Brontë H. Lacsamana Archives - ��ý Online

Board game celebrates Philippine modern art

��ý — Thu, 21 May 2026 16:06:05 +0000

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New and localized titles to launch at tabletop gaming convention

PLAYING board games is a cherished pastime among family and friends, especially now that people taking time away from screens is rare. There are various tabletop gaming clubs, organizations, and informal groups that cater to everyone from casual hobbyists and social players, to serious board game enthusiasts, who meet up weekly to sit down and spend hours at the tabletop.

While the likes of Scrabble, Monopoly, and Clue continue to be the most popular games, modern strategy games are also in demand. In the Philippines, local and localized titles provide a unique experience — the latest of which is Modern Art, a highly acclaimed international board game which now has a Philippine edition.

Following a collaboration between the Gaming Library and Fundacion Sansó, the art auction board game Modern Art by Dr. Reiner Knizia has been adapted locally to feature works by Federico Aguilar Alcuaz, Abdulmari Imao, Larry Alcala, Raul Lebajo, and Juvenal Sansó.

“The game is played by three to five players. Basically, you guys will be playing as museums and participating in auctions to sell and to collect paintings, and, depending on the season or the market, be given a return of value based on which artist is trending,” said Gaming Library Chief Executive Officer Hans Kenner Fernandez, at the media preview held at Fundacion Sansó in San Juan City.

“What’s exciting is that there are different types of auctions that you can participate in,” he added.

Gaming Library, aside from being a board game shop, is the organizer of All Aboard Expo, a tabletop gaming convention which is now in its second year. From May 28 to 31, it will be the venue for various board game tournaments and new title launches, including Modern Art.

Other local titles to be launched at the event are Sinigang (a card game of bluffing and timing where the goal is to cook the perfect pot of sinigang) and Kalikasan (a localized version of the habitat-building game Cascadia, featuring Philippine animals like tarsiers and tamaraws).

FINDING COMMON GROUND
While one would think there isn’t much overlap between art enthusiasts and board game enthusiasts, Mr. Fernandez noted that the gap need not be too wide.

He explained that reaching out to Fundacion Sansó was the perfect move, as it happens to have the Initiative for the Continuation of Artist’s Estate, a program to help manage artists’ estates (not just Mr. Sansó’s) through legacy-building, skill transfer, and copyright management.

“What we’ve learned last year was we shouldn’t just focus on people who already play games,” he said. “If we can find similarities and common ground together, especially now when our political climate is trying to divide people, I feel like we can do the opposite. So, Modern Art came to be because we believe that art is really a big component of board games.”

Considered by gaming enthusiasts as a masterclass in game design, Modern Art is a classic board game centered on the dynamics of the art market. The Philippine Edition introduces works by five contemporary Philippine artists — National Artists Federico Aguilar Alcuaz, Larry Alcala, and Abdulmari Imao, Filipino surrealist Raul Lebajo, and Presidential Medal of Merit Awardee Juvenal Sansó — with works ranging from comics to classic oil paintings, from sculptures to tapestries.

The board game’s layout and visual design were led by graphic artist Tanya Mallillin, in collaboration with Mr. Fernandez and Duane Galang from the Gaming Library. Select releases of Modern Art: Philippine Edition will include a limited-edition archival print of Juvenal Sansó’s Fat Cat, produced in strictly limited quantities.

The original creator of Modern Art, mathematics whiz Dr. Reiner Knizia, is revered among game designers with over 900 published games and books.

“‘Monopoly but for art’ is the easiest way to grasp what Modern Art is about,” said Tenie Santos, Fundacion Sansó’s assistant director, at the preview. “Not a lot of people know how big the gaming community is in the Philippines. We actually have the biggest gaming community in Southeast Asia. And we’re so happy because board games are actually a form of art, with visual components, storytelling, culture, and even math.”

She added that the project will help the five artists’ estates gain visibility among younger generations.

“Many of them don’t know these artists anymore, so we need to do something about it. We have to be flexible to the changes, trends happening outside the museums,” Ms. Santos said.

Part of proceeds from the sales of the game will go to Strays Worth Saving, which Fundacion Sansó donated to for the first time last month from the deluxe preorders of the board game.

“We’ll keep doing it while we still have stocks of the game and of the Fat Cat archival prints. We hope to reach out to the entire Filipino community, to support local and to support arts and culture,” she said. “Hopefully this will encourage people to be into art and not be intimidated.”

BIGGEST GAMING CONVENTION IN SEA
The official launch of Modern Art: Philippine Edition will take place at All Aboard Expo 2026, to be held at the MICE Center inside the Quezon City Hall complex from May 28 to 31. Representatives from the five artists’ estates will be present.

Mr. Fernandez said that, since it is the biggest tabletop gaming convention in Southeast Asia (SEA), they are expecting 15,000 attendees throughout the weekend. Last year, they had 10,500 attendees.

“We have 40 international brands flying over and visitors from Poland, Portugal, Vietnam, South Korea — about 30 countries in total,” he said. “People have volunteered to teach the new board games, so a demo team will guide you if you want to try to play some.”

Games will be labeled from Stages 1 to 5, indicating increasing level of difficulty, with Modern Art: Philippine Edition assigned to Stage 2.

“It will only have 100 copies at All Aboard Expo, so come and try it and get yours when you can!” Mr. Fernandez said.

Entrance to the event is free for Quezon City residents and priced at P150 for everyone else. More details can be found here: . — Brontë H. Lacsamana

Content creator Jemay Santiago opens up through music

��ý — Thu, 21 May 2026 16:05:05 +0000

New single confronts failure, self-doubt

FOR Filipino R&B artist Jemay Santiago, who is also a prominent online content creator, making music allows her to reveal a more vulnerable side that is different from her more jovial public persona. So, it is not a surprise that her latest single, “1A,” which was released this month, presents a laidback sound and an inner depth.

“The context is that I came to a point where I had self-doubt and suicidal thoughts. I felt like a failure as a daughter, as a content creator, as a public figure,” Ms. Santiago said at an interview on May 18 in Makati City. “I’m able to express it in song when I’m in the recording studio. Doon lang ako nagiging totoo sa nararamdaman ko (That’s the only place where I get real about my feelings).”

To further challenge the glamorized narratives often associated with mainstream exposure and music culture, the song is set to be the first single to be released from her upcoming EP, Depresyon.

“I used to be scared to express myself as a public figure because people might take my weaknesses against me, but I thought it’s better to be authentic, raw, and vulnerable for people to understand who you are and what you’re going through — and for others to relate and realize they’re not alone,” the singer said.

The track showcases hazy textures thanks to the mixing and mastering of Icy D. of Got Name? Collective, and the nocturnal beats care of Mark Arganda’s production. Originally titled “MARY1A,” it was later shortened to “1A,” a metaphorical concept representing prioritizing oneself and personal healing.

According to Ms. Santiago, the number one signifies mental health being first, while the letter A represents beginning. Thus, “1A” openly addresses “the emotional realities hidden behind the smiles, confidence, and success often projected online.”

Being part of the lesbian, gay, bisexual, trans, queer, intersex, and asexual plus (LGBTQIA+) community also motivates the artist, who identifies as pansexual, or someone attracted to all genders. “I’ve seen hate comments about my identity, about how they think my music is bad, about how I’m just a clout chaser,” she said.

Ms. Santiago explained that people don’t bother to understand once they’ve made judgments about you, adding that she had become a content creator to help with her mother’s medical bills.

“She passed away two years ago,” she said. “Wala man lang akong nagawa. Kaya nagawa ko ’yong kanta ngayon na palipat na ako mula sa pamilya papunta sa sarili ko. Kasi pakiramdam ko rin na nagkulang ako (I wasn’t able to do anything. That’s why I made this song, now that I’m shifting from family to myself, because I felt I didn’t do enough).”

For her, the pressure felt among LGBTQIA+ Filipinos who are trying to find themselves while also facing dangerous thoughts of failure and self-doubt, is quite common.

“We can be the most genuine and very happy, but we’re also carrying our own struggles,” she said. “We have to deal with it alone.”

Ms. Santiago added that music was the best way she found to tap into these unspoken feelings in the community.

“I was 15 years old when I first found out I could compose my own songs. I loved to sing,” she said. “Little did I know, being a musician could be my profession.”

“1A” is out now on digital music streaming platforms. — Brontë H. Lacsamana

Revisiting a literary legacy

��ý — Tue, 19 May 2026 16:06:17 +0000

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IT ALWAYS began with narratives scribbled down on folded sheets of 8-1/2 by 11 paper, then typed out on a battered old typewriter, said Melissa “Mimi” Nolledo, describing how her father, writer Wilfrido D. Nolledo, worked. Now, 16 of the many short stories he created have become accessible to a new generation of readers and writers.

Re-published in a collection called Canticles for Dark Lovers by local press Exploding Galaxies, these stories represent Mr. Nolledo’s body of work between 1955 and 1971. After reprinting many forgotten Filipino classics — the publishing house specializes in out-of-print works by Filipino authors — this collection holds special meaning for Exploding Galaxies. Mr. Nolledo’s 1970 novel But for the Lovers was Exploding Galaxies’ first project, released in 2023.

Publisher Mara Coson explained at the May 9 launch that their goal was to focus on the acclaimed author’s writing in the 15 years leading up to But for the Lovers.

“We went over a year, with ‘Moratorium est finie’ originally published in 1971, but we noted it as key because it’s such a departure. He did something that was sci-fi,” she said.

“In this short story collection, you’ll discover a lot of characters that will stay with you,” Ms. Coson continued. “These are characters, or lovers, actually, who lust, who long to find something, and who, I guess, in a way, get so caught up in the hope and heartbreak that these Nolledo stories provide.”

At the launch held at WHYNoT in Karrivin Plaza, Makati, Mr. Nolledo’s writings were displayed in installations that evoked how they once appeared in vintage magazines, while visual timelines and old photos of the writer and his family provided context for his colorful life.

Up front was a portrait of Mr. Nolledo painted by his dear friend, artist Danilo Dalena, who later recounted memories they shared in a recorded video message. Toward the back of the space was a projector screening excerpts of films which Mr. Nolledo contributed to as a screenwriter.

Actors Pablo Fabregas and Miren Alvarez-Fabregas delivered readings of three of the short stories in the collection — “Moratorium est finie,” “Kayumanggi, Mon Amour,” and the titular “Canticle for Dark Lovers.” Sound artist Mudskipper elevated the prose with ambient sonic tracks to accompany the readings.

NOLLEDO FAN CLUB
For Exploding Galaxies managing editor Sam Marcelo, publishing Canticles soon after But for the Lovers is their way to grow a fan club of sorts.

“Canticles for Dark Lovers continues our commitment to growing the Nolledo fan club. During the launch of the short story collection, Krip Yuson riffed on how intoxicating Nolledo’s writing is and how it made a huge impact on him when he first read Nolledo when he was young,” she told ��ý via e-mail. “We hope to provide that same experience to today’s readers.”

To be more precise, in Mr. Yuson’s impromptu message at the launch, he talked about the legacy of “language writing” that he was impressed by, but which may or may not resonate with today’s readers.

“I wonder if the new generations will also abide by it… So-called ‘language writers’ were really looked down upon. There was always a danger with language writing because if you go over the edge, it becomes ‘purple prose,’” he said. “We’ll see if the new generation will think that this is ‘purple prose.’ I don’t think so. I still remain impressed and intoxicated by the prose of Ding Nolledo.”

Those who already read But for the Lovers may also find something of interest in the new collection’s first story, “Of Things Guadalupe,” which is actually an early version of the novel.

“That might add an extra layer of interest for those who are curious about the writing process and about form,” Ms. Marcelo said.

‘SOMETHING ALIVE’
Mr. Nolledo, born in 1933, was a celebrated novelist, short story writer, playwright, screenwriter, and journalist. For Mimi Nolledo, who could only hear bits of his writing process at home, it remained a mystery to her for much of her life.

