How an Ilokano Tan-ok dancer got immortalized on a commemorative P100 coin

ILOCOS NORTE, Philippines – Kenneth Maala, 24, has been a familiar figure in the performances of Piddig’s Basi Festival in the provincial Tan-ok ni Ilocano: Festival of Festivals as a dancer for nine years. Now, a photograph of him and his co-dancer from the 2025 edition is set to appear on Bangko Sentral ng Pilipinas’ “Pista sa Pilipinas” Commemorative Coin.

The obverse of the coin features Maala alongside his co-dancer, Mark Kento Manuel, captured during their winning performance at the Basi Festival. It also highlights the festival icons of the province’s 21 municipalities and two cities, ethnic patterns, and the Tan-ok ni Ilocano emblem.

The back side of all commemorative coins follows a common design.  

Not expecting a photo of him minted and colorized on a limited edition coin, Maala feels honored, as his image holding a bamboo stick, representing the revolt of Ilocanos against the colonizers, is an important part of history in the former Provincia de Ylocos. 

“We did not expect that one day, my own, our own tableau, would be appearing in a BSP commemorative coin. I even asked myself: Why am I there? I do not know why I was chosen, but I am so happy,” Maala shared in Ilokano. 

Tan-ok, despite being a young festival, is the second to be included in the silver P100 festival commemorative coin — a set of 12 coins showcasing the various festivals in the Philippines — to be released on February 28 during the celebration, and on March 9 at the BSP Store.

The limited P100 coin measures 38.6 millimeters and has a selling price of P5,000, according to the BSP. 

“The symbols and elements of the twelve Philippine festivals are incorporated on the reverse side to create a festive pattern that forms a giant lantern to represent the symbol of the 12th festival,” a description from the BSP website reads. 

What is Tan-ok ni Ilocano?

Tan-ok ni Ilocano (Greatness of the Ilokano), one of the youngest provincial fiestas in the Philippines, was launched in 2011, aiming to record and represent local traditions, history, food, and identity through performances.

The celebration narrates different festivals and stories from 23 towns in Ilocos Norte, including panagabel (heirloom weaving), empanada making, pottery-making, fishing culture, bugnay berry harvest, “Guling-Guling,” a religious practice introduced by Spanish friars in the 16th century, held before Ash Wednesday, the traditions of the Indigenous Peoples communities in the province, and other identities.

According to Maala, Tan-ok is his platform to express his pride as a Piddigueño, honor his past, and show his love for dancing.

Before dancing for Tan-ok, Maala grew up in an area in Makati that’s now part of Taguig, where he attended preschool before returning to Piddig for Grade 1. When he reached Grade 5, his mother returned to Makati with him to work and support his education.

Having lost his father, a native of Quezon Province, when he was still a baby, Maala was raised solely by his mother. She worked as a house helper in Metro Manila to make ends meet.

After completing elementary school in Makati, they returned to Piddig and settled down. In Grade 7, he then joined Tan-ok and represented the municipality in the provincial festival.

According to Maala, since he was young, he has had an interest in dancing, and it was Tan-ok where he felt he could express himself.

Representing his town 

Maala started as a props crew member in 2014. His reason: observe how their municipality’s history is represented through dance and what Tan-ok is all about. 

In 2015, he decided to dance to further participate in retelling the Basi Revolt against the Spaniards in 1807. His municipality celebrates the Basi Festival, held annually in September, which honors the uprising of Ilokanos against the government monopoly over basi, a wine made of sugarcane.

For him, representing Piddig in the provincial fiesta and competing with the other 22 towns of Ilocos Norte is his way to reconnect with his roots after being away from the province for many years.

“Kada sumangbayak iti entablado, mariknak a saan laeng a bagik ti ipakitak, no di ket ti kultura ken espiritu dagiti Ilokano,” the 24-year-old dancer shared.

(Whenever I step onto the stage, I feel that I am not only representing myself, but also the culture and spirit of the Ilokano people.)

Starting as a young high school student, Maala continued dancing in succeeding editions of the festival, driven by his passion.

In college, he worked part-time at a well-known fast-food chain. Despite juggling his studies and job, he still found time to join the festival.

“Even if I have a part-time job, I still attend dance practices whenever Tan-ok comes. It’s a big sacrifice on my end, especially since I worked in the fast-food industry for two and a half years,” Maala said.

Even after graduating with a degree in education from a state university in his province, passing the board exam, and now working as a young professional, he will still represent his town as one of the dancers for the 2026 edition.

“Maragsakanak unay ta asidegak kadagiti kakaduak ken kasla pamiliami metten ti grupo. Makapabileg met kaniak ti panunot nga addaak iti maysa a dakkel a rason, kasduiay met ti mangirepresentar iti ilimi ken mangipakita kadagiti agbuya,” Maala said. 

(I am very happy because I am very close to my co-dancers, and our group feels like a family. It strengthens my belief that I am part of a bigger purpose: representing our municipality to everyone watching.)

Cultivate pride of place

Ianree Raquel, provincial tourism officer, said that Tan-ok’s conceptualization stems from the absence of a provincial fiesta in the previous years.

Town stories are showcased at a proscenium-style stage, but the 2026 edition will adopt an in-the-round format at the Marcos Stadium, unique from the street dance format of festivals in the country. 

Tan-ok is traditionally held in November, coinciding with the holiday season; however, in 2018, during the 200th foundation anniversary of Ilocos Norte, the celebration was moved to February to commemorate the separation of Ilocos Norte and Ilocos Sur from the Provincia de Ylocos on February 2, 1818.

“The first effort for Tan-ok was also part of a larger program at that time to cultivate pride of place. There was this need for a campaign to revive the appreciation of the Ilokano heritage,” Raquel shared. 

Raquel noted that the provincial government observed that Ilokanos are outward-looking in terms of opportunities, often going to other places in search of greener pastures.

For Maala, who was away in the province for several years, this is true of his family’s story.

“Nakaka-proud unay met ta mabalinak a mangirepresentar kadagiti kaprobinsiaak, lalo kadagiti taga-Piddig, a mangipakita ti talento ken kinapudno a kinailokano,” Maala shared.

(It made me feel proud because I can represent my province [through Tan-ok], especially people in Piddig, showing the talent and who Ilokanos are.)

Push for Tan-ok institutionalization

To sustain the festival, Raquel hopes the provincial government will institutionalize it, as it gives every town a chance to share their story with thousands of Ilokano viewers and visitors.

“I hope that the provincial government continues to fund it. I hope we can really institutionalize this as our provincial cultural festival every February,” Raquel added.

Ilokano language and culture expert Leonardo Tejano also believes sustaining it is important as the festival serves two functions: transmitting the provincial cultural narrative and intervening in the creative economy.

“As a provincial platform, it brings together various local festivals and performance traditions to showcase the cultural diversity and continuity of Ilocos Norte, and to create a clear provincial cultural narrative that is easily understood and a source of pride for the public,” Tejano said in Filipino.

For Maala, Tan-ok is a major stage, and he hopes it will continue to be held annually to showcase his identity and Ilokano culture. 

“It highlights how our basi wine is made, our cultural products, and history, ensuring these are not forgotten by future generations,” he shared in Ilokano. – Rappler.com