By Noel Galon de Leon
To establish a clearer understanding of the concept of a regional book fair, it is essential to first define what this term entails. For the purpose of this discussion, and drawing from my extensive experience, spanning nearly a decade in literary initiatives related to creative writing and publishing, I offer an operational definition grounded in both practice and scholarship. My involvement in organizing the Iloilo Mega Book Fair (IMBF) and the Iloilo Children’s Book Fair (ICBF) has provided me with valuable insights into the significance, structure, and impact of such literary gatherings.
A regional book fair is a literary and cultural event that takes place within a defined geographical region, such as any of the seventeen administrative regions of the Philippines. Each of these regions consists of multiple provinces that share distinct cultural, linguistic, historical, and socio-economic characteristics, which, in turn, shape the literary landscape of the area. The primary objective of a regional book fair is to serve as a platform for showcasing and promoting books, writers, publishers, and literary activities, all of which contribute to the cultivation of a dynamic reading culture. Beyond merely facilitating the sale and exhibition of books, such fairs play a crucial role in fostering literary appreciation, intellectual engagement, and regional identity through various programs, including author talks, panel discussions, book launches, storytelling sessions, literary tours, and educational workshops.
Regional book fairs are attended by a diverse array of stakeholders, including local publishers, libraries, educators, students, parents, scholars, and general readers. Their participation underscores the book fair’s broader function as a site of knowledge exchange, where literary communities can converge to discuss pressing issues in publishing, education, and readership within the regional context. By anchoring literary activities within the specific socio-cultural framework of a region, these book fairs not only strengthen local literary traditions but also contribute to the broader national discourse on literature, education, and cultural development.
It is important to recognize that my definition of a regional book fair is neither fixed nor absolute; rather, it remains fluid and subject to change, depending on the context of different regions and the evolving needs of literary communities. As time progresses and the priorities of book fair organizers shift, the operational meaning of a regional book fair may likewise be refined to better align with emerging trends, economic conditions, and cultural imperatives. However, what remains essential at this moment is the ability to acknowledge the significance of establishing and sustaining book fairs within various regions of the country, particularly in Western Visayas. Similar developments can be observed in other parts of the Philippines, such as Dumaguete and certain areas in Mindanao, including Zamboanga, Davao, and SOCCSKSARGEN, where vibrant literary activities are taking place.
Based on my observations, while these regions demonstrate a growing enthusiasm for literary engagement, the process of organizing book fairs in these areas presents a unique set of challenges that require further exploration. These challenges extend beyond logistical concerns and encompass broader structural and systemic issues that hinder the full realization of regional book fairs as sustainable and impactful literary events. Among the most pressing difficulties are limited market reach, low reader awareness, and the absence of a well-established publishing infrastructure, which collectively restrict access to diverse literary materials. Also, high production costs, insufficient government or institutional support, and inadequate literary recognition further exacerbate these challenges, making it difficult for local writers and publishers to thrive. Weak copyright protection mechanisms and the low level of interest from schools and libraries also contribute to the precarious position of regional book fairs, as these factors directly influence readership growth and the overall viability of the literary ecosystem.
While the challenges mentioned above are by no means exhaustive, they underscore the critical need for sustained efforts to address the systemic barriers that hinder the flourishing of book fairs in regional contexts. Understanding and responding to these difficulties require a multidimensional approach, one that involves not only local stakeholders such as educators, writers, and cultural workers but also institutional partners, policymakers, and the broader reading public. In doing so, the potential of regional book fairs as catalysts for literary development, cultural exchange, and intellectual discourse can be more effectively realized.
With nearly a decade of immersion in the local literary and publishing landscape of Western Visayas, particularly in Iloilo, I have come to recognize the significance of establishing and sustaining local, independent book fairs. These events are not merely platforms for promoting new books or facilitating transactions between authors, publishers, and readers. Rather, they serve as vital cultural and intellectual spaces where deeper, often overlooked issues within the literary ecosystem can be examined and addressed. Having consistently organized the Iloilo Mega Book Fair for the past eight years, I have reflected on the nature of existing book fairs in the country and have come to a critical realization: many of these events, while well-intentioned, often operate within a commercialized and artificial framework that neglects the fundamental concerns of the literary community.
