Dumaguete City: From Dream to Destination – How the City of Gentle People Became a UNESCO Creative

Picture this: It’s October 31st, a night buzzing with Halloween magic, and the world is winding down from World Cities Day. Suddenly, the news drops, electrifying the air like a sudden jolt of inspiration. Dumaguete City, our beloved “City of Gentle People,” had officially been designated a UNESCO Creative City of Literature! Right alongside Quezon City, which earned its spot as a UNESCO Creative City of Film. For many involved in this monumental campaign, like the author of this journey, Ian Rosales Casocot, the moment was overwhelming. Receiving the news amidst a Halloween party in a Dumaguete hotel, he confessed, was met with tears. And honestly, who could blame him? It was a pipe dream that always felt within reach, and now, it was undeniably real.

The Myth of the Pipe Dream: Why Realizing Ambition Demands More Than Wishing

You know that feeling, don’t you? That cozy comfort of a “pipe dream.” It’s safe. It’s easy. You can declare, “I’ve always wanted Dumaguete to be a UNESCO creative city,” and a little part of your ambition feels sated. The idea hangs in the air, a beautiful, unchallenged pronouncement. But let’s be real: is that truly enough?

Pipe dreams are like comfortable clouds – easy to gaze at, but they offer no solid ground. The true fulfillment of any aspiration, however grand, lies in making it tangible. And that, my friends, is where the rubber meets the road. Because bringing a dream to life isn’t just about wishing upon a star; it’s about risking it all. It means carving precious time out of your already overflowing schedule, navigating a fragile calendar of creation amidst the relentless demands of work, family, and friends. It means diving headfirst into the messy, often frustrating “dirty work” of untangling bureaucratic knots and conquering mountains of paperwork. And perhaps most importantly, it means cultivating an unshakeable fortitude of spirit, because disappointments will come, and you’ll encounter individuals who just don’t “get” your vision. The path to a dream fulfilled is never a smooth, easy stroll. Pipe dreams, conversely, are effortless.

Dumaguete’s Literary Soul: A Story Etched in Ink

For someone like Ian Rosales Casocot, a writer born and bred in Dumaguete, the idea of his hometown becoming a UNESCO Creative City of Literature was a deeply personal pipe dream. He understands, in the most intimate way, how this unassuming city has carved out a unique identity as an unlikely, yet powerful, capital of the literary arts in the Philippines. This status owes much to the dedicated writers from Silliman University – figures like the Tiempos, who chose to remain in Dumaguete, foregoing the glittering promises of more “fulfilled” careers elsewhere. They nurtured not only their own literary creations but also established foundational institutions that have become invaluable contributions to the national literary landscape.

The Weight of Expectation: A National Imperative

The stakes were incredibly high, as underscored by none other than National Artist for Literature, Resil Mojares. He eloquently stated, “In promoting Dumaguete as a UNESCO City of Literature, two things are important. One must see not only the city’s tradition and current status but the award’s potential and prospective value in raising the city’s visibility and promoting further development that will go beyond the literary field to sectors like tourism, education, and the local economy, as well as diffuse outwards to other places in the country. The stakes are high since Dumaguete is the country’s best bet for being a city of literature and I really think that if Dumaguete does not get this honor, it is unlikely that another Philippine city will.” Talk about pressure!

From Iowa to the Philippines: A Shared Literary Lineage

The seed of this grand ambition truly began to sprout for Casocot in 2010. He was one of two Philippine delegates chosen as an honorary fellow for the International Writing Program (IWP) in Iowa City – a city that had itself become a UNESCO City of Literature just two years prior. While there, a striking realization dawned on him: Iowa City, small and vibrant, felt remarkably similar to Dumaguete. It boasted one major bookstore, just like Dumaguete. It regularly hosted international writers and literary conferences, mirroring Dumaguete’s own traditions. And it shared a palpable vibe, a certain creative energy. Imagine swapping Iowa’s iconic cornfields for the glistening sea, and you’ve got Dumaguete – perhaps with a few more blonde folks, as Dumaguete writer Rowena Tiempo Torrevillas, now an Iowa City resident, charmingly calls it her “blonde Dumaguete.”

The Grandfathers of Writing Workshops: A Tapestry of Influence

Iowa City’s profound writing culture is, to a large extent, driven by the University of Iowa – its own equivalent of Silliman University. Interestingly, the renowned Iowa Writers’ Workshop, considered the grandfather of all writing workshops in America, served as the direct model for the Silliman University National Writers Workshop (SUNWW), which, since its founding in 1962, stands as the oldest creative writing workshop in Southeast Asia. This connection isn’t coincidental: both Edilberto and Edith Tiempo, co-founders of SUNWW, were esteemed alumni of the Iowa Writers’ Workshop, graduating in the 1950s for fiction and poetry, respectively. The literary cross-currents don’t stop there. When Paul Engle, the longtime director of the Iowa Writers’ Workshop, visited Dumaguete in the 1960s to participate in the SUNWW, the very idea of establishing the International Writing Program was sparked within him. He even invited some early SUNWW alumni to join the inaugural batches of IWP’s famous fall residency. These deep-rooted connections explain why, when Casocot himself arrived in Iowa for that residency in 2010, he felt so utterly at home.

