Perya is a carnival, town fair and casino rolled into one. It is an essential highlight of Filipino fiestas for the past few decades. This showcase provides
entertainment to the town folks with its different features including rides, games and shows. It is a business, a livelihood for the Perya workers.
Moving from town to town, fiesta after fiesta, the Perya experience has roamed the Philippine landscape. As a transient economy, Perya workers go along with the Perya. As the lights go out, the crowds wane, the lively booths at night transform into mundane backwoods of painted plywood and steel at daytime that serve as home to the Perya workers. There is no permanent home, just the cycle of work and sleep on the fleeting roads.
Perya as it is known now, is said to be inspired from the Manila Carnival introduced by the Americans in the Philippines in the early 20th century. It featured spectacular parades, lavish shows, betting games, side shows from abroad and amusement rides. When the Manila Carnival ended, people thought of a way of imitating the different features of the said carnival. Amusement rides and local versions of side shows were patterned from the Manila Carnival. All of which were then brought by transient Perya to every towns they go.
Due to urban sprawl and existence of modern and permanent amusement parks,, the Perya is usually set up in rural areas, where local folks are still attracted t
o the gaudy yet familiar Perya. It is a business that still lives on, especially for the Simpao family who for several generations have operated Perya attractions throughout the country. They continue to drive off to the next barangay or town.
However, the Perya struggles as a business, it faces uncertainties and challenges. A Perya set-up will cost the operator the rental for their space, the permit to operate and logistic support such as trucking for moving from a place to another. To ensure profit, they have to plot their destination with consideration to the taste of their target patrons. Not all Perya attractions appeal to the patrons, for example, side shows such as Zuma, the fictional king of snakes, are placed in the most rural areas. Betting games and rides are more lucrative in town center areas.
Perya rides are made from repurposed steel and scavenged wood, assembled and maintained by Perya workers, with self-taught construction skills. With minimal bribe to the authority, they lure away from safety inspection. Unspoken danger lurks for their patrons.
Despite all of these, Perya continues to live on. As for the Perya workers, for as long as they can provide entertainment to their patrons and gain profit from this business, they will continue to move to their next destination and set-up Perya, their livelihood and home.
The photo story aims to explore the subject Perya, beyond its representation on festivities in the Philippine culture as a form of entertainment and a source of livelihood. It will uncover the life of Peryante (perya workers) after all the lights and sounds in Perya are turned off. It will also tackles the possible cultural reflection on Filipino community of the community that was created by Peryantes in a Perya. It will also cover the labor condition of the workers.
entertainment to the town folks with its different features including rides, games and shows. It is a business, a livelihood for the Perya workers.
Moving from town to town, fiesta after fiesta, the Perya experience has roamed the Philippine landscape. As a transient economy, Perya workers go along with the Perya. As the lights go out, the crowds wane, the lively booths at night transform into mundane backwoods of painted plywood and steel at daytime that serve as home to the Perya workers. There is no permanent home, just the cycle of work and sleep on the fleeting roads.
Perya as it is known now, is said to be inspired from the Manila Carnival introduced by the Americans in the Philippines in the early 20th century. It featured spectacular parades, lavish shows, betting games, side shows from abroad and amusement rides. When the Manila Carnival ended, people thought of a way of imitating the different features of the said carnival. Amusement rides and local versions of side shows were patterned from the Manila Carnival. All of which were then brought by transient Perya to every towns they go.
Due to urban sprawl and existence of modern and permanent amusement parks,, the Perya is usually set up in rural areas, where local folks are still attracted t
o the gaudy yet familiar Perya. It is a business that still lives on, especially for the Simpao family who for several generations have operated Perya attractions throughout the country. They continue to drive off to the next barangay or town.
However, the Perya struggles as a business, it faces uncertainties and challenges. A Perya set-up will cost the operator the rental for their space, the permit to operate and logistic support such as trucking for moving from a place to another. To ensure profit, they have to plot their destination with consideration to the taste of their target patrons. Not all Perya attractions appeal to the patrons, for example, side shows such as Zuma, the fictional king of snakes, are placed in the most rural areas. Betting games and rides are more lucrative in town center areas.
Perya rides are made from repurposed steel and scavenged wood, assembled and maintained by Perya workers, with self-taught construction skills. With minimal bribe to the authority, they lure away from safety inspection. Unspoken danger lurks for their patrons.
Despite all of these, Perya continues to live on. As for the Perya workers, for as long as they can provide entertainment to their patrons and gain profit from this business, they will continue to move to their next destination and set-up Perya, their livelihood and home.
The photo story aims to explore the subject Perya, beyond its representation on festivities in the Philippine culture as a form of entertainment and a source of livelihood. It will uncover the life of Peryante (perya workers) after all the lights and sounds in Perya are turned off. It will also tackles the possible cultural reflection on Filipino community of the community that was created by Peryantes in a Perya. It will also cover the labor condition of the workers.