For many visitors, one of the most delightful features of the Bambanti Festival of Isabela, held from 18 to 25 January 2026, was the Bambanti Village — a cluster of booths showcasing the products, cuisine, tourist attractions, and local histories and cultures of the sprawling province’s towns and cities in the northeastern Philippines.
The 33 booths, arranged along a strip between the Isabela Capitol building and a man-made lake, as well as across the front lawn of the complex in the provincial capital of Ilagan City, became souvenir shops, food stalls, makeshift museums, and themed attractions all rolled into one. Walking through the village felt like taking a crash course on Isabela.
Festival-goers delighted in a wide array of local food offerings such as inatata, moriecos, binallay, pansi Cabagan, inartem na littuko (pickled rattan fruit), atsara (pickled papaya shreds), munggo (mung bean) ice cream, fresh cow’s milk, bugnay (salamander tree) wine, chocolate tablea (tablets), Big Brothers Corniks, bibingka (cassava cake) and pinilisa rice, among many others.
One major attraction was the design and construction of the booths, many of which used unconventional, locally sourced materials. Showcasing local flair in architectural expression, the structures narrated the cultures and industries of their respective communities. Each booth was paired with a bambanti installation, interpreted in myriad creative ways.
The bambanti, the Ilocano word for the “scarecrow,” is the inspiration, overall theme and motif, and icon of the festival, which started in 1997 and which is intended to be a tribute to the farmers of the largely agricultural province. A familiar presence in fields and farms during harvest season, the bambanti is construed as a symbol of the farmers’ diligence and resilience and as protector and guardian not only of crops but also of the province. The bambantis were transformed and stylized according to the themes of the booths at the Bambanti Village.
Designed and constructed by Pong Menor and associates, the booth of Cordon took the shape of a moss-covered cluster of mushrooms, promoting the town’s emerging mushroom cultivation industry.
The Cauayan City booth, named the Cauayan City Smart Heritage Pavilion, took the form of a ceremonial gateway symbolizing arrival and cultural identity. Inspired by the arches of Baroque church architecture, the structure reflected the city’s Catholic faith, agricultural heritage, and commitment to nature-based innovation. Constructed from locally produced and engineered bamboo with hand-woven panels, the booth had Gaddang textile accents to honor the city’s ancestral roots, while curated display niches showcased local products. The Gaddang handwoven fabrics introduced cultural texture and meaning — bridging ancestral identity with contemporary architecture and reinforcing the booth as a vessel of collective memory, according to the booth’s designers. Its bambanti installation was reimagined as a parametric illusion sculpture made from CNC-cut plywood layers, its dynamic form symbolizing innovation, movement and light.
Another standout was Santo Tomas’ agro-ecotourism showcase, The House of Inatata Festival, envisioned as a symbolic dwelling rooted in the town’s agricultural soul. Drawing inspiration from the form of a rice sheaf and the traditional bahay kubo, the structure embodied resilience, sustainability, and communal strength while honoring the farmers, fishermen and fertile lands that sustain both community and nation. Built primarily from bamboo, rattan, and glass, the booth highlighted local craftsmanship and eco-friendly design, complemented by sculpted crops, woven textures, and a rainwater-harvesting centerpiece, the focal point of the design. Intricate bamboo carvings narrated Santo Tomas’ lifeways — from rice, corn and tobacco cultivation to the rich biodiversity of the Cagayan River and surrounding wetlands — offering visitors an immersive vision of heritage, environmental stewardship, and the promise of eco-tourism for the future.
Equally notable was Echague’s booth, which turned to history and identity through a design rooted in El Pueblo de Camarag, the thriving Yogad settlement founded in 1752 and named after a once-abundant tree. It revisited the town’s transformation across centuries of culture, faith, and growth, while its scarecrow centerpiece, Annantalaw nu Rafael de Echague, paid tribute to the Spanish governor-general for whom the municipality was formally named in 1863. Root motifs woven throughout both structures symbolized Echague’s enduring traditions, shared values, and collective heritage, guiding the community forward while honoring its past. Crafted from hand-carved wood, handwoven rattan, and other local materials, the booth attempted to reflect the culture of the indigenous Yogad people.
The remaining booths and installations were equally engaging, competing for festival-goers’ attention as well as top honors in the competition. The best booths and installations were recognized on 23 January, during the finale of the Bambanti Festival street dancing and showdown competition and Bambanti Musical.
Two sets of winners were revealed for the booths and installations — in Category A (for cities and first-class municipalities) and in Category B (for second-, third-, fourth-, and fifth-class municipalities).
The booth of the municipality of Cordon was declared champion in Category A of the Best Agri-Tourism Booth. The runners-up in the same category were the booths of Ilagan City (first), Echague (second), Cauayan City (third), and Quirino (fourth).
In Category B, the booth of Santo Tomas was hailed as champion. The runners-up were the booths of San Agustin (first), San Isidro (second), Gamu (third), and San Manuel (fourth).
In the Best Giant Bambanti Installation, Ilagan City was declared champion again in Category A. The runners-up in the same category were Cordon (first), San Pablo (second), Cauayan City (third), and Dinapigue (fourth). In Category B, San Isidro lorded over other entries. It was followed by Santo Tomas (first runner-up), San Agustin (second), Gamu (third) and Burgos (fourth).