worth noting the Slow Food Community project in Negros Island, in collaboration with Slow Food and the Philippine Region VI Department of Tourism. The project aims to identify, promote, and preserve the local gastronomy and cultural heritage of Western Visayas. This is an important step toward developing sustainable local value chains and combating the gradual loss of small-scale local production. Through the project, 161 products have been featured, 10 of which are now part of the Ark of Taste, the Slow Food catalog for endangered foods. During the mapping process, three potential Slow Food Presidia were identified from the region: Tinigib corn and Ube Kinampay from Negros Island, and Tultul salt from Guimaras. Also, the establishment of a monthly Slow Food Earth Market in Silay and the interest from Slow Food Community members in Capiz to set up their own Earth Market aim to facilitate food distribution and strengthen the local food system.

The project not only showcases local biodiversity but also helps reinforce rural livelihoods by incentivizing larger tourism and ensuring the transfer of money from urban to rural areas. Thanks to its focus on sustainable practices, the project not only features local products but also collaborates with chefs to highlight unique regional ingredients to both local and international audiences.

A great example of a review we can read online today is Kaon Ta! Eating Iloilo by R.C. Ladrido of VERA Files, written in 2021. In his column, he mentions the exhibit Timplada: The Art of Ilonggo Cuisine at the Iloilo Museum of Contemporary Art, which features the work of ten local artists showcasing traditional Ilonggo dishes through paintings, sculptures, and video art. The exhibit highlights everyday Ilonggo food, focusing on simple, pure flavors from local vegetables, seafood, and meats. Dishes like KBL (pork, jackfruit, pigeon peas, and batuan), laswa (vegetable soup), tambo (bamboo shoots with coconut milk), Lapaz batchoy, and pancit Molo are depicted, emphasizing the region’s agricultural and coastal resources.

The Iloilo’s culinary heritage is showcased through efforts like the annual Western Visayas Tabu-an Ilonggo Heritage Cooking Competition, which encourages traditional cooking using charcoal or wood fire. These initiatives, along with the Timplada exhibit, highlight the region’s food culture as an essential part of its identity, further supporting its aspiration to gain international recognition as a gastronomic destination.

Holding events like the Timplada: The Art of Ilonggo Cuisine exhibit and the Western Visayas Tabu-an Ilonggo Heritage Cooking Competition is crucial for several reasons. First, they serve as platforms for preserving and promoting local culinary traditions, which are an essential part of a region’s cultural heritage. By showcasing unique dishes and traditional cooking methods, these events help raise awareness about the richness and diversity of the region’s gastronomy, ensuring that these practices are passed on to future generations.

These events also contribute to the local economy by attracting tourists, both domestic and international, interested in experiencing authentic regional cuisine. This can lead to increased recognition and tourism, boosting local businesses such as restaurants, markets, and food producers. They help establish the region’s identity as a gastronomic hub. Lastly, these events foster community engagement and pride, encouraging local stakeholders—chefs, farmers, artisans, and residents—to actively participate in preserving and celebrating their culinary heritage.

Another great find on the internet worth dedicating time to is the most recent study by Noli Lallen, a professor from Iloilo Science and Technology University, titled The Role of Gastronomy in Shaping Tourist Experiences: A Study of Iloilo Province, Philippines. This study explores into the impact of gastronomy on tourism in Iloilo, filling a gap in research regarding the relationship between local culinary traditions and tourism. Through qualitative research involving chefs, restaurant owners, tourists, and farmers, the study reveals that local dishes such as talaba, binakol, inasal, pancit molo, and batchoy are integral to Iloilo’s cultural identity and tourism appeal. These dishes not only enhance the tourist experience but also influence travel decisions and the likelihood of repeat visits. The study emphasizes the role of gastronomy as both a cultural expression and an economic driver, contributing to local development, community engagement, and sustainability. It suggests that integrating gastronomy into tourism strategies can increase Iloilo’s competitiveness as a tourist destination and serve as a model for other regions.

Reading this study is important because it offers valuable insights into the significant role that gastronomy plays in tourism, particularly in Iloilo Province. It bridges a research gap by showing how local food traditions, such as talaba, binakol, inasal, pancit molo, and batchoy, shape the region’s cultural identity and attract tourists. Understanding this relationship can help tourism stakeholders, local businesses, and policymakers develop strategies to enhance the tourist experience, support local economies, and promote sustainable practices. Also, the study provides a model for other regions looking to incorporate gastronomy into their tourism industries, making it relevant to those interested in cultural preservation, economic development, and the broader impact of food on tourism.

Looking back on the works of renowned writers and food critics is not merely a tribute but an invitation to appreciate the intricate discourse surrounding the identity of Ilonggo cuisine. These contributions have laid the foundation for more elevated discussions about the region’s gastronomy. However, the true value of these articles lies in their quiet yet powerful reminder: Ilonggo cuisine remains far from being fully revealed. Behind the already celebrated dishes is a rich spectrum of flavors, stories, and traditions waiting to be discovered, explored, and written about. This undiscovered wealth serves as a challenge to food critics and culinary enthusiasts to expand their scope, ensuring the depth and breadth of Western Visayas cuisine achieve the recognition they truly deserve.

To achieve this, the local government needs to take decisive steps. It is essential to establish research, writing, and publication grants to systematically study the history and development of culinary arts in Western Visayas as a whole. Such initiatives will provide a strong foundation for future projects. Without thorough and well-documented research on our culinary heritage and vigilant oversight of its development, we risk falling short in our aspirations to become a City of Gastronomy. A holistic approach is crucial—one that encompasses all domains of power and allows for contributions in politics, economics, social and cultural fields, technology, environment, gender, and identity, both locally and globally.

At the same time, we must ensure that these efforts are inclusive and accessible. It is not enough to publish expensive books that vendors and cooks in small eateries cannot afford or access. We must create educational resources and opportunities that reach every level of the community. Similarly, while online debates about batchoy on Facebook or social media spark interest, they are not sufficient on their own. What matters is that we start somewhere—like the discussions happening today—and build on them meaningfully.

As Doreen Fernandez reminds us in her book Tikim: Essays on Philippine Food and Culture, the first step is to open our minds and accept that batchoy, like any cultural dish, has many forms. Being a significant Filipino dish from the Visayas, batchoy should not be monopolized or confined to a singular narrative. While we enjoy its flavors in our favorite restaurants in Iloilo, we should also embrace its potential to be introduced to audiences outside Western Visayas. Through the hands of other chefs and in new presentations suited to different markets, batchoy can thrive globally. Ultimately, batchoy belongs to us Ilonggos, but it is not exclusively ours. Its success on the national and international stage is a shared achievement for all Filipinos.

Noel Galon de Leon is a writer and educator at University of the Philippines Visayas, where he teaches in both the Division of Professional Education and U.P. High School in Iloilo. He serves as an Executive Council Member of the National Commission for Culture and the Arts-National Committee on Literary Arts.