Have you ever walked into a place expecting little, only to leave with your mind brimming with questions, insights, and a deeper connection to your roots?
Well, my friends, that’s precisely what happened to me during my visit to the National Museum of Anthropology.
Hello, Hivers! It's me, 
Back in 2022, I had the opportunity to visit the National Museums of the Philippines. After recounting my experiences and impressions of the National Museum of Fine Arts—which was a worthy and truly enriching visit—I am very excited to share my journey at the National Museum of Anthropology.
Located within the same grand complex near Rizal Park, Manila, the National Museum of Anthropology offers a deep dive into the diverse and complex cultural heritage and identity of the Filipino people. As I stepped into its grand halls, I was immediately greeted by a fascinating exhibit that took me by surprise—it was made by none other than the National Artist Kidlat Tahimik.
Indio-Genius: 500 Taon ng Labanang Kultural (1521-2021)
I actually visited the museums on a whim without prior research; I didn’t know what to expect. That’s why I was stunned to stumble upon the Indio-Genius: 500 Taon ng Labanang Kultural (1521-2021) exhibit, and it felt like quite the discovery—talk about being lucky.
Mad Exposition
Once inside, you will be greeted by the first installation. The centerpiece was a rattan dome with bold, glaring red neon lights that said Mad Expo—which immediately drew my attention the moment I passed the door. The installation reflects the St. Louis Exposition, an event infamous for exploiting the Filipino Igorots as part of a human zoo. The exhibit and the inspiration behind this were both powerful and thought-provoking, which made me uneasy at first-- setting the tone for the rest of my visit. It didn't help that its surrounding were basked in red from its lights. But what is art if it does not disturb the comfortable, right?
The Cultural Shift
Moving on to the right wing, we were greeted by an exhibit that showcased the events after Magellan arrived at Limasawa island. This section highlighted the profound cultural shifts brought about by colonization. One display that stood out to me was the diorama that recreated the First Baptism in the Philippines that occurred in Cebu; its sign says “Magellan’s Latest Wash-ritual Technology Seduces Humabon and Wife Humamay,” in which they were baptized as Christian and was given the Christian name Carlos and Juana respectively. This symbolized the beginning of religious and cultural transformation in the Philippines.
The Trojan Horse of Colonization
Going on to the open-air garden courtyard of the museum, I was struck to see a familiar-looking horse that occupied the top of the staircase. I thought that it was like the Trojan Horse, and indeed, it was called “The Trojan Horse of Colonization.” The sculpture was all made of wood, and I couldn’t help but marvel at the craftsmanship and its details. It is also impossible not to stop and look up to stare at its size and the metaphor it represents—the deceptive and enduring impacts of colonization hidden beneath the promises of progress and unity.
The First Circumnavigator
Going further at the main marble hall just past the grand staircase, you will be greeted by a massive replica of the Victoria (the first ship to circumnavigate the world and one of the four ships of Magellan’s expedition.) However, upon closer look, Magellan’s sculpture was not the only one that stood tall at the center. Together with him was Enrique de Malacca (Magellan’s Malaysian Slave)—it turns out, the artist would instead recognize him as the first circumnavigator of the world than Magellan (since he couldn’t return to continue the circumnavigation since he was slain.)—such powerful decision that rewrites the narrative often dominated by colonial figures or western people. I was also amazed by the fact that this installation was made of tree trunks, tree roots, and other found objects. It truly screams Indigenous. The blending of natural materials with the history retelling gave the piece an emotional weight, emphasizing themes of resilience and reclamation.
The artists also had a tribute exhibition for Manunggul Jars, a pre-colonial, tribal burial jar; believed that the soul of the deceased would be traveling on a boat in the river of the afterlife, which is displayed by an intricate carving on the jar’s lid.
Interestingly, many meaningful jars are also displayed in the other galleries in the same museum, providing an opportunity to appreciate these sacred artifacts up close.
Other Installations
There were also other sculptures displayed in the exhibit, however, I haven't dig deeper on the information of these sculptures as I was pretty much distracted by the other big and massive installations.
The Ceramics Heritage and Burial Jars
This section goes beyond the Indio:Genius: 500 exhibit but worry not, this will not disappoint for this will take you to one of the permament galleries in the museum. As a visitor, one will not only see the beauty of the ceramics found in the Philippines, but you will also get to see and know the history and the evolution of pottery in the country—even the etymology of the words “clay” and “cooking pot” from Austronesian origins. I also learned a lot in this gallery, such as the different kinds of stones, clay, and the size and designs of each piece—signifying the importance and the symbolic significance of each element. You also get to see the chronological order or the timeline of the ceramics in the Philippines.
In addition, the neighboring gallery displays many burial jars, from small to large, plain to the most detailed carved jars. Each has its own story. The details and the craftsmanship were awe-inspiring, and the gallery offered a solemn and reflective space to connect with the past.
IP's Cultural Legacy
Continuing further, you will see the gallery showcasing the handicrafts of the Indigenous groups in the Philippines, from household materials to their shields and weapons and even their clothes. All were filled with intricate design and symbolism—something that can make you say that the Philippines was already rich in history and culture even before it was recorded on paper and even before the arrival of the colonizers.
The Indio:Genius: 500 exhibits as a whole provided me with more than just historical knowledge—they helped me rediscover my heritage and reconnect with my culture as it reflects the resilience of Filipino Identity. Kidlat Tahimik lived up to his name as a National Artist, and his thought-provoking installations still live in my mind rent-free. As Cesar Cruz said, “Art should comfort the disturbed and disturbed the comfortable.”
This journey reminded me that a museum is more than a place with a collection of artifacts—it is a place where our history feels like a living, breathing narrative that continues to shape who we are and who we’ll become. And it's one of the reasons why I started the Rediscovering Heritage blog series as it is really a journey worth taking and sharing
So Hivers, that concludes my visit at the National Museum of Anthropology. Did you have a similar experience as you encountered an exhibit that moved you deeply? Until next time, hoping you'll join me again in our next museum blog. Keep discovering and inspiring!✨
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