Among the awards received by the city were the following:

• Top Local Government Unit (LGU) with the Most Blood Donors, having collected a total of 6,139 blood units in 2025;
• Top LGU in the Number of Blood Donors for Three Consecutive Years; and
• Certificate of Recognition for achieving a 1% blood donation rate of its catchment population in 2025.

The same Certificate of Recognition was also awarded to Barangays Mambucal, Carpenter Hill, Namnama, Esperanza, and San Jose for achieving the required blood donation rate.

City of Koronadal has been a strong advocate of the voluntary blood donation program since 2020. From 2022 to 2025, the city consistently recorded the highest number of blood donors among LGUs in Region XII.

The city credited the success of its blood donation program to the continued efforts of Blood Program Coordinator Ivy Jane E. Lehito of the CHO, along with the support of various partners, organizations, barangays, and volunteer blood donors.

The awards were received on August 27, 2026, at The Farm @ Carpenter Hill of this city by City Administrator Vicente R. De Jesus, who represented City Mayor Erlinda P. Araquil, together with Councilor Handel Dee Cadellino-Cubillo.

The Sandugo Award is the DOH’s highest recognition for local governments, leaders, agencies, and organizations that have demonstrated outstanding support and contribution to the National Voluntary Blood Services Program. It also aims to promote voluntary blood donation and encourage more individuals and organizations to participate in ensuring an adequate, safe, and reliable supply of blood for patients across the country.

Meanwhile, the Koronadal’s continued recognition highlights the city’s commitment to strengthening voluntary blood donation and saving lives through a sustained and community-driven blood donation program.

Authored by Councilor John Rey P. Rodriguez, together with Vice Mayor Ma. Ester Catorce, Councilor Margarita Subaldo and Councilor Suellen Ogena, the ordinance establishes a citywide framework that strengthens earthquake preparedness through coordinated planning, regular drills, structural safety measures, public education, and emergency response systems involving both government and private institutions.

Rodriguez underscored the urgency of the measure, noting that Koronadal remains vulnerable to major earthquakes because of its location near the Cotabato Trench and several active fault systems.

“Ang lindol ay isang kalamidad na hindi nagpapasabi kung kailan darating.  Kaya naman ang pinakamalakas nating armas ay walang iba kundi ang kahandaan”, Rodriguez said. 

(Earthquakes do not announce when they will strike. That is why our strongest weapon is preparedness.)

He also emphasized that the ordinance goes beyond regulatory compliance and serves as a long-term investment in public safety.

“Ang ordinansang ito ay hindi lamang listahan ng mga patakaran, ito po ay isang komprehensibong plano upang protektahan ang buhay at ari-arian ng bawat koronadaleño”, he added.

(This ordinance is not merely a list of rules; it is a comprehensive plan to protect the lives and property of every Koronadaleño.)

Under the ordinance, the City Disaster Risk Reduction and Management Office (CDRRMO) will lead the implementation of the Earthquake Preparedness and Response Program (EPRP). The program includes the regular updating of contingency and evacuation plans, quarterly citywide earthquake drills, continuous public information campaigns, identification and maintenance of evacuation centers, readiness of rescue equipment, and the development of an Earthquake Early Warning and Emergency Notification System.

To ensure sustained implementation, the ordinance also creates a permanent Earthquake Preparedness and Response Program Core Team composed of key city offices, partner national government agencies, and representatives from the barangays, business sector, civil society organizations, and the Sangguniang Kabataan Federation.

Recognizing the crucial role of local communities during disasters, the ordinance directs barangays to conduct quarterly earthquake drills, maintain evacuation sites, regularly update records of vulnerable residents, and coordinate closely with the City DRRMO during emergencies.

Meanwhile, Rodriguez said barangays remain at the forefront of emergency response that is why they are mandated to conduct quarterly drills and maintain organized evacuation sites.