“When I think of Papa writing, what I hear first is the typewriter. Growing up, we would all hear it throughout our house on Champagne Street in Marikina — that staccato rhythm, trippingly like music, then moments when you could hear him as he quietly read passages aloud to himself,” she recalled. “Like he was checking for the cadence, the poetry, the heft and feel of a certain word, a certain syllable,” she said.

“Growing up inside that sound, I didn’t always understand what he was building. I just knew something alive was happening in that room. That’s the way literature is, I think. It happens in rooms we don’t fully enter until later,” she continued. “And then one day, we walk right in and there it is — a story, just waiting there for us. Literature is a kind of coming home.”

Canticles for Dark Lovers is available in Fully Booked, National Bookstore, and select bookstores including Everything’s Fine in Makati and Mt. Cloud Bookshop in Baguio, as well as in online marketplaces Shopee and Lazada. — Brontë H. Lacsamana

Cine Europa screens full-length films, documentaries for free

��ý — Mon, 18 May 2026 16:08:48 +0000

20 films to represent European cinema

THE 29^TH EDITION of Cine Europa is set to kick off on May 28 and will run until July 4 in Metro Manila, Tacloban, and Cagayan de Oro. Twenty European films will be screened for free over the course of the festival.

The festival films are being presented by the embassies and cultural institutes of 18 European Union (EU) member states, organized by the Delegation of the EU to the Philippines.

“These films reflect the richness and diversity of European culture and showcase the strength of European storytelling and filmmaking,” said Agata Nowicka, the EU Delegation’s deputy head of mission to the Philippines, at a press conference on May 14.

“We are also proud that Cine Europa continues its outreach screening beyond Metro Manila, bringing European cinema and cultural exchange to more communities across the whole country,” she added.

Seventeen full-length feature films and three documentaries will be screened at Shangri-La Plaza, Mandaluyong City, from May 28 to June 3, and in Rizal Park, Manila, from June 15 to 20.

Screenings will also be held at the Eastern Visayas State University in Tacloban from June 11 to 15, and the Liceo Cagayan de Oro University in Cagayan de Oro from June 29 to July 4.

“We don’t need to convince Europeans how great our culture is, so that is why we want to go to the public. We want to engage with Filipinos everywhere and show our culture,” said Ms. Nowicka.

The film lineup covers historical drama, adventure, comedy, and many others. Austria and Poland have two films each in the lineup, while Cyprus offers some resonance with their entry that revolves around a Filipina domestic worker.

A change this year is that the EU Delegation is presenting its own film, Norwegian filmmaker Joachim Trier’s family drama Sentimental Value, which had a strong awards season from Cannes to the Oscars.

Meanwhile, the festival’s three documentary entries cover a range of realities — one traces the journey of artist Andy Warhol’s family from Slovakia to the US; another looks into why Romanian tennis player Ilie Nastase rose to fame as “Nasty”; and the third presents the struggles of a simple Ukrainian soldier amid the ongoing war.

“We are united in diversity, and this is what we try to show to find a common ground with the Philippines,” said Ms. Nowicka, on whether there was a theme to help each institution pick a film to represent them.

“The goal is to promote our culture through different themes, events, and characters that could be the most interesting for you, that would resonate with you.”

For more information and screening schedules, visit Cine Europa’s social media pages.

The festival films are: Austria’s Sleeping with a Tiger and Peacock; ��ܳ�’s Head or Fails; Cyprus’ Maricel; the Czech Republic’s The Waves; Finland’s Summer is Crazy; France’s Un Ours Dans La Jura; Germany’s Afire; Hungary’s How Can I Live Without You; Ireland’s Four Mothers; Italy’s Gloria; Poland’s Lampo the Travelling Dog and Loss of Balance; Romania’s Nasty; Slovakia’s Andy Warhol: American Dream; Slovenia’s Hidden People; Spain’s Bear Claw Clamp; Sweden’s The Dance Club; Ukraine’s A Simple Soldier; and the EU Delegation’s Sentimental Value. — Brontë H. Lacsamana

Pop band ALYSON releases sophomore album

��ý — Mon, 18 May 2026 16:07:48 +0000

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FILIPINO city pop band ALYSON is set to drop their latest album, AFTER OURS, later this week. It marks their sophomore effort and further blends their major musical influences — Japanese city pop and the Manila Sound.

A week ahead of its release on digital platforms, the group held a listening party and press conference on May 15.

While their first album, Definitely Love!, is about the enthusiasm and excitement of being in love, the follow-up record “takes us on a journey to discover what happens after that,” said the members of the five-piece band, composed of Pio Ligot on vocals, Luis Uy on lead guitar, Marcus Mababangloob on drums, Miguel Erfe on bass, and Easel Manes on keyboard.

Its first song, “Ikaw Lagi,” jumps off from the feeling of the first album, which is festive and reminiscent of “seeing the person that you love on the dancefloor of a tropical club.” Conceptually, it eases the listener into the complexities of the new album.

“It culminates what came before. Then, we move into the second track, ‘Landi,’ which is less of a 5 p.m. beachside vibe and becoming a 7 to 9 p.m. ‘the night has begun’ kind of thing,” said drummer Mr. Mababangloob, who was the producer of the album.

He added that this is their “most ambitious album yet,” with a narrative that threads the eight tracks and very cinematic and vivid scenes inspiring each composition.

The song “Bighani” evokes the middle of the night, complete with temptations. The lead single, “Kung Sakaling Tanawin,” leans the most into 1970s and ’80s Manila Sound ballad influences, with trumpeter David Jorvina responsible for the orchestral arrangement befitting a pivotal telenovela moment.

“I was inspired by ‘Tuwing Umuulan at Kapiling Ka’ for the piano part. I channeled Ryan Cayabyab,” said keyboardist Mr. Manes. “Sinulat ko ito nang nakadungaw sa labas ng bintana (I wrote it while looking out the window) overlooking Antipolo.”

Meanwhile, the track “Talaga” features fellow Filipino city pop artist Paprikka.

Vocalist and lyricist Mr. Ligot said that, while it’s a playful, “lovey-dovey,” and tongue-in-cheek duet, it blends both the “Martin Nievera-Regine Velasquez synthy ’80s Manila Sound and cutesy Japanese city pop found in vintage animé.”

The music video for the song will come out alongside the album’s release. “This album really is our most ambitious creative effort so far, so we want to get it out both locally and internationally,” he said.

In keeping with the timeline, “Goodbye Summer” takes listeners to 4 a.m. in a brooding mood, supported by a full jazz band with horns. “The feeling of frustration is very authentic to the sound. We’re excited to play this live because of how big the production is,” Mr. Ligot explained.

The penultimate track, “24/7 Love and Care,” evokes the soft early morning before sunrise and serves as the breather of the album, while the final track, “Di Makapaniwala,” takes place in the movie’s end credits with the characters driving off into the sunrise.

Mr. Mababangloob said that they wanted the album to showcase “the direct middle of all of our city pop influences.”

“We wanted to close in the morning after spending a crazy night. It’s the resolute conclusion of love,” he said.

He also noted that, while they’re usually known as a city pop act, it only represents one part of the broad range of music that inspires them.

“We’re influenced by Japanese city pop like ANRI, Tatsuro Yamashita, and Taeko Onuki, but parallel to that are Manila Sound artists like Ryan Cayabyab, Basil Valdez, and Rico J. Puno,” he explained. “�ճ��’s always been a cross-cultural exchange in how music is made. We wanted to draw from that and contribute to that.”

The band even got to work with Eiji Hirano, the music engineer for Japanese city pop band Ryusenkei, with Mr. Mababangloob flying out to Tokyo as the songs were being mastered.

“City pop is seen as a nostalgic, gimmicky thing, but we don’t think it’s a set of clichés. We don’t subscribe to making it sound one way or another. Whether it’s city pop or Manila Sound, in our eyes, it’s all the same. It’s a melting pot,” he said, when asked how they view their mix of genres.

He quoted Ryusenkei frontman, Kunimondo Takiguchi, who once said that “city pop is an approach, combining pop, music, soul, and funk where the lines blur, because that’s what living in a city is like.”

“It’s inevitable that music will come out that way,” Mr. Mababangloob.

AFTER OURS will be out on all digital music streaming platforms worldwide on May 22 via Offshore Music, along with the official music video for the song “Talaga” featuring Paprikka. — Brontë H. Lacsamana

Jessica Sanchez returns home

��ý — Thu, 14 May 2026 16:06:11 +0000

Holding concert this weekend to thank her fans

AFTER winning America’s Got Talent season 20 last year, it’s time for US-born Filipino-Mexican singer Jessica Sanchez to return home to the Philippines, where she seeks to give back to the Filipinos who supported her throughout her journey.

With a concert slated for May 16 at the Smart Araneta Coliseum, Ms. Sanchez is looking forward to revisiting key songs in her career and performing with a slew of major Filipino artists.

Guests to look out for are Vice Ganda, Morrissette, Darren Espanto, James Reid, Gary Valenciano, Martin Nievera, and Regine Velasquez.

“To come back and do this kind of homecoming concert, this big solo concert with so many amazing artists, it’s really special to me. It’s going to be a very special night,” said Ms. Sanchez during a press conference in Quezon City on May 11.

“It’s an opportunity to give back to everybody that has supported me throughout the years. I feel just kind of on cloud nine,” she added.

Ms. Sanchez said that the setlist would highlight her journey — from being a runner-up in American Idol in 2012 to last year’s big win in America’s Got Talent. There will also be songs from her recently released album titled Season (stylized as SZN) and a performance of “Stronger Than Before,” her new collaboration single with Morrissette.

Because she is also a new mother, Ms. Sanchez said she’s looking forward to introducing her child, Eliana, to the Philippine side of her heritage.

According to her, people can expect a shift in her music direction because of all the recent life changes. Her album, for example, navigates genres like soulful pop and R&B.

“I feel like I really truly understand who I am, what I want. I’m more confident as a woman, [after] becoming a new mom, and Eliana is just my biggest inspiration,” she said. “I’m very excited that I have released my new album and I really hope you guys enjoy it, but I’m also excited to release so much more music. I’m also working on releasing a Tagalog EP.”

Though she couldn’t spoil any more details about the EP, Ms. Sanchez told the press that it’s easy to have love for the Filipino audience.

“When people approach me and say I represent Pinoy pride, it really overwhelms me and shocks me because sometimes I feel like I’m just a girl from Texas, now a mom,” she said. “What people haven’t seen is the phone calls and behind-the-scenes over the years of people telling me I couldn’t do things because I was Filipino-Mexican.”

These days, Filipino talent can fare better on the global stage, she explained, with “more chances in every area, like singing, dancing, acting, and sports.”

“It makes me proud of my culture and my people,” she said.

Ms. Sanchez added that she has explored a lot of genres, ranging from country to pop to ballads.

“Now, I’m into the soulful R&B vibe, but please stay tuned for more because I love to experiment!” she said.

Jessica Sanchez Live in Manila is presented by Wilbros Live. Tickets are available via Ticketnet. — Brontë H. Lacsamana

Self-reflexive theater: Ang Babae Sa Septic Tank hits the stage

��ý — Tue, 12 May 2026 16:10:21 +0000

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FIFTEEN YEARS after the film Ang Babae Sa Septic Tank took the indie film landscape by storm with its satire of the industry’s fixation on poverty-centered cinema, a theatrical adaptation marks the razor-sharp franchise’s fourth installation. Now in the form of a play, it is set to run at the PETA Theater Center from June 19 to Aug. 16.

The 2011 film starred Eugene Domingo as a histrionic version of herself, an ambitious actress determined to win awards by playing a poor woman in an indie film. The 2016 sequel saw her take on mainstream romantic comedy drivel, then the third iteration in 2019 — a seven-episode digital series — illustrated the absurdity of historical revisionism.