A particularly urgent and frequently disregarded aspect of book fair discussions is the condition of our cultural and intellectual producers, the writers, artists, and creative professionals who contribute to book production. This, for me, is a crucial matter that demands serious attention. If we are to consider publishing as a legitimate industry, we must interrogate its structure and beneficiaries. For whom does this industry truly exist? Who reaps its rewards, and who remains marginalized within its system? These are pressing questions that must be raised if we genuinely seek to cultivate a culture of reading and writing among young Filipinos.
The well-being of writers and artists should not be an afterthought but a central concern in discussions about publishing and literary development. Issues such as fair compensation, copyright protection, access to publishing opportunities, and the sustainability of creative careers must be brought to the forefront. Without addressing these systemic concerns, efforts to promote literature and encourage readership may remain superficial, failing to support the very individuals who sustain the literary and cultural heritage of the nation. Thus, regional book fairs, if thoughtfully designed and purpose-driven, have the potential to go beyond mere book sales and instead serve as platforms for advocacy, policy discussions, and meaningful engagement with the realities of literary production in the Philippines.
My understanding of the condition of our cultural and intellectual producers extends beyond a singular concern and encompasses a broad spectrum of systemic challenges that directly impact the sustainability of literary and artistic production in the Philippines. These challenges include, but are not limited to, the persistent issue of low compensation and financial instability faced by writers and illustrators, which often discourages individuals from pursuing careers in creative work. Also, the high costs associated with book production and printing present significant barriers to independent authors and small publishers, limiting their ability to compete in an already constrained market.
Another critical issue is the lack of robust government and institutional support for the literary sector, resulting in inadequate funding mechanisms, insufficient grant opportunities, and a lack of structural policies that protect and nurture local literary production. Weak copyright enforcement and rampant piracy further exacerbate these difficulties, undermining the intellectual property rights of authors and reducing potential earnings from their work. The dominance of major publishing houses in government-funded book events has also led to an uneven playing field, where independent and regional presses struggle to gain visibility and access to distribution channels. This problem is compounded by the widespread preference for international books over local literature in commercial bookstores, which limits exposure for Filipino writers and restricts the readership of regionally produced works.
The absence of literary agents and well-structured book marketing strategies in the country has made it challenging for Filipino authors, particularly those from the regions to navigate the publishing industry effectively. Literary recognition remains highly centralized, with limited awards and institutional acknowledgment given to books produced outside of Metro Manila. The transition to digital publishing and e-books also presents both opportunities and challenges, as regional publishers often lack the resources and technical expertise necessary to adapt to emerging trends in publishing technology.
The tension between commercialization and artistic integrity continues to shape the industry, with many writers and publishers forced to prioritize marketability over creative and intellectual depth. Equally concerning is the continued underrepresentation of marginalized voices, whether in terms of ethnicity, language, or socio-economic background within mainstream publishing, further reinforcing the need for inclusive literary spaces that empower diverse perspectives.
While some progress has been made in addressing these concerns in recent years, much remains to be done. Moving forward, I continue to advocate for a stronger and more sustained focus on regional efforts in promoting reading and publishing. If we are to make our current literary programs more meaningful and impactful, we must ensure that these systemic barriers are actively dismantled, allowing for a more equitable and dynamic literary landscape that fully represents the richness and diversity of Filipino voices across the regions.
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Noel Galon de Leon is a writer and educator at University of the Philippines Visayas, where he teaches in both the Division of Professional Education and U.P. High School in Iloilo. He serves as an Executive Council Member of the National Commission for Culture and the Arts-National Committee on Literary Arts.