The ordinance also requires schools, hospitals, government offices, businesses, transport terminals, and other establishments to strengthen their own preparedness by conducting regular earthquake drills, appointing trained Earthquake Safety Officers, maintaining emergency supplies, preparing contingency plans, and undergoing periodic structural safety assessments.

Special attention is likewise given to vulnerable sectors by requiring evacuation plans and emergency procedures to consider the needs of persons with disabilities, senior citizens, pregnant women, children, and other individuals requiring special assistance.

Funding for the program will be sourced from the City’s Disaster Risk Reduction and Management Fund (CDRRMF), as well as partnerships and financial support from national government agencies and private organizations.

To ensure compliance, the ordinance imposes graduated penalties on establishments that fail to comply with its requirements, ranging from a written warning and mandatory orientation for a first offense to fines of up to ₱5,000 and the recommendation for the temporary suspension of business permit issuance or renewal for repeated violations, subject to due process.

Finally, Rodriguez said the passage of the ordinance reflects the City’s proactive approach to disaster risk reduction.

“Ang pagpasa ng ordinansiyang ito ay patunay ng ating pamahalaan na hindi naghihintay lamang ng sakuna bago kumilos.  Tungkulin nating ibigay sa ating mamamayan ang isang lungsod na hindi lamang maunlad kundi ligtas at matatag laban sa anumang unos”, he said. 

(The passage of this ordinance proves that our government does not wait for disaster before taking action. Our duty is to provide our people with a city that is not only progressive but also safe and resilient against any calamity.)

When she moved from Koronadal to Manila for high school, her Mindanawon accent became a reason for others to make fun of her. In a place where she was already trying to adjust, the way she spoke became a reminder that she was different.

Years later, that same experience would help shape the way she understood theater and eventually herself.

Now 29, Puyong is an apprentice of the Tanghalang Pilipino Actors Company, the resident theater company of the Cultural Center of the Philippines and the country’s National Theater Company. She is part of the company’s actors’ pool, performing in productions while taking part in workshops and theater tours across the country.

Her journey to the national theater scene, however, did not begin in Manila.

It began in Koronadal.

“Theater is the language kung saan ‘yong natatanging wika na naiintindihan ako, na walang judgment.”

Finding a Voice

Long before she stepped onto Manila’s professional stages, Puyong was already finding ways to express herself through movement.

Growing up in Koronadal, she participated in dance activities, including T’boli ethnic dance during her years at Notre Dame-Siena School of Marbel,Inc. She also experienced folk dance while studying at Central 1 Elementary School.

But it was only after moving to Manila for high school that she discovered theater.

At first, theater was not necessarily about becoming an artist. It was a way of becoming more comfortable with herself.

A teacher encouraged her to try theater, partly to help her become more confident in speaking Filipino. What began as an exercise in finding her voice eventually became a deeper connection to performance.

On stage, Puyong found something she had been looking for.

She did not have to hide where she came from.

She later pursued Mass Communication, majoring in Broadcasting, at Lyceum University in Intramuros, choosing a university where she could continue developing her interest in theater.

But pursuing the craft came with its own difficulties.

During college, an accident while performing in a theater production left her with a dislocated right shoulder. The injury forced her to miss classes for several weeks and contributed to her delayed graduation.

Then the pandemic brought theater—and much of the world—to a standstill.

The Road Back Home

Puyong and her partner returned to Koronadal during the pandemic. Back home, she tried to build something of her own.

They established a small theater group called Inang Teatro, with Puyong hoping to pursue her passion while helping nurture the city’s theater community.

But the timing was difficult.

Lockdown restrictions halted their plans, and with theater activities disrupted, Puyong shifted her attention to the photo and video services business she and her partner were running.

Her plans with Tanghalang Pilipino were also put on hold.

When theater activities resumed, however, the opportunity returned.

Puyong received a callback from Tanghalang Pilipino, eventually bringing her back to Manila and into the Actors Company.

It was a breakthrough—but not the end of the struggle.