Like the previous installations of this multi-platform franchise, the play will be a satire with a purpose, this time turning its focus to the Philippines’ active theater scene.

Titled Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter!, it is helmed by the Philippine Educational Theater Association (PETA).

“This ‘golden age’ of theater is really quite interesting. From the pandemic, all of a sudden, it boomed. The ticket prices are so high, but people are buying,” said director Maribel Legarda, at a press conference in Quezon City on May 4. “We’re happy but it also has its own set of challenges and problems. Maybe it’s also a cautionary tale — just because we’re in a golden age doesn’t mean everything’s okay. We have to keep on reflecting and seeing ourselves in larger contexts so that we keep growing.”

She added that Septic Tank 4 will have an “intergenerational quality” appealing to theatergoers both young and old, seasoned and new. “We should be able to poke fun at ourselves, be self-reflexive, and laugh, especially because we have a lively scene,” she said.

Supporting Ms. Legarda in the creative team are writer Chris Martinez, assistant director Johnnie Moran, set and costume designer Gino Gonzales, lighting designer Barbie Tan-Tiongco, choreographer Raflesia Bravo, and video designer Bene Manaois, with sound and music by Angel Dayao and lyrics by Michelle Ngu Nario.

Returning as herself is Eugene Domingo, a non-negotiable presence since she has been the anchor of the entire franchise.

This time, she is accompanied by a lineup of theater practitioners playing both “archetypes and hyper-real versions of themselves”: Melvin Lee, Andoy Ranay, Meann Espinosa, JC Santos, Stella Cañete-Mendoza, Joshua Lim So, and Marlon Rivera.

EVOLUTION OF SATIRE
Structured as a “play within a play,” Septic Tank 4 will explore “the process of theater-making … blurring the line between reality and performance.” Audiences can expect an irreverent tone and a meta narrative filled with humor, spectacle, and social commentary, which are the bread and butter of PETA productions.

For Mr. Rivera, who directed the indie cult classic and its two sequels crossing film to digital, it was only right that he join the project as an actor this time, since he is not a theater director.

“This is supposed to be fun and a love letter to the Philippine theater. I know there’s a lot of vitriol, but it’s really a love letter to everyone,” he said.

He and writer Chris Martinez, who was the screenwriter for all the previous installments and is the playwright for this one, agreed that Septic Tank has always been about “satirizing institutions.”

“In spirit it has always been self-referential. It has always referred to what is happening at the moment so, for me, the most exciting part is that we know all these people,” Mr. Rivera added. “I have been off theater for the longest time, since the ’90s. It’s my first time back and I’m just excited to be here, to perform and namedrop all our friends in theater.”

As for Ms. Domingo, as the star of the show, a major hurdle is that they will mount 50 shows in total over the play’s run — and she and the other leads have no alternates.

“We need vitamins, supplements, prayers,” she said, “And we are studying each other’s parts.”

She explained that while she is best known for her film work, she does theater every few years and makes sure each play is totally different — and this one is possibly the most challenging so far.

“We’re going to show you what, how, to be a theater person. So, everybody’s required to be a triple threat,” she said. “We’re going to sing, we’re going to dance, we’re going to act. We’re fighting, we’re making you laugh, we’re making you cry, and most of all, you get out of the theater a little smarter, a little prouder, and a little more nationalistic.”

Septic Tank 4 will be both a celebration and a commentary. The excerpt shown to the press early in May offered theater insider jokes. There were jabs at jukebox musicals being mounted left, right, and center; at playwright Rody Vera not being available; at distinct schools of acting ranging from Dulaang UP to Repertory Philippines to PETA itself; and at new theater audience members watching shows just to look sophisticated.

THE FUTURE OF THEATER
Mr. Rivera pointed out that poking fun doesn’t have to be malicious, as it can lead to more meaningful discussions.

“Audience development is critical. The audiences now came from so many places, like Ang Huling El Bimbo and recently One More Chance the Musical with Ben&Ben,” he said. “It brought in new audiences to the theater. The point is to grow as a community as much as we can.”

The process they underwent to choose which theater-makers would appear as themselves was rigorous, said playwright Mr. Martinez.

He conducted in-depth interviews, asking questions like “What does theater really mean for you? Why are you still in the theater when you already have all these options in front of you?”

PETA artistic director J-Mee Katanyag added that doing it helped them “ask questions about where today’s theater landscape will go.”

“Because it’s a contemporary or new work, it will be constantly updated throughout the run,” she explained, on whether the material will shift depending on what’s happening in the real world of theater. “More seasoning will be added, but of course we’ll have to make sure each issue is put in responsibly.”

For Mr. Rivera, even the choice of Aurelio Tolentino’s Kahapon, Ngayon, at Bukas as the “play within a play” that the characters will mount is relevant.

“That’s a very important choice done for this production because if you read it, it’s a very seditious play. It should remind us that theater has always been at the forefront of protest,” he said.

Septic Tank 4 will not provide answers, said Ms. Katanyag, but it will hopefully give everyone ideas that may inform future actions regarding Philippine theater, “whether as actors, creators, reviewers, or audience.”

Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter! is set to run from June 19 to Aug. 16 at the PETA Theater Center, Eyrnard Drive, in Quezon City. Tickets, ranging in price from P1,800 to P3,500, are now available via TicketWorld. — Brontë H. Lacsamana

A JCS newbie’s first view of the Superstar

��ý — Tue, 12 May 2026 16:09:21 +0000

By Brontë H. Lacsamana, Reporter

Theater Review
Jesus Christ Superstar
Performances run until May 31
The Theatre at Solaire in Parañaque City

JESUS CHRIST SUPERSTAR explores the events in the final week leading to the death and resurrection of Jesus Christ as seen through the eyes of his betrayer, Judas Iscariot.

Told entirely through song, it’s the personal relationships and struggles among Jesus, Judas, Mary Magdalene, Jesus’ disciples, his followers, and the Roman Empire that make this musical particularly interesting.

Disclosure: I approach this review as a JCS newbie, never having seen it in full before.

Like this international touring production’s resident director Richard Pitt said (See the sidebar. – Ed.), the unique combination of talents for this Manila stop resulted in a completely different flavor of the show. This one was mostly clean and sharp, with key moments of impact, though ultimately it played things safe.

The vocals were great, electrifying in parts and accompanied by a solid live band, led by musical director Harry Haden Brown. Meanwhile, the ensemble choreography let the material live and breathe in its own world filled with both worship and unrest.

The costuming was interesting, with everyone in modern active wear save for the eye-catching Sanhedrin, dressed in their sweeping robes and holding imposing staffs, which also doubled as microphones. Another awesome detail is in the staging, with a cross-shaped runway which the actors walked on, and used again later as the Last Supper table in a picture-perfect moment.

Among the cast, understudy Joshua Bess (subbing for Luke Street who had not arrived in Manila yet) and Javon King’s rapport as Jesus and Judas was electric. At times it may have seemed like King edged out in terms of vocals and depth of emotion, as he bared his soul and stained his hands with silver, but Bess’ rocker wailing came through at the height of certain showstoppers, namely “Gethsemane.”

The angelic voice of Gab Pangilinan, who plays Mary Magdalene in the Manila leg of the tour, made “Everything’s Alright” quite memorable and tinged her rendition of “I Don’t Know How to Love Him” with bittersweet emotion. Her addition was a source of vocal stability in a rock opera filled with such contrasting voices.

The most striking contrast would be within the Sanhedrin troupe, with Grant Hodges’ Caiaphas in a bass baritone and Kodiak Thompson’s Annas in a countertenor. Every scene with them in it held people’s attention.

Two powerful scenes that left an impact were the scourging of Jesus, with Hardy Benson’s Pilate counting down the lashes laid on Jesus’ back in an explosive buildup of energy; and Erich Schleck’s campy song and dance number as the drag queen-ified King Herod strutting in high heels around a beaten Jesus.

The final number, the titular “Jesus Christ Superstar,” ends in a triumphant, tragic, and thought-provoking note, all rolled in one, and it’s a good introduction for those who aren’t huge fans of the show and only know some of the songs.

Chalk it up to personal preference, but some people may be underwhelmed, especially those who prefer their rock musicals rawer and grittier than the clean look, sound, and feel of this production. But this iteration of Jesus Christ Superstar deserves a warm welcome, with a strong cast and crew that have imbued the material with their own identity.

What’s the buzz, tell me what’s a-happening

��ý — Tue, 12 May 2026 16:08:20 +0000

IT WAS the first time in a long time that Gab Pangilinan got to enter a rehearsal room knowing absolutely no one inside, which set up the Manila leg of Jesus Christ Superstar’s world tour as her reintroduction to her love for theater.

“The Philippine theater industry is small and we know everyone. Every single time I enter a room, there’s someone to latch on to, so this was very different. It took a lot of mental preparation,” Ms. Pangilinan told the media during a press conference preceding the Manila premiere of Jesus Christ Superstar in the Theatre at Solaire in Parañaque City on May 5.

“You have to be open and vulnerable, and it’s been great and wonderful,” she said. “This production is reintroducing me to my love for theater. Every time we step on stage, it feels like home even though I just met these people.”

Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar is a worldwide phenomenon, first staged on Broadway in 1971. This time, as an international production, its cast features actors from the US, the UK, and Australia. Just for the Manila stop, there’s Ms. Pangilinan taking on the role of Mary Magdalene.

For a nation whose traditions include dramatizations of the Passion of Jesus Christ, the rock opera is a familiar one. What makes it unique in comparison, aside from the obvious musical, cultural, and aesthetic upgrades from the typical Passion play, are the humanized characters.

“I try to remove the pressure of having to fill in the shoes of an iconic role,” Ms. Pangilinan said. “We approach any role as the truth of that character, so it’s about what she stands for, what she believes in, which is Jesus.”

The principal cast members come from previous tours of the production: Luke Street (Jesus), Javon King (Judas), Ethan Hardy Benson (Pilate), Grant Hodges (Caiaphas), Kodiak Thompson (Annas), and Erich Schleck (King Herod).

Because Mr. Street is not yet in Manila, his understudy Joshua Bess filled in for the time being. Not a stranger to the role, he explained that the key to playing it is to not think about the history.

“I try not to think of him as the religious figure, but as the man. It keeps me grounded,” he said.

For Mr. King, who steps into the role of Judas, the goal is to humanize the characters so that audiences “let go of all their preconceived notions.”

“[Judas] is misunderstood. The thing I always try to do with him is to lead with love because, if I don’t do that, it’s easy for the audience not to like him,” he said. “I want them to think a little bit harder about him.”

Richard Pitt, resident director for this production, added that “each individual brings their personality,” which in turn gives the overall show its own personality as well compared to previous iterations.

“We’ve got people from different countries, so we have different cultures coming in. But when you watch, you won’t recognize who’s from where. They’re all just people,” he said. — Brontë H. Lacsamana

The return of White Party Manila

��ý — Mon, 11 May 2026 16:05:47 +0000

AMID RISING cases of human immunodeficiency virus (HIV) in the Philippines, film and events production company Mentorque Productions is bringing back the White Party Manila, an iconic Pride Month celebration that went into hibernation in 2014.

Back in 2001, the lesbian, gay, bisexual, and transgender (LGBT) community came together and held the first edition of White Party Manila, which was meant to promote local businesses in Manila’s district of Malate, fight for their advocacies, and educate people about gender equality. Over time, it became the largest annual gathering of LGBT+ Filipinos in Metro Manila.

Held every June in time for Pride Month at the corner of Julio Nakpil and Maria Orosa Streets, it used to have dance floors, DJ sets, and live performances. Later iterations had it in clubs in Ortigas, until complications in organizing brought the event to a halt.

With the theme “Reignite,” White Party Manila will return in 2026, to take place on June 27 at the World Trade Center in Pasay City.

