ILOILO CITY — Long before the first curtain rose on its stages and the first delegates touched down at the airport, a pivotal decision had been made by the organizers of a prestigious global theater network: it was time to bring their triennial gathering to a city whose culinary prowess is matched only by its under‑celebrated stories. On May 18, the 13th Women Playwrights International Conference (WPIC 2026) officially opened in this highly urbanized city, bringing together women playwrights, theater practitioners, scholars, and cultural advocates from around the world. The five‑day event, running through May 22, marks the first time the conference has been held in Iloilo—a choice driven in large part by the city’s status as a UNESCO Creative City of Gastronomy and its wealth of untold narratives.
August Melody Andong, president of the WPI Interim Management Committee and Convener, explained the selection: “There is a very rich story behind the fabulous cuisine of the Ilonggo, and especially the women who prepare this fabulous food. And often the stories are reflected not only in our food but in the many aspects of our lives. Opportunities like this we always bring to Western Visayas.” Her statement positioned the conference as more than an academic exchange; it is a cultural tourism catalyst designed to connect the dots between what Ilonggos cook, what they live, and what they can stage for the world.
A Global Network, A Local Stage
The WPIC is the triennial gathering of Women Playwrights International, a non‑profit network with the mission of building connections among women in theater and advancing their visibility and representation worldwide. This year’s theme, “Celebrating Diversity, Equity and Inclusivity,” amplifies voices underrepresented in mainstream theater and encourages storytelling that reflects a broad spectrum of life experiences. The conference’s presence in Iloilo provides a direct pipeline for local talents to engage with global industry leaders without leaving the province.
The formal opening was graced by International Theatre Institute Social Change Network president Cecile Guidote‑Alvarez, who delivered the keynote address. During the conference, selected plays by local artists were performed and read by university theater groups from the University of the Philippines, West Visayas State University, and the University of St. La Salle in Negros Occidental, alongside the Maskara and Performance Laboratory ensembles. Andong noted that many regional writers are “just waiting for opportunities and chances to exchange and interact with national and international playwrights.” For these artists, WPIC 2026 is precisely that window—a rare convergence of mentorship, exposure, and artistic validation in a city whose cultural infrastructure has been quietly deepening for years.
Tourism Beyond the Plate
The conference is held in partnership with the Iloilo Dinagyang Foundation Inc., which brings extensive experience in managing large‑scale events and promoting cultural heritage. The foundation’s involvement underscores Iloilo’s growing capacity to stage major international gatherings—a capacity that has already drawn the ASEAN Geographical Indications Forum, the Women Playwrights International Conference, and a steady stream of MICE events to its convention center.
Iloilo’s selection as the first Philippine host of WPIC also complements the city’s broader tourism ecosystem. The recently launched Living Heritage Museum Tour, the Japanese Omocha toy exhibition at ILOMOCA, and the city’s ASEAN Clean Tourist City award each reinforce a single proposition: Iloilo is no longer merely a culinary stopover but a full‑spectrum cultural destination. The conference delegates—playwrights, directors, scholars, and critics—are precisely the kind of high‑value, extended‑stay visitors that cultural tourism strategies aim to attract. They fill hotel rooms, dine at local restaurants, explore heritage sites, and return home as ambassadors for a city they might otherwise have never visited.
For Iloilo City, WPIC 2026 is not simply a five‑day event. It is a proof of concept that the city’s cultural assets—its gastronomy, its heritage, its theater community, and its institutional capacity—can attract and sustain a global gathering that leaves behind more than just memories. It leaves behind connections, collaborations, and a trail of stories that will be retold on stages from Montreal to Cape Town, each one beginning with the same quiet phrase: “This one, I found in Iloilo.”