The professional theater scene came with its own pressures. The competition was intense, opportunities were not always financially sustainable, and performing alone was rarely enough to make a living.

For Puyong, the pressure eventually seek for a rest.

The passion that had once pushed her toward the stage began to lose its intensity.

“Before tayo naging artist, nauna muna tayong maging human.”

She eventually took a three-month leave from Tanghalang Pilipino to visit her mother in Japan. When her grandmother in Koronadal became ill, she extended her leave and spent an entire season away from the company.

For a while, she wondered if she should return to Manila at all.

Back in Koronadal, she resumed working with her partner in their studio for photo and video business. There was comfort in being home—near family, familiar places, and a community she understood.

Staying seemed possible.

But even though she found comfort in staying in her province—with the rest that she once longed for—she seemed to be searching for something that has always been part of herself. She wanted to return to the stage, to the scene where she can be the person she once was.

She returned to Manila.

Staying in the community gave her time to reflect on the possibilities that still lie ahead. She realized that returning to the national theater may not only be for her own growth, but also an opportunity to bring back what she learns and contribute to her community. Ultimately, she sees herself returning to her roots and building a theater that can grow with and serve the community.

And eventually, she found herself preparing for a role unlike anything she had played before.

A Woman Playing Aguinaldo

In “Gregoria Lakambini,” the story of Gregoria de Jesus is placed at the center of a production that explores a woman whose identity and strength extend beyond her historical association with Andres Bonifacio.

The production takes another step away from conventional historical portrayals through its all-female cast, with women also taking on the roles of male historical figures.

Puyong plays Emilio Aguinaldo.

The role earned her a Gawad Buhay trophy for Female Featured Actress in a Musical—a recognition that placed her work alongside performances on one of the country’s major theater stages.

But Puyong approached Aguinaldo not simply as a historical name to imitate.

She wanted to understand the person behind the history.

Rather than viewing Aguinaldo only through the familiar categories of hero or villain, she examined the circumstances surrounding his decisions and tried to understand what might have driven him.

“There is always this question: ‘Bakit ginagawa ng isang tao ‘yong ginagawa niya?’”

For Puyong, that question is central to acting.

A character is not merely a collection of actions or labels. There is a human being underneath.

That perspective also allowed her to draw from her own experiences.

She knew what it felt like to be reduced to a label—to be judged because of where she came from or how she spoke. Playing Aguinaldo became another exercise in looking beyond the surface and searching for the humanity within a complicated person.

“As human, we have necessities in life.”

Her role, therefore, was not simply about portraying a man from Philippine history.

It was about understanding him.

And in doing so, Puyong was also drawing from the same lesson theater had taught her years earlier: people are more complicated than the labels placed on them.

Carrying Koronadal With Her

Puyong’s journey has taken her far from the city where it began, but leaving Koronadal did not mean leaving it behind.

If anything, the distance has made her more conscious of what her roots mean to her as an artist.

In Manila’s competitive theater scene, she sees her background not as something that needs to be erased or corrected, but as something that makes her distinct.

The experiences she had growing up in Koronadal—being exposed to local and ethnic dance, living within a close community, and eventually learning to embrace the identity she once struggled with—continue to shape the way she understands performance.

The journey has also changed how she sees the idea of success.

Moving to Manila did not automatically make everything better.

It brought opportunities, but it also brought competition, financial uncertainty, burnout, and moments when she questioned whether she wanted to continue.

Returning to Koronadal, meanwhile, did not mean giving up.

It gave her space to reconnect with herself.

Eventually, she returned to Manila carrying something different.

Not just ambition.

Not just talent.

But a clearer understanding of where she came from.

“Bitbit mo lagi kung saan ‘yong roots mo.”

For Puyong, artists carry more than their talent when they step onto a stage.

They carry their stories.

They carry their communities.

And they carry the places that shaped them.

That is why her journey is not simply the story of a Koronadal artist who made it to Manila.