At the media launch on May 9, Mentorque Productions and HIV advocacy group LoveYourself, Inc., revealed that the return of the iconic gathering will be “grounded in a deeper commitment to community care, health, wellness, and empowerment.”

LoveYourself provides HIV testing and treatment services to Filipinos nationwide.

“None of our programs would be possible without those who share about us and use platforms to reach a bigger audience,” said Dr. Ronivin G. Pagtakhan, LoveYourself founder, at the media launch.

“�ճ��’s always an increase of HIV cases every year, every day, which is sad. When the cases of HIV are high, it’s scary because it’s an epidemic in the country and our surveillance here is passive,” he explained. “But those who get tested get to be part of the statistic. Since it’s rising, that means more and more people are actually getting tested and gaining access to life-saving programs.”

In addition to HIV treatments like pre-exposure prophylaxis and post-exposure prophylaxis, LoveYourself has also been providing free treatments for tuberculosis. They also offer counseling for LGBT+ Filipinos facing mental health challenges, including transgender people who require transitioning counselling.

CHANGING COMMUNITY
Mentorque Productions unveiled a lineup of White Party Manila ambassadors, each with their own spheres of influence in the local LGBT+ community, led by actress-comedienne Vice Ganda.

The ambassadors include vlogger Mimiyuuuh, celebrity couple Joey and Angie Mead King, actress-host Jervi Wrightson, actor John “Sweet” Lapus, singer-songwriter Ice Seguerra, director and theater actor Andoy Ranay, actor Alex Diaz, and actresses Janella Salvador and Klea Pineda.

There will also be a fashion collection by designer Bang Pineda, to complement the White Party Manila’s aesthetic.

John Bryan Diamante, founder and chief executive officer of Mentorque Productions, told ��ý that the party brings together “world-class production and inclusive programming at a time when community gatherings are needed the most.”

“Twelve years ago, the community was really strong. We all knew each other better,” he said, on the sidelines of the media launch. “I think in this chaotic social media landscape, this event harkens back to that. The Gen Zs especially can have real connections and meet people in their community.”

Because White Party Manila started out as a safe space, its role in today’s fractured world is to be “a vehicle for this sense of belonging.”

To reach the Gen Z crowd, performers that will grace the White Party stage include pop band Ben&Ben, singer-songwriter Maki, rapper Gloc-9, and drag performer Marina Summers. The organizers assured that many drag queens will be making an appearance, with Miss Jade So offering a taste of her magic at the media launch.

“The culture of rave parties, we’ll bring that in as well. Overall, it will present a mixture of Pinoy pop culture,” Mr. Diamante said.

He added that they are hoping to have 15,000 to 20,000 attendees at the World Trade Center. In its peak years, the event always drew over 10,000.

For Mr. Pagtakhan, guiding the younger generation in terms of both sexual identity and sexual health is the way to strengthen the LGBT+ community in the Philippines.

Mr. Diamante said that the reason the White Party is white is because it’s a coming together of all the colors of the rainbow, with no bias for anyone.

“It’s to show that we’re together, that we’re united,” he explained. “And when they see all the icons that will be there, it will show that the LGBTQIA+ community are also movers and shakers of this country.”

The full lineup of performers will be revealed soon. Tickets — priced at P1,500 for general admission, P2,000 for walk-ins, and P7,000 for VIP access — are available via Ticket2Me. — Brontë H. Lacsamana

Mass-based organization builds slate of films

��ý — Thu, 07 May 2026 16:07:41 +0000

CARD MRI’s production house aims for wider audience with films that are both entertaining and have deep messages

BENTE PRODUCTIONS, a film production outfit that is part of a group of companies that provides services to the poor, is set to finish its second film this year.

Bente Productions is the multimedia arm of CARD MRI (CARD Mutually Reinforcing Institutions), a group of initiatives directed at providing key services to the poor, including those in remote areas. Founded by Jaime Aristotle Alip in 1986, its network of companies spans banking, finance, insurance, information technology, education, and culture.

“All of the products and services of the different companies work toward the universal goal of the CARD MRI group, which is poverty eradication in the Philippines. Our entire network addresses the different facets of poverty,” said Marilyn Manila, president of Bente Productions, in an exclusive Zoom interview with ��ý.

“We are documenting everything, telling the world about organizations like us and opportunities which Filipinos can use to elevate their lives. We are capturing that in films, YouTube videos, and online content like talent shows and talk shows, where we try to package the message of hope in a popular platform,” she explained.

ROMANCE IN BORACAY
Bente Productions’ first film was the romantic drama I Remember You, starring JC Santos and Valeen Montenegro. Released in 2025 and directed by Boboy Yonzon, it follows a bank manager sent to Boracay to help a struggling community and eventually finding love as well.

The production company was formally founded in 2024, but CARD MRI had been producing films and videos even before that, Ms. Manila said.

“Our full-length films were preceded by our localized film festival for our clients and staff, which is now on our fifth year, called SineMaya,” she said. By investing in groups of employees, clients, students, and others in order to make short films, SineMaya empowers grassroots filmmakers to highlight social development and community stories.

“After two years, naisip namin na ang mga festival films, sa YouTube lang mapapanood (we realized that the festival films can only be seen on YouTube),” she said. “Kapag full-length films, mas makikita na sa sinehan. Maraming maaabot na tao (Whereas full-length films can be seen more in the cinema. They will reach a lot of people).”

Bente Productions’ current film project is Kusinerang Bulag (The Blind Chef), which recently wrapped up filming in Iloilo. The drama, starring Arra San Agustin and Jean Garcia, aims to showcase culinary heritage with a story about a chef who goes blind but continues to run her family’s restaurant.

The production outfit is also already developing the concept of its third film project, titled Sulat Para Kay Tatay (Letters for My Father), set to reflect the realities of OFWs (overseas Filipino workers) with an emotional father-daughter story.

GRASSROOTS APPROACH
Ms. Manila explained that Bente Productions is uniquely placed in the creative economy because of its ties to the CARD MRI network.

“Nation building and poverty eradication are our foremost goals, so we ensure that our films are very inclusive of the communities we work in. We hire a lot of non-actors that we train for key supporting roles, alongside the commissioned known actors,” she said. “We hold auditions for clients, invest in them, build their capacity to act in front of the camera, and pay them talent fees.”

This decision to work with people in the communities they are depicting and filming in extends to everyone in the crew, all the way to the suppliers, caterers, and transport providers. The first film involved people in Boracay and Panay Island, while the second film involved people in Iloilo and Batanes, where they also shot some scenes.

As for the creatives involved, Bente Productions only has a few in key positions, with major roles like directors, screenwriters, and cinematographers outsourced. The concepts are developed from pitches by CARD MRI staff and clients, who eventually shadow the professionals to learn the ropes of filmmaking themselves.

Sulat Para Kay Tatay, for example, was submitted by a budding writer, Eduardo Pacquiao, and selected through CARD MRI’s scriptwriting competition held last year. Because the group has 10 million clients all over the Philippines and a massive network on the ground, Bente Productions will continue employing a mass-based approach, said Ms. Manila.

WIDENING THEIR REACH
She told ��ý that they are constantly studying their impact on the creative economy. For example, they learned that their first film was seen more in the provinces rather than the cities.

“We’re mass-based, so we have a strong presence on the ground. The campaign should also be like that, because that’s the structure of CARD MRI. Social media and mainstream media are still there, but we’ve proved that we work better by using our grassroots network,” she said.

With the third film, Bente Productions hopes to break into the film festival circuit, which would widen their reach — though they will still maintain their grassroots campaigns.

“After the theatrical release of I Remember You, marami kaming clients sa mga lugar na walang sinehan (we had a lot of clients in places without cinemas) like Masbate or Marinduque or Lanao del Sur, who said they also wanted to watch [the film],” Ms. Manila said. “What we did is we screened the film in venues like basketball courts. We will continue that approach.”

Because the third film’s subject matter will be the reality of OFWs, they also aim to tap the Filipino diaspora as a market for the film. Meanwhile, their long-term goal is to build a reputation as a film production company.

“Gusto namin gumawa ng mga pelikula na may saysay sa lipunang Pilipino, na entertaining and at the same time malalim ang mensahe (We want to make films that are relevant to Philippine society, that are both entertaining and with a deep message).” — Brontë H. Lacsamana

Understanding artistic excellence through Maria Callas

��ý — Tue, 05 May 2026 16:06:03 +0000

FOR THOSE who want to explore what it means to be great and to make sacrifices for art — and for opera fans who admire legendary opera diva Maria Callas — the Philippine Opera Company’s (POC) upcoming production, Master Class, is a must-watch.

It presents a fictionalized account of masterclasses led by the real-life opera singer — played by Menchu Lauchengco-Yulo — in the 1970s.

Performances will be held at RCBC Plaza’s Carlos P. Romulo Auditorium from May 15 to 30.

Written by playwright Terrence McNally, Master Class was originally performed at New York City’s John Golden Theater in 1995, directed by Leonard Foglia and starring Zoe Caldwell as Maria Callas. It went on to win multiple awards, including the Tony Award for Best Play.

The 2026 staging by POC, directed by Jaime del Mundo, comes at a time when art is devalued and overlooked in favor of digital-era trends and virality, and ultimately sanitized for political correctness.

THE VALUE OF ART
Mr. Del Mundo told the media at an April 21 preview that the audience can expect a play about love and passion, fueled by “the older generation of singers’ desire to communicate to the younger generation.”

While Master Class offers a behind-the-scenes perspective of opera, it is not a documentary. Playwright McNally wrote this after watching a masterclass by another singer and thought to combine that concept with Ms. Callas, the epitome of opera at the time, who was already getting old and teaching young singers.

“Hopefully, audiences realize through this the amount of work that goes into it, that’s demanded. It adds to the value that art has,” said Mr. Del Mundo. “One of the reasons art is glossed over is not because of a lack of exposure, but because a lot of people don’t realize the value. This play shows the blood and guts an artist gives.”

An iconic line by Ms. Callas is “ho dato tutto a te” (I gave everything to you), which encapsulates this mindset. “This play is for anyone who thinks art is important and anyone who thinks art is not important,” he added.

MILESTONE

Master Class also marks a milestone for POC, which is celebrating its 25^th anniversary season. They had already staged it back in 2010, but this anniversary revival has a different goal — to “honor the legends who shaped the operatic world while reaffirming its belief that true artistry demands courage, discipline, and soul.”

Mr. Del Mundo noted how opera was invented a long time ago and has been subject to many changes over the past several decades, from Ms. Callas’ influence to the introduction of television and now to the digital age.

“�ճ��’s a lot we can learn about it now. Years ago, when I first attended a class where an opera singer was singing, I discovered for the first time that they perspire. You never realize that they work so hard that they perspire,” he said.

B.C. AND A.C.
Maria Callas, hailed as the paramount dramatic soprano of her era, transcended boundaries in the world of opera. Born in New York City in 1923 to Greek parents, her performances in Italy earned her widespread acclaim, highlighting her remarkable versatility across a repertoire spanning Wagner, Verdi, and Puccini.

For Ms. Lauchengco-Yulo, who doesn’t have operatic training, playing the aged version of the legendary singer is a relief since it doesn’t require her to sing opera — only teach the students.

“The history of opera is often divided into B.C. and A.C. (before Callas and after Callas). She brought drama and incorporated acting to her singing,” she explained. “And she was so hard on her students because, for her, it was about passion, craft, and being the best you can be.”

The cast includes Louie Angelo Oca as the accompanist, Alexandra Bernas, Arman Ferrer, and Angeli Benipayo as Ms. Callas’ students, and Nelsito Gomez as the stage hand.

The set and projection design are by Joey Mendoza and the costume design by Zeny Gutierrez.

100% DEDICATION
Ms. Lauchengco-Yulo said she resonates with her character “quite a lot.”

“I dedicate myself 100% completely to every role. I like to think that I’m somewhere along the lines of her idea of being true to your craft,” she said. “I teach with a lot of textual analysis where, aside from the voice, we break down what you’re saying.”