The Campaign Unfolds: A Decade of Dogged Advocacy

Upon his return from the US, Casocot seized every conceivable opportunity to champion Dumaguete’s bid for the UNESCO Creative City of Literature designation. From various editions of the 6200 PopUp, sponsored by the Department of Trade and Industry (DTI) Negros Oriental, to numerous lectures on Dumaguete literature at seminars and forums – including a significant one on the creative economy at Silliman University, backed by the National Commission for Culture and the Arts (NCCA) – his voice was constant.

His dedication became even more tangible in 2014 when, as the founding coordinator of the Edilberto and Edith Tiempo Creative Writing Center, he curated an exhibit at the Silliman Library titled Cities of Literature. With the blessing of IWP’s Christopher Merrill, this exhibit meticulously traced the compelling link between Dumaguete and Iowa.

The idea continued to simmer, gaining momentum. In 2018, spurred by former Dumaguete City tourism officer Jacqueline Veloso-Antonio, Casocot even drafted a white paper for Mayor Ipe Remollo. The goal? To determine whether the city should apply for a UNESCO City of Music or City of Literature. (Remember, only the Local Government Unit (LGU) can make this official application!) Naturally, as a writer, his bias was crystal clear. However, the unforeseen arrival of the global pandemic placed these ambitious plans on an indefinite hold.

The Grueling Application: A Test of Will

Fast forward to April 2024. A talk Casocot delivered on this very topic at the inaugural Dumaguete Literary Festival reignited the flame. This presentation inspired then-DTI Negros Oriental director Nimfa Virtucio to take the crucial first steps, officially involving Casocot in the UNESCO application process, with Mayor Remollo’s full endorsement. The story, as they say, officially began. The team submitted their meticulously crafted application on the deadline: March 3, 2025.

Truth be told, the UNESCO application process, spanning from December 2024 to February 2025, was an absolute marathon – a drain on mental and physical health. By the end, Casocot found himself frequently unwell. What appeared on the surface to be a simple eight-page blank application, divided into seven chapters of questions, each with sub-questions and strict character counts, soon morphed into an intimidating beast. The final bid ultimately swelled to an impressive 40 pages of well-researched, deeply considered responses. It delved into Dumaguete’s rich literary heritage and meticulously outlined the LGU’s robust plans to ensure the sector’s prosperity in the years to come. Despite the monumental challenge, they persevered.

Navigating the Currents: Support and Setbacks

Was it the sheer ambition, the “internationality” of it all, that felt so daunting? Perhaps. The exhaustion and anxiety were so profound that even minor setbacks from individuals you’d expect to be the most supportive felt overwhelming. (Some, for instance, mistakenly believed they were applying for grant money, asking, Where will the money go? They didn’t grasp that the UNESCO designation isn’t about immediate funds, but about recognition and opportunity.) The team diligently reached out to countless stakeholders in Dumaguete – representatives from the creative community, schools, publishers, booksellers, and cultural workers – striving to form a technical working group. The goal was to collectively define what the community envisioned for a creative city of literature. While some divisiveness, miscommunication, or benign disinterest were beyond their control, the vast majority of people in Dumaguete proved incredibly kind and supportive, even responding to last-minute requests with grace.

In his darkest moments during those arduous months, Casocot admitted to feeling profoundly alone. Of course, that wasn’t entirely true. In the end, it was a dedicated coterie of friends and associates from the Buglas Writers Guild and the Dumaguete Literary Festival who pulled him out of the darkness, working tirelessly to meet the deadline. If there’s one person to single out for unwavering gratitude, it’s DTI’s Anton Gabila, who served as the steadfast keeper of their light, the rock supporting all their efforts. And let’s not forget the indefatigable Katherine Aguilar, the former city tourism officer, who provided the crucial “grease” to ensure the LGU was fully engaged throughout the entire, complex process.

A Triumph Etched in History: Dumaguete’s Literary Future Shines Bright

And so, the journey culminated in triumph. Dumaguete City officially became a UNESCO Creative City of Literature. The path was challenging, filled with the nitty-gritty of applications, the quiet doubts, and the immense effort of countless individuals. But in the end, it was a testament to the power of
trying. Not just wishful thinking or indulging in comfortable pipe dreams, but making a concerted, tangible attempt to realize a shared vision. And for that tireless effort, the city was justly awarded this incredible honor.

This designation isn’t just a feather in Dumaguete’s cap; it’s a vibrant beacon. It promises to elevate the city’s global profile, stimulate cultural tourism, foster economic growth through creative industries, and inspire a new generation of writers and artists. It’s a recognition that celebrates the past, empowers the present, and illuminates a future where stories, words, and imagination continue to make Dumaguete a truly magical place.

Ian Rosales Casocot is the author of Don’t Tell Anyone, Bamboo Girls, Heartbreak & Magic, and Beautiful Accidents. He has won the Palanca nine times for his fiction, plays, and children’s poetry. In 2008, his novel Sugar Land was longlisted in the Man Asian Literary Prize. He was writer-in-residence for the International Writers Program of the University of Iowa in 2010. As president of Buglas Writers Guild, he was the lead coordinator in the campaign for Dumaguete to become UNESCO Creative City of Literature. He is based in Dumaguete City.