It is the story of someone who once felt different because of where she came from, only to discover that the same roots could become part of what sets her apart.

Today, as she continues her work with Tanghalang Pilipino, Puyong hopes theater can reach more young audiences outside Metro Manila—bringing stories, culture, and performance closer to communities across the country.

Her stage may now be national.

But wherever the next performance takes her, she carries with her the place where her story first began.

Koronadal.

To our parents, teachers, school officials, school personnel, our youth, and the entire community of Koronadal — I speak to you today not only as your City Mayor. I speak as a mother, as a citizen, and as a guardian of our future — deeply pained, deeply concerned, and deeply troubled by reports of crimes, violence, and abuse occurring within or near our schools. The school is a sacred space. It is where every child should be safe — far from fear, from harm, and from wrongdoing. It is the home of learning, of hope, and of character-building. But when the very place meant to protect our children becomes a place of danger — something is very wrong. And we cannot remain silent.

MY HEARTFEELING REFLECTION When I learn that a child has been hurt, abused, or victimized inside a school — my heart breaks. Think about this: those children were entrusted by their parents to your care — with the trust that when they step through the school gates, they will be safe. That no one will harm them. That they will go home whole and unharmed. When that trust is broken — it is not just one family that loses hope. Our entire community loses faith in one another. Every crime in our schools is not just a wound to the victim — it is a wound to all of us. It is a failure of the duty we were all called to fulfill: to protect the vulnerable.

MY CLEAR REMINDER So I say this clearly and with firm resolve: First — There is no place for crime or abuse in our schools. Whatever form it takes — physical violence, bullying, harassment, sexual abuse, theft, abuse of authority, or any act that harms another — it will not be accepted, it will not be ignored, and it will be held accountable. The law applies equally to everyone — student, teacher, staff, or school official. No one is above the law, and no one has the right to harm another. Second — The safety of every child is our shared responsibility. It is not enough to say “I did not know” or “I was not involved.” Silence in the face of wrongdoing is complicity. Hiding the truth is covering up a crime. If you see something — speak up. If you know something — report it. Remaining silent only empowers the abuser and betrays the victim. The safety of our children is more important than comfort, more important than reputation, and more important than silence. Third — Schools must be places of truth and justice. Let us never allow fear to rule our classrooms or hallways. Let us never make victims afraid to speak up for fear that no one will believe them. Give them a voice. Give them protection. And when wrongdoing is proven — do not hesitate to act with justice, no matter who is involved. Justice does not pick favorites — it serves everyone, especially those whose rights have been trampled upon.

MY CALL TO ACTION To every parent: Talk to your children. Ask them how they are. Ask them if anyone is hurting them, bullying them, or making them feel afraid. Teach them that it is not weakness to speak up — it is courage. And assure them: “I believe you. I will protect you. You are not alone.” To every teacher and school staff member: You are more than educators — you are guardians. Your eyes and ears must always be watchful. If you see something wrong — do not look away. Report it. Act on it. Your silence may allow harm to continue. Your voice can save a child. To every student and young person: You are not alone. If you are being hurt — speak up. It is not your fault. The blame belongs to the person who harms you, not to you. We are here to listen, to help, and to ensure you can learn in peace, safety, and dignity. Your voice matters. Your safety matters. You matter. Fellow citizens, building safe schools is not the job of government alone — it is the work of every one of us. Crime will not stop as long as we remain silent. So let us watch over one another. Let us care deeply enough to intervene when we see a child at risk. Koronadal must be a city where every child is safe. Where schools are homes of hope, not fear. Where every person stands united in saying: No child should be hurt. No child should be afraid. No child will be forgotten. May God guide us all to do what is right, what is just, and what is loving — for the sake of our children, for the sake of our future. Thank you, and may God bless the City of Koronadal. EPADAYON ANG KANAMI SAN BAGONG KORONADAL…SERBISYONG TOTOO PARA SA DIYOS AT PARA SA TAO.