There is also something more personal. “I also resonate with getting older and not being able to do the same roles. I’m at a stage where I’m going into directing, teaching, and passing things on.”

In 1971, Ms. Callas taught at the prestigious Juilliard School. These sessions, which Mr. McNally drew from in writing the play, saw her working with young singers while reflecting on her life, triumphs, sacrifices, and relentless pursuit of artistic truth.

OPERA IN THE PHILIPPINES
POC is the country’s only professional opera company that consistently produces opera and classical music performances. Established in 1999, one of its commitments is to “breaking the perception of opera as elitist.”

Because of this, it has brought performances out of traditional theater spaces and into malls, churches, schools, parks, and community centers, making classical music more accessible.

POC founder, president, and artistic director Karla Gutierrez told the media that Master Class was the perfect way to mark the 25^th season because it’s a bit like “attending Opera 101.”

“We need to tap students who can learn to appreciate opera. We’ll also have a program for teachers, where someone will adopt a teacher to watch,” she said.

The motivation for this is the problem of the Philippine education system where MAPEH — music, arts, physical education, health — teachers have a substandard, broad understanding of the four subjects they’re teaching.

“They don’t have good modules. It’s a big problem and makes it even harder to promote classical music. That’s why we do a lot of out-of-the-box productions, where I tell them it’s like watching a musical,” Ms. Gutierrez said. “That’s why POC has been focusing on the audience development program.”

In one outreach initiative in Tondo, they went to a building where the first floor was a palengke and the second floor was a school. “If you make it fun for the kids, there’s an interest. The bottom line is that we need government support. Many public schools don’t even have any instruments,” she said.

Ms. Gutierrez had considered closing down the POC in 2020 since it was not doing well. She took a leave and visited the Los Angeles Opera, where she asked about ticket sales.

“They told me that it’s a worldwide problem, and the only one making money is the Met [Metropolitan Opera in New York],” she explained. “What we did is reprogram the company to focus on students, because they will be the next ticket buyers. We’re focusing on audience development.”

Master Class runs from May 15 to 30 at the Carlos P. Romulo Auditorium, RCBC Plaza, Ayala Ave. corner Gil Puyat Ave., Makati City. Tickets are available via Ticket2Me. — Brontë H. Lacsamana

From journalism to literature: A Filipino story in the Southeast Asian context

��ý — Tue, 05 May 2026 16:05:03 +0000

THERE ARE MANY female writers in Southeast Asia, though not many readers are aware of their talent or their body of work.

Filipina writer Marga Ortigas is best known as a broadcast journalist, covering conflicts and disasters both natural and man-made, which she did for about three decades, most notably with CNN and Al Jazeera.

In 2021, she returned to creative writing, the root of her childhood passion for stories. Her debut novel, The House on Calle Sombra, was published, an ambitious work tackling themes of love, greed, and trauma in the context of family and Philippine history. It was then followed by two collections of essays and another novel — and, most recently, a literary award.

ON RECOGNITION
Built upon the Thai Chommanard Book Prize established in 2008, the Chommanard International Women’s Literary Award has a mission “to support and elevate women writers across Asia and beyond.” It celebrates female literary talent from the ASEAN, China, Hong Kong, and Taiwan, sponsored by Bangkok Bank and organized by Praphansarn Publishing Co., Ltd.

Ms. Ortigas’ debut novel was recognized at the literary award’s 2025 edition; the awarding ceremony was held last month. The House on Calle Sombra was given the Country Award for representing the vibrant literary tradition of the Philippines, where “storytelling often intersects with history, memory, and social realities.”

“I knew it had been submitted for consideration, but you never know with these things. You can only hope that people appreciate what is in the work. Reading is really subjective,” said Ms. Ortigas, who spoke to ��ý over Zoom, of her win.

“There was a mixed bag of judges from across Asia, so I’m just glad that somehow they came together to decide that the book was worthy of recognition, considering all the other books submitted,” she added.

From over 66 submissions, Hong Kong writer Lau Yee Wa emerged as the Grand Prize winner for her novel Tongueless — seven other writers were revealed to have been on the shortlist. Aside from Ms. Ortigas representing the Philippines, Singaporean writer Jemimah Wei was the other Country Award winner for her novel The Original Daughter.

As the grand prize winner, Lau Yee Wa was awarded 500,000 baht, and the rest received 40,000 baht each. Another perk for winning is consideration for translation into Thai, subject to rights agreements.

“I picked up all of the other books that were nominated and shortlisted, and they were honestly incredible,” said Ms. Ortigas. “Every single one is different.”

“I was so humbled realizing that there’s so much amazing work coming out of Asia, and it’s unfortunate that the Western world is not very aware of the wealth of literary work in this part of the world,” she added. “In fact, I’m reading more Asian authors now.”

The organizers of the Chommanard International Women’s Literary Award hosted the 10 winners for a week in Thailand, which allowed them to interact and exchange ideas.

Ms. Ortigas noted that women have a unique perspective as writers, which makes them a voice that’s all the more crucial in literature.

“We listen more. Generally, in history, women have kind of been fashioned to sit back and let the man lead. Women have gotten used to taking everything in quietly and watching from the sidelines, which means we pay attention more and we observe more,” she explained.

ON UNDERSTANDING
On the expanded reach of The House on Calle Sombra, Ms. Ortigas posited that family as a theme is something everyone can relate to, which makes it a fairly easy read.

Her writing style, given her background as a TV journalist, has also always been very visual and colorful.

“The book recently got a Spanish translation, and the thing that the Spanish publishers were telling me was appealing about it is the fact that it reads like a telenovela, and yet it’s not superficial,” she said. “It’s a very heavy subject treated very lightly, written with the Filipino in mind, but not specifically just for the Philippines.”

As a writer, the journalist-turned-author believes that she writes “to understand things,” especially having covered the Philippines for many years, from its natural disasters to its changes in administrations.

“Why is the country in this cycle of constant patronage politics, of a feudalistic clan system, like nobody’s learning? So I wanted to try to understand that. That’s why the book was born,” she explained.

With influences like Jeanette Winterson and Italo Calvino, Ms. Ortigas decided to use her lifelong attraction to prose to answer these big questions. Now, after winning Chommanard’s Country Award, the implications of Filipino stories on a global stage are huge.

“They’re beginning to look for other stories in the Western world, beyond their homegrown writers,” she explained. “I think the more regional bodies or the more platforms recognize Asian writing, the better. We don’t have to wait for recognition from Western people; it’s our part of the world pointing out the best of our own.”

Because of this, she recommended that Filipino writers take the leap and submit their work to awards like these.

In her own batch, Ms. Ortigas pointed to Grand Priza winner Lau Yee Wa, whose novel Tongueless explores language, identity, and institutional control in a story where Mandarin is mandated to supplant Cantonese.

Meanwhile, shortlisted Thai author Veeraporn Nitiprapha’s work, Memories of the Memories of the Black Rose Cat, about three generations of a Chinese-Thai immigrant family, has become one of her favorites.

“Reading the styles of all the other authors has given me pause for thought. You can say things in so many different ways,” Ms. Ortigas said. “They explore many themes, like grief, a search for home, and it proves how there’s such a wealth of human experiences out there.”

She quoted another shortlisted author, Nguyễn Phan Quế Mai, whose novel The Mountains Sing highlights the Vietnamese experience across the 20^th century, from French colonialism to the Vietnam War.

She said: “If we read each other’s literature, we will understand each other’s humanity.”

The Chommanard International Women’s Literary Award is accepting submissions for the next cycle until June 30. — Brontë H. Lacsamana

ABS-CBN-produced Love Is Never Gone to stream on Prime Video

��ý — Mon, 04 May 2026 16:07:51 +0000

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STREAMING service Prime Video will have a new Filipino romance drama series, titled Love Is Never Gone, starting May 8.

Produced by ABS-CBN Studios and Dreamscape Entertainment, it stars Joshua Garcia and Ivana Alawi, marking the first time the two celebrities will lead a series together.

Set in Morocco, it blends romance and suspense, following two lost souls who find strength and love in each other only to discover that lies and betrayal threaten to derail their happiness.

For Ms. Alawi, the series was a rare chance to do something both action-packed and romantic in another country — most importantly, with a reliable co-star.

“Joshua is more than just an actor. Napakabait niyang tao (He’s a very kind person). He’s generous and he treats everyone with respect,” she said during a press launch on April 28 in Quezon City.

Her role also requires speaking different languages, as she plays a woman who takes on various high-risk jobs to survive. Though the actress was raised in Bahrain by a Moroccan father, she spoke neither Arabic nor French, which are two languages her character speaks.

“Inaral ko nang tatlong araw bago mag-shoot. Multilingual ako dito. Kahit Spanish alam ko rin (I studied for three days before shooting. I’m multilingual here. I even know Spanish),” she said.

“Kapag dumadating sa set, smiling si Ivana. Iirap-irap lang ’yan pero mahal kami niyan (When she arrives on set, Ivana is smiling. She always glares at us but she loves us),” Mr. Garcia said of his co-star at the press launch.

“Mabilis siya umiyak sa mga eksena. Natutuwa ako kasi same page na kami palagi (She cries very easily in our scenes. I’m glad because we’re always on the same page),” he added.

As for their chemistry, the actor explained that it was both natural and due to the bonding opportunities they had while filming in Morocco.

‘FILMIC APPROACH’
Love Is Never Gone has all sorts of twists and turns. Teo (played by Mr. Garcia) is a devoted son who works in Morocco in order to give his family a better life, while Yana (played by Ms. Alawi) has ties to a crime syndicate which leads to an inevitable betrayal of their budding romance.

While the first few episodes are largely set in Morocco, the story picks up years later back in the Philippines, when Teo encounters Yana who now goes by a different identity.

“It’s really full of action. �ճ��’s a lot to look forward to and be surprised by,” Ms. Alawi said.

Director Emmanuel Palo told the press that the “filmic approach” of the show is only right given that it will stream not only in the Philippines, but in other countries and territories.

“We firmly believe our audience deserves nothing less,” he said. “Aside from the visuals, it’s really the narrative. Yes, it looks and sounds good, but our creative team really worked hard to give us a story that’s relatable and real, with characters that are truthful.”

Fellow director Jojo Saguin explained that the series offers a blend of things that not many people expect to see, all in one.

“The camera angling is different, the action scenes plus the undeniable chemistry of our two stars is quite different, and there’s the texture of Morocco,” she said.

“Of course, love for family is the core,” she explained, of the themes that viewers can expect in the show. “Matapos na ang lahat, sa pamilya ka pa rin babalik (After everything, you still go back to family).”

Also in the cast are Jameson Blake, Jane Oineza, Michael de Mesa, Epy Quizon, Fyang Smith, JM Ibarra, Dina Bonnevie, and Ara Mina.

The production is one of several collaborations between ABS-CBN and Prime Video, all aiming to bring Filipino entertainment to more viewers worldwide.

Love Is Never Gone is scheduled to premiere on May 8. — Brontë H. Lacsamana

The sounds of summer: Hot R&B and hip-hop albums for keeping things cool

��ý — Mon, 04 May 2026 16:06:51 +0000

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By Brontë H. Lacsamana, Reporter

Music Review
This Music May Contain Hope.
By Raye
Movie
By Sofiane Pamart
Kehlani
By Kehlani

THREE unique albums were released over the past two months in a wave of mellow, refreshing music from the Western side of the world, arriving to give comfort as we face the heat of summer.

For fans of R&B, hip-hop, and soul, these collections of songs — from the UK, France, and the US — could be a great way to cool down this May. Here’s an overview of three albums you can listen to that dropped over the past two months.

THIS MUSIC MAY CONTAIN HOPE. — RAYE
British singer-songwriter Raye (real name: Rachel Agatha Keen), active since 2014, blends jazz, pop, dance, R&B, and soul with lyrics that talk about personal experiences and contemporary issues.

Her second studio album, This Music May Contain Hope., was written and co-produced with various collaborators — Jordan Riley, Chris Hill, Mike Sabath, Tom Richards, Pete Clements, and film composer Hans Zimmer. Because of the themes of hope and liberation, the album stands out with its incorporation of big band, blues, and orchestral pop elements.

The 17 tracks in this strong record take us through the full range of human emotion, divided into the four seasons. It’s more maximalist than her previous record, My 21^st Century Blues, with clean vocals sometimes distorted, genres seamlessly blended, and interludes that effectively punctuate the songs.

Tracks that stand out are “Where Is My Husband!,” with Raye’s versatile vocals accompanied by a massive brass band; “Click Clack Symphony,” an empowering anthem further uplifted by Hans Zimmer’s symphonic arrangement; and “I Know You’re Hurting.,” a heartfelt and viscerally emotional six-minute ballad.

MOVIE — SOFIANE PAMART
An underrated new album is Movie, created by French pianist and musician Sofiane Pamart.

Born in France of Moroccan origins (through his maternal grandfather), he studied piano and classical music at Conservatoire de Lille. Inspired by Frederic Chopin and Claude Debussy, his fourth solo album is tailored to be a cinematic experience, blending neo-classical piano with global stars like Sia, Celeste, and Nelly Furtado.

In the seventh track, “Moviestar,” Pamart’s emotive piano drives forward Nigerian musician Rema’s signature autotuned vocals. “Piano Sonata” follows it up, this time combining Colombian singer J Balvin’s melancholy voice with Pamart’s gentle playing. However, it’s the grand orchestral track “Gimme Love Orchestra” with Australian singer Sia that offers the most global appeal, her powerful yet vulnerable vocals undeniably the strongest on the whole album.

As for the album’s instrumental pieces, “Cinema” is impressive and moving, featuring a collaboration with French multi-instrumentalist FKJ, as they execute intertwined melodies on two pianos.

KEHLANI — KEHLANI
American singer-songwriter and dancer Kehlani (full name: Kehlani Ashley Parrish) has been a major force in pop, R&B, and hip-hop since 2009. Their fifth studio album, Kehlani, continues to explore this combination of genres while also featuring guest appearances from big musicians like Lil Wayne, Missy Elliott, Usher, T-Pain, and Cardi B.

One of its most infectiously rhythmic tracks, “Folded,” has Kehlani at their most sensual and smooth, and it’s no surprise this song earned them a Grammy for Best R&B Song.

“Shoulda Never” provides upbeat energy, matching Usher’s distinct, confident vocals with Kehlani’s. A track that provides a memorable, old-school sonic experience is “Anotha Luva,” which evokes the early 2000s with playful production and a solid rap verse from Lil Wayne.

An honorable mention goes to the comforting “I Need You,” with velvety yet electric vocals by Kehlani and Brandy, tying back to how R&B is ultimately a show of raw vulnerability by talented musicians.

In praise of Mario O’Hara

��ý — Thu, 30 Apr 2026 16:08:09 +0000

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SINCE being introduced to the films of Mario O’Hara back in 1986, film critic Noel Vera knew that he was seeing the works of a master.

His exploration continued in the 1990s, as he became more familiar with the filmmaker’s body of work. He noted the narrative power and strong visual language in films like Bulaklak sa City Jail, Bakit Bughaw Ang Langit?, and Tatlong Taong Walang Diyos, all of which depict the violence that plagues those in the fringes of society.

But the idea of writing a book on Mr. O’Hara only materialized in 2005, and it took a long while to put together. The result is a collection of essays titled The Quiet Man: The Films of Mario O’Hara.

Mr. Vera, ��ý’s long-time film critic, describes Condemned as “the perfect noir,” and Bagong Hari as “the perfect action film.” He refers to Mr. O’Hara as more understated, more “drawn to the dark and morbid, yet still tender,” as compared to his contemporaries like Lino Brocka, Ishmael Bernal, Mike De Leon, and Laurice Guillen.

The book is a long-overdue tribute to the man’s talents. His is a body of work that “deserves its own module, if not its own course” in film studies, according to Mr. Vera.

“I’ve seen all the best in Philippine cinema, you name it, and I still believe O’Hara’s films were the most moving,” he said during the book’s launch on April 25 at Archivo 1984 in Makati. “His work touches me, above anyone else, and I think he’s the best not just in the Philippines, but the entire world.”

The book got its name in large part due to the director never truly selling himself or having as many champions in film scholarship as other directors, but there’s a different reason as well. Once, writer and fellow critic Jolicco Cuadra referred to Mr. O’Hara as his favorite Filipino director and someone “who truly knows violence.”

“The man who’s loud, threatening violence as he’s walking down the street? I’m not scared of him. I’m afraid of the quiet man,” he said, talking about Dan Alvaro’s character in Bagong Hari. Thus, the title of the book was born.

The first chapter gives more insight into this moment, painting a picture of a sit-down interview with Mr. O’Hara in the 1990s, when they managed to corner him backstage at his last performance of a play. (Though a famed film director and screenwriter, Mr. O’Hara was also an actor in television and film, but was most prolific in theater.)

Mr. Vera explained that the experience of going through the man’s filmography impressed him gradually as he went along, and hoped that the book could aid more people seeking to do the same.

In attendance at the launch was actor and production designer Frank Rivera. He gave a moving speech recalling his friendship with Mr. O’Hara, and talked about how they would take ideas from the things they saw around them. During a walk along Roxas Boulevard, they saw a blind man with a guitar near the US Embassy — which eventually inspired the character played by Yoyoy Villame in Babae sa Breakwater.

Another anecdote he told was when Joel Torre had to drop out of a role in Babae sa Bubungang Langit due to scheduling conflicts, and Mr. O’Hara asked Mr. Rivera to take his place. A moment of hesitation came when a scene required frontal nudity.

“Sabi niya, artista ka naman. Gawin mo na para matuloy ang pelikula. Na-challenge ako. (He said, you’re an actor. Do it so we can continue the film. I was challenged),” Mr. Rivera recounted.

“He was not a quiet man. He told stories, he told dreams, and he sang. He made me do things I did not want to do. I made him do things he did not want to do. And I miss him every day.”

As for where to see Mr. O’Hara’s films, quite a few were restored and can be found on YouTube thanks to ABS-CBN’s now defunct Sagip Pelikula program — Mga Bilanggong Birhen, Tatlong Taong Walang Diyos, Bulaklak sa City Jail, and Tatlong Ina, Isang Anak.

Leo Katigbak, who used to head the film restoration initiative before it closed, said that “a lot of young people now are rediscovering classics.”

“�ճ��’s a resurgence of interest in all things old. I’m glad we were able to do a lot of that in ABS-CBN. Right now, I’m a consultant with the FDCP (Film Development Council of the Philippines), so we’re focusing on restoring a lot of movies,” he said.

One of these is Tinimbang Ka Ngunit Kulang, directed by Lino Brocka and co-written by both Brocka and O’Hara.

“It’s a great time to be a cineaste, to be a film buff,” he said. “We have to restore more movies while a lot of the people who actually worked on them are still around.”

The Quiet Man: The Films of Mario O’Hara is published by Archivo 1984. The book is available to order via . — Brontë H. Lacsamana

Bridging the past and the future: Museo del Galeón as a center of maritime studies

��ý — Tue, 28 Apr 2026 16:08:45 +0000

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PHILIPPINE history contains treasure troves beyond the same dozen blurry, photocopied pictures circulated in textbooks — and there’s now an institution that makes the 1500s to 1700s accessible today.

Museo del Galeón, a museum centered on seafaring during the Spanish galleon trade, will fill an overlooked, 250-year gap in history. Opening to the public from May 1 onwards, it is also “crucial to the Philippines’ maritime future,” said historian Manuel L. Quezon III, who is the executive director of the Museo del Galeón, at a press briefing last week.

“This is a museum that features time travel through a giant representation of a galleon,” he said, referring to the full-scale reconstruction of the 17^th century ship Galeón Espíritu Santo, which serves as the centerpiece of the museum.

“You are going to be brought on a journey to a part of our national life, our national story, which you perhaps never knew existed, but you’ll discover is part of everyday life.”

Located at the SM Mall of Asia Complex, the museum is housed in a four-level, dome-shaped structure spanning about 9,000 square meters. But in addition to its experiential thrust, it aims to be a center for maritime studies.

GALLERIES
Aside from the centerpiece, which represents the 181 ships that linked Asia to the Americas from 1565 to 1815, there are two other galleries — about the early Filipinos as ancient mariners with their balanghais, and about Ferdinand Magellan’s landing in Cebu which was a key transpacific encounter in maritime history.

Mr. Quezon pointed out that most of the vegetables listed in the folk song “Bahay Kubo” were brought to the Philippines through the galleon trade, as well as the Filipino words pitaka, tiangge, palengke, nanay, and tatay (wallet, bazaar/flea market, public market, mother, and father) which originate from indigenous Mexico. So, a third gallery, which is opening in October, will center on the sociocultural exchange made possible by the Manila-Acapulco galleon trade.

“This museum is about rediscovering and celebrating who we are, and it’s different from other museums because it’s experiential. You can explore, touch, and engage with the ship,” he said.

More importantly, Museo del Galeón has a goal of inculcating an interest in Philippine shipbuilding and seafaring, made possible through a fourth gallery, also set to open in October, about the Philippines’ contemporary maritime history.

“From the perspective of industry, the museum serves as a link between past and present, from the shipbuilders and crews of those galleons to the Filipinos who make up the bulk of seafarers today,” said Philippine Transmarine Carriers Group of Companies’ chief executive officer, Gerardo A. Borromeo, who is also a member of the Museo del Galeón board of trustees.

“Through this, we can feel pride for how we contributed to the start of what you can consider globalization,” he noted. “This is a chance to raise the level of dignity of modern seafarers, who we can consider global maritime professionals. We now have an opportunity to raise the standard, raise awareness, and build pride.”

LEARNING CENTER
The Museo del Galeón will be working closely with schools, universities, tour operators, and maritime institutions to offer tour packages and research facilities for various educational endeavors.

“For the younger ones, it’s designed to be a living textbook. We encourage everyone to interact and feel what it was like to be a sailor in the galleons,” said Victor L. Gelano, managing director of the Museo del Galeón. “We’ll welcome students, academics, historians, and as many people as possible.”

Patrons are welcome to sponsor or gift tickets to local government units and public schools, so that the underserved can visit the museum, he added.

The museum is also large enough to serve as a place to hold company events and international conferences, for those who want a venue with a piece of Filipino culture.

Their projection for the number of expected visitors is about 250,000 a year, largely comprised of student groups, people walking in from the nearby mall, and foreigners. Meanwhile, future-looking facilities will cater to researchers.

The Ocean Learning Center is one, touted as a “hub for education, sustainability, and collaboration,” with a digital library of resources about the galleon trade and Philippine maritime history organized and made accessible to the world’s scholars.

“It will be a space in the museum with world-class communication technology that welcomes research and discussions,” said Mr. Gelano. “They can present research and hold discourse there.”

Mr. Quezon explained that the importance of research can be found in both the past and present. “We’re all paying attention to the Strait of Hormuz now, but there was a similar bottleneck 500 years ago when the Silk Road was closed due to the crusades. They had to find another route and that led to the galleon trade,” he said.

MUSEUM TOUR
Upon going up the escalator from the welcome hall to the main museum space, the massive structure of the Galeón Espíritu Santo immediately fills your vision. It is 30 meters high and 40 meters long, looking exactly like a seaworthy galleon — except it isn’t.

“One galleon ship required a forest’s worth of narra or molave hardwood, which is a lot,” Mr. Quezon told ��ý. “That’s why this representation is made of plexiglass.”

It’s not just any recreation, though. The craftsmen who made it are the same ones who are responsible for theme park attractions, so its resemblance to the real thing is a sight to behold.

Around the ship are 10 columns that tower from the second to the third level, encircling half of the galleon. Below the colonnade are displays on artifacts which were traded extensively during the galleon trade: flora, fauna, garments, religious items, and ceramics, to name a few.

Before boarding the ship, the galleries offer an insight into Philippine maritime history. Gallery 1, which is about ancient mariners, has a mini balanghai with information about pre-Spanish era sea routes. Gallery 2 has paintings of the arrival of Christianity through Magellan and statues of key figures in the end of his voyage, like Lapulapu and Rajah Humabon.

Because Galleries 3 and 4 are not yet open, the next part of the tour is boarding the ship. Stepping onto the deck and going inside makes one feel like they are a sailor getting ready for a voyage. The more imaginative visitors out there can think of themselves as a Filipino slave brought aboard due to polo y servicio*, which is how most shipbuilders and crew members got there, according to Mr. Quezon.

During the tour, he pointed out areas of the ship which offered insights to life back then, like the cannons on the sides which were used to fire at fleets of other countries or at pirates set to steal their goods, and the corner with barrels of salted meat or water which were meant to last for the months each voyage took.

Up on the deck is the most breathtaking part, where visitors can look at the mast and the starboard side and up at a panoramic LED screen displaying a vast seascape or night sky.

THE ESPÍRITU SANTO
Mr. Quezon said that they selected the Galeón Espíritu Santo, constructed in Cavite in 1603, to be the museum’s centerpiece because it was a rare example of a ship that completed 10 peaceful voyages between Manila and Acapulco — or so they thought.

“Research showed that, though every galleon was a cargo vessel, very few had a tranquil existence. We found the most reliable and peaceful one was this ship, until history further revealed that when it was in retirement, it came out for one last battle,” he said.

It turns out that an episode of the FX series Shogun, where a galleon is captured by a Japanese warlord and has to make an escape, was based on the Espíritu Santo’s very first voyage. They had found evidence of its misadventure upon further research.

“Much like a telenovela, this ship really represents our story,” said Mr. Quezon. “These discoveries are the best example of how we piece things together by going into the history.”

The Museo del Galeón was constructed based on the vision of its founding chairman, the late Senator Edgardo J. Angara. It is accredited by the National Commission for Culture and the Arts, and is a member of the International Congress of Maritime Museums, with many of its contents acquired with the help of the Embassy of Spain.

Tickets to the museum will cost P675 for adults, P375 for children and private school students, and P275 for teachers and public school students. Discounted rates will be available for seniors and persons with disabilities. It will be open Wednesday to Sunday, from 10 a.m. to 7 p.m., starting on May 1. — Brontë H. Lacsamana

* was a Spanish colonial policy of mandatory, often unpaid, labor from Filipino males aged 16 to 60 for 40 days annually, later shortened to 15 days.

When glass meets stone

��ý — Tue, 28 Apr 2026 16:07:45 +0000

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WITH CREATIVITY, people can discover new things and mold interesting shapes out of seemingly ordinary materials. At MC Home Depot, an unlikely meeting of glass and stone, born from a collaboration between Ramon Orlina and David Kaufman, is on display.

Titled Rebirth, the exhibit features 12 of Mr. Kaufman’s stone artworks alongside a unique sculptural piece that is the first in Philippine art history. The process was simple: he provided a white marble sculpture onto which Mr. Orlina attached segments of his signature carved green glass.

Interestingly, this is their first collaboration as artists and their first time mixing these two mediums.

“We met through my bronze statue project in Batangas, where he supplied the bronze from Thailand,” Mr. Orlina said of Mr. Kaufman at the exhibit’s launch on April 24.

The eight-foot bronze statue of Our Lady of Caysasay, completed in December and inaugurated in January, is found in the courtyard of the Archdiocesan Shrine of Our Lady of Caysasay in Taal, Batangas.

He said that it was a blessing that Mr. Kaufman, an architect and marble businessman, imported the bronze on his behalf for that project — from there another creative opportunity bloomed.

“It’s an impressive work. After this, I was thinking that this is a good modern direction,” Mr. Orlina said.

As the more junior of the two, Mr. Kaufman explained that it was “a miracle that he was given a chance.”

“Ramon Orlina is a master glass sculptor, so this is a miracle that he made the choice to work with me. It was always my ambition to collaborate with such a master,” he said. “He wants my work to have its own voice and identity, so that when our pieces come together, there are two artists in dialogue.”

It’s not accurate to say that Mr. Kaufman is a total newbie in art. The Filipino-Spanish architect, who divides his time between Manila and Madrid, has dabbled in painting, photography, and sculpture.

He told ��ý that his architectural background makes his stone works unique compared to how traditional artists would perceive them.

“To most people, stone is just an architectural material,” he said. “My goal with these pieces is to paint with stone.”

Rebirth features 12 stone artworks mounted as if they are canvases of their own, the blend of various colors and patterns challenging viewers’ notions of vibrancy and texture on stone.

“I produced these dozen works in the span of two weeks, so I simplified everything to zen. It’s all very Japanese,” he added.

As for the collaboration with Mr. Orlina, the encounter of glass and stone is far from over, with the two agreeing that there is much to be improved in their prototype sculpture.

“He was forced to explore marble because of my proposal. We’re really both learning because this is not yet finished, with components that we feel can be improved, especially the joinery,” Mr. Kaufman explained. “This is the first time glass and stone have ever come together in Philippine glass history. We’re still exploring how to laminate glass and stone because it’s normally not put together.”

He added that Mr. Orlina’s wife, Lay Ann, served as the quality control inspector for the work they put out. “She was really involved to make sure that this is the level that the Orlinas are looking for,” he said.

Mr. Orlina, who was responsible for the lamination and joinery part of the challenge, did not reveal the secrets behind how they plan to improve the prototype.

What he did say was how this would not be the last time the world sees a Kaufman-Orlina sculpture.

“You will see more of our works together,” he said.

Rebirth by David Kaufman runs until May 8 at MC Home Depot, on the 4^th floor of Uptown Palazzo in Bonifacio Global City, Taguig. — Brontë H. Lacsamana

With budget cuts, FDCP prioritizes key projects

��ý — Mon, 27 Apr 2026 16:07:19 +0000

as it re-establishes itself in Intramuros

AT THE END of February, the Film Development Council of the Philippines (FDCP) officially moved to a new building with the goal of re-establishing itself as a “hub and sanctuary for the country’s filmic culture.” This as recent budget cuts have forced it to look at its priorities, which include film restoration and developing an audience by focusing on Gen Z.

Along with the Philippine Film Archive’s vaults and the Cinematheque Centre theater, the agency left its original location in Manila’s Kalaw St. for a new one in Intramuros named the Philippine Film Heritage Building.

FDCP Chairman Jose Javier Reyes told ��ý in an exclusive interview in April that the building will be “host to many activities, as part of Intramuros which is a cultural hub of the city.”

“We will be doing a lot of things as part of this hub. We are right beside Baluarte de San Diego, where we can eventually have open-air screenings. We can also have screenings in Centro de Turismo and Fort Santiago,” Mr. Reyes said.

Since its groundbreaking in 2023, the building’s construction was hampered by limited funding and delays. Now that it has finally been completed, the FDCP has been running its programs through the transition as smoothly as possible.

FILM ARCHIVING
As seen in the name, the Philippine Film Heritage Building primarily serves as a film vault, with temperature-controlled storage space and scanning machines for digitization found on the upper floors.

Mr. Reyes said that FDCP is in talks with studios like ABS-CBN and Viva, which are seeking to restore their old films. The previous head of ABS-CBN’s Sagip Pelikula film restoration initiative, Leo Katigbak, now works as a consultant for the Philippine Film Archive.

“We’re capable of all this because we were able to get another digitizing machine that was donated by the government,” he said. “The construction of this building plus the addition of the equipment is more or less congruent with developments we’re working on.”

Citing “major budget cuts,” Mr. Reyes also explained that they have had to prioritize key projects.

“With what’s happening in the world right now, we have to be more conscientious about budget. What we spend is taxpayers’ money, so it better be worth it,” he said, adding that they will try to restore “as many films as possible” before his term as FDCP chair ends in 2028.

Among the films that are being restored are Maryo J. de los Reyes’ coming-of-age drama Magnifico (2003) and Lino Brocka’s social drama Tinimbang Ka Ngunit Kulang (1974).

Aside from films themselves, the FDCP is also working on a digitized script library which will house film scripts for the use of film students, scholars, and enthusiasts.

CINEMATHEQUE
The Philippine Film Heritage Building also houses the Cinematheque Centre Manila — an 80-seat theater equipped with a 2K DCP-capable laser projector and a Dolby Atmos-fitted sound system.

Mr. Reyes told ��ý that this will not only be used for film showings, but also for activities like forums and workshops.

“This hopefully will become the center of film activities in the country,” he said. A recent back-to-back screening of Antoinette Jadaone’s films was fully booked, the audience composed mainly of students.

The FDCP is also looking to open more Cinematheques outside of Metro Manila — namely in Baguio and Cebu.

“�ճ��’s a clamor in those places,” Mr. Reyes said. “These are venues where we can show restored films for free, to really effectively bring them to the public. Especially with the oil crisis and world incidents affecting people, we need to find ways of showing free films. People will not go to the cinema, so the cinema will have to go to the people.”

FILM VIEWERSHIP
As per studies commissioned by the FDCP for the 10-year Philippine Film Industry Roadmap, Filipinos find it more practical to watch films on streaming platforms rather than buy tickets to see them in cinemas.

This is a reality that the film industry is dealing with right now, according to Mr. Reyes, notwithstanding changes brought about by artificial intelligence (AI).

“With streaming, you could have an eternity of watching movies at your own convenience, at your own time, at your own comfort. We realize that, but it doesn’t mean that we just give up on cinema,” he explained. “�ճ��’s still the cinematic experience, with certain movies that are best watched with others in the right setting.”

The FDCP’s programming includes licensing foreign films that aren’t usually picked up by commercial distributors, like Cannes titles Sentimental Value from Norway and It Was Just An Accident from Iran.

“These are films that you have to bring here, for the niche audience and for the education of the people. We have to give them the opportunity to see foreign films,” said Mr. Reyes.

He added that supporting documentary, animation, and short film through grants and film festivals is another thrust of their programs.

AUDIENCE DEVELOPMENT
The FDCP has its own streaming platform, Juanflix, which offers a selection of restored classics and foreign films for just P49 a month. The agency fully launched it last year, with an emphasis to “ensure that films can be consumed and appreciated by the Filipino audience.”

This is one way that a love for film can be cultivated in the next generation.

Mr. Reyes said that after he talked about the streaming service on directors Antoinette Jadaone and JP Habac’s Ang Walang Kwentang Podcast, Juanflix subscriptions rose from 3,000 to 4,000, which was beyond the capacity of their servers.

“We had to increase our server capacity because of that. It’s a very good problem. It shows that Juanflix is something really worthy of the investment that we put in — because it’s expensive to maintain — but you know it’s reaching out to an audience,” he said.

The most viewed film on the platform is Jopy Arnaldo’s indie romance Gitling, which premiered in the Cinemalaya film festival in 2023. For Mr. Reyes, it’s proof that there’s “a new, particular audience watching,” since it’s not the kind of film that makes money in a mainstream commercial run.

He also pointed to a recent high-grossing film, The Loved One by Irene Villamor, starring Anne Curtis and Jericho Rosales, which made P300 million in the box office — a big number for a non-Metro Manila Film Festival movie.

“It’s a very Gen Z film, and it proves that the great bulk of the audience we have now with purchasing power are the young professionals,” he said. “It’s not that we should make movies just for Gen Z, but we should be focusing audience development for them.”

THE FUTURE OF CINEMA
On galvanizing audiences to watch films physically in theaters, Mr. Reyes referred to the situation as “chicken-and-egg.”

“They will not go out if there is nothing to watch, but there’s also the challenge of convincing producers to up their ante and create the excitement in the audiences,” he explained. “The only way to do that is to understand the audience, not underestimate them.”

With alternative forms of entertainment like vertical content, YouTube videos, and AI-generated content, the challenge now is to “touch the nerve of the audience, by first understanding them.”

“Our role is also to help the younger generation understand the history of film, to see what direction they’re going to go. Without Lino Brocka, Ishmael Bernal, and Marilou Diaz-Abaya, the likes of Joel Lamangan, Chito Roño, and I would not have existed,” Mr. Reyes said.

The FDCP’s programs include acting masterclasses with directors like Laurice Guillen and collaborations with junior and senior high schools to improve their film appreciation courses. The Philippine Film Heritage Building aims to be the center of these programs.

“�ճ��’s a continuum, a line, where the next generation must know the contributions of those that came before, not to duplicate, but to find a new direction,” he added.

“We really want this to be a hub for students, for them to learn and be comfortable here.”

The Philippine Film Heritage Building is located on Lot 2, Block 51, Sta. Lucia St., Intramuros, Manila. Aside from the FDCP and Cinematheque Centre Manila’s social media pages, the schedule for upcoming film screenings can be found on this website: https://sites.google.com/fdcp.gov.ph/cinemathequemanila/. — Brontë H. Lacsamana

Japanese and Filipino talent come together

��ý — Mon, 27 Apr 2026 16:06:18 +0000

RIEHATA, SB19, and new dancers share the stage

THE NEXT EVENT commemorating the Japan-Philippines Friendship Year is a special performance called Stella Dance Jam, where globally acclaimed Filipino-Japanese dancer and choreographer Rie Hata (stylized as RIEHATA) will join forces with P-pop group SB19.

Taking place on June 20 and 21 at The Theatre at Solaire in Parañaque City, this dance show marks the 70^th anniversary of the normalization of diplomatic relations between Japan and the Philippines, presented by Japan Foundation, Manila (JFM).

What sets the performance apart is that it will also feature young dancers, selected through auditions in both Japan and the Philippines under the guidance of RIEHATA herself. The event’s name, Stella Dance Jam, refers to its goal of “bringing together the next generation of stellas, or rising stars, from across borders.”

“It’s my first time collaborating with anyone from the Philippines and that’s been my goal since I was little. I wanted to use my talent to be a bridge between Philippines and Japan, but I didn’t know where to start,” said Ms. Hata at a press conference on April 24.

As a half-Filipino, half-Japanese dancer and choreographer, her motivation is to “give everyone the chance to be a star.”

“Everyone has talent but some people don’t believe in themselves, just because they don’t live in Manila and have opportunities,” she said. “I’m sure there are so many talented kids all over the Philippines.”

Ms. Hata, who has choreographed for big K-pop and hip-hop acts and runs a dance studio in Japan, said that she has always stayed in touch with Philippine culture through her mother, who is from Cebu.

“My mom is very strong and positive. Even though we’re not a rich family, she always believed in me. She was always supportive. I get that energy from her, and with that, I want to cheer on everyone,” she explained. “I want to give that positivity, happiness, and strength to the next generation.”

Philippine auditions were held in Davao on April 25 and in Manila on April 26. In the future, JFM will be continuing the event, with auditions held in more cities for a nationwide reach.

“Someday, we will have more auditions all over the country. Maybe next year or sometime in the future we can go to other cities like Cebu and Iloilo,” said Ben Suzuki, JFM president, at the press conference.

On getting RIEHATA for the project, he said that her “unique identity” drove them to invite her as a key figure to commemorate Philippines-Japan diplomatic relations.

“She is a symbol of the future of two countries. Through her, this is not just a dance project, but a symbol of our future,” he said.

As for what to expect from her, SB19, and the new dancers, Ms. Hata summarized it as “love, energy, and passion.”

“In the auditions, I’ve been looking for good energy, those who really love dance and have passion for it. The techniques and skills can be taught, but those things you have to have in you,” she said.

The auditions were open to people aged 18-39 years old. There is no set number of dancers yet to be selected, though Ms. Hata said it could be somewhere between 10 and 30.

“This is just the beginning. I’ll do my best to continue this event and visit other cities. Next time I’m hoping to have auditions for kids as well,” she added.

The new dancers, aside from sharing the stage with her and SB19, will also be able to make more connections after gaining exposure through the show.

Ms. Hata concluded that there should be many more joint collaborations for the two countries’ dance and entertainment industries to move forward as one.

“I visited the Philippines as a child and only recently could I come back. My relatives would always say that they want to work and pursue their dreams outside of the country, with OFWs going to the US or Japan,” she said.

“Now, a lot of people are interested in going to the Philippines, because our entertainment industries have people like SB19, a world-class P-pop artist. Those kinds of things can make people aware,” she continued.

“They can go to Korea for K-pop and to the US for mainstream pop, but the Philippines also has something to offer.”

Tickets for Stella Dance Jam are limited to those aged 18 and above and will be available via TicketWorld starting May 23. — Brontë H. Lacsamana

Taking care of pets at the start of their lives

��ý — Thu, 23 Apr 2026 16:03:00 +0000

Royal Canin launches puppy and kitten health campaign

FRENCH pet nutrition company Royal Canin, which offers an array of cat and dog food products in the Philippines, has introduced a campaign that aims to support families during the “start of life” stage for puppies and kittens.

The Puppy & Kitten Con, held at Ayala Malls Manila Bay in Parañaque City on April 18 and 19, marked the first experiential event under the company’s Project Royal Beginnings.

“Our goal is to meet pet parents at the very start of their journey, when questions are plentiful and confidence is still forming,” said Gerard Poa, Royal Canin Philippines market head, at a press conference on April 18 as the weekend event started.

“The first months of a puppy or kitten’s life determine their long-term health, like with human babies whose first 1,000 days are crucial. It’s very much the same for pets,” he added.

Fueled by growing pet ownership among Filipinos and addressing the lack of education about early nutrition and care, Royal Canin aims to “translate complex principles into guidance that pet parents could apply in their every-day routines.”

EXPERT-LED CONVERSATIONS
The Puppy & Kitten Con welcomed pet owners and their fur babies to step into guided discussions, interactive games, and immersive learning zones. Located in the activity center of the bustling mall, there were booths with veterinary professionals and pet product specialists who could offer insights into feeding habits and routines.

One activity brought celebrities Jodi Sta. Maria and Michael Sager to the stage, where they shared stories about rescue and pet ownership, including the lessons they learned along the way.

Decisions made at the early stages influence immunity, development, digestion, and long-term resilience, according to Royal Canin Philippines health affairs manager and veterinarian Dr. Kitsie Torres. She told the press that “pets whose owners invested in their nutrition and regularly brought them to the vet tend to live longer lives.”

OVERFEEDING
Though Puppy & Kitten Con is a big activation, it is only an entry point into learning about taking care of one’s pet, she said. Royal Canin’s digital platforms and membership program, Royal Canin Club, are examples of resources that pet owners can use to break bad habits.

“One thing that Filipino owners tend to do is give too much, especially at the puppy and kitten stage. They will become picky and greedy the more they eat food that’s not theirs,” Ms. Torres said.

She pointed out that even giving treats is a way pets get overfed, which is unnecessary when many puppies and kittens view “attention or cuddles as a treat on its own.”

“Obesity is becoming a problem. In the early 2000s, you wouldn’t see a lot of obese cats and dogs, and now they’re everywhere,” she explained. “An obese pet’s lifespan decreases by two years.”

SPECIALIZING
There is also the matter of feeding all pets the same thing, when their various ages, sizes, breeds, and health concerns must be taken into account. Royal Canin offers special diets depending on the breed — examples for dogs are the shih-tzu with sensitive skin and coat and the golden retriever with a sensitive heart; for cats, the British shorthair with a stocky build requires more nutrients.

Mr. Poa told ��ý that the most basic pet food that owners can get from them are based on the projected weight of the puppy or kitten, spanning extra small, mini, medium, and large breeds.

“If you want to go a level higher, then you can get the food for specific breeds designed to address their predispositions in health,” he said. “We also have products for coat care, for urinary problems, for stress and anxiety, and a lot of other concerns.”

Aside from nutrition, “Start of Life” education encompasses a slew of other routines, like vaccination and check-ups.

PARTNERSHIPS
Ms. Torres talked about how care should start from the pregnancy of the mother.

“You should always bring your pets to the vet to prepare for giving birth. Prenatal care exists for animals, too,” she explained. “Start of life starts at pregnancy. These pregnant dogs and cats have to have a good diet.”

With an estimate of there being over 26 million pet dogs and over 8 million pet cats in the Philippines, Royal Canin is partnering with various vet clinics for maternity program packages and pediatrics program packages to en-courage better care. These encompass delivery, vaccination, check-up, deworming, and proper nutrition for the first six months of life.

For Ms. Torres, it’s frustrating to see that making sure pets are fully vaccinated is a bare minimum that is often not met.

“When their vaccinations are complete, that’s when you can invite people with pets to your home or take them out in public,” she said. “I worry when I see small pets that I know are likely not yet fully vaccinated walking around. You have to wait.”

She also advised that socialization with other people and animals best starts at home. Introducing puppies and kittens to sounds, smells, and eventually other people should be gradual.

Mr. Poa noted that this is why part of Royal Canin’s thrust when it comes to responsible pet ownership is at least bringing them to the vet.

“That’s what’s driving the education, telling them to have their pets assessed by a veterinarian,” he said. “We’re trying to partner with vet clinics to make sure that people will really put the health of their pets at the forefront.”

This includes choices like spaying and neutering to avoid overpopulation and possible abandonment, as well as improving the quality of life of a pet that doesn’t need to reproduce. For more expert advice on pet care and nutrition, interested parties can join the Royal Canin Club through this link: https://bit.ly/RCCPH, or visit Royal Canin’s official website and social channels. — Brontë H. Lacsamana

Discovery and nostalgia

��ý — Thu, 23 Apr 2026 16:01:02 +0000

Orange & Lemons looking to attract old fans
and new while embarking on Europe tour
and readies all-English album

OPM band Orange & Lemons (O&L) released their new single, “Too Young To Be Old,” and are getting ready for their European tour that will run from May to June.

Known for hits like “Hanggang Kailan (Umuwi Ka Na Baby)” and “Heaven Knows – This Angel Has Flown,” the group teased the new track in a press event on April 16 in San Juan City. It is set to be part of an upcoming album, VI-SIONS OF AMBER, their first all-English body of work.

The band was founded in 1999 and was a staple in the Pinoy rock scene until they disbanded in 2007. Since their return in 2017, they’ve been composed of vocalist, guitarist and O&L founding member Clem Castro, drummer Ace del Mundo, bassist JM del Mundo, and keyboardist Jared Nerona who joined the band when it was reconstituted.

NEW MUSIC
While the 2022 album La Bulaqueña saw the band take inspiration from artist Juan Luna and champion local kundiman sounds, O&L’s new track takes a more global tack.

“We decided to go back to a ’60s and ’70s-influenced album. True original indie pop is inspired by the ’60s, even the ’50s, and we wanted to do it all in English,” he said at the press event.

“�ճ��’s a certain resurgence of the old sound even among new artists,” Mr. Castro said. “We did this just to see how it will travel.”

“Too Young To Be Old” explores the complexities of transition and self-awareness, according to Mr. Castro, who is the chief songwriter. Though it is inspired by a relationship experienced differently by two people, he described the song as depicting “the strange middle space where you’re no longer reckless, but not quite settled either.”

The track was produced at his hybrid studio, LILYPOD AUDIO, and serves as O&L’s first release mixed in Dolby Atmos, surround sound technology that creates an immersive sonic experience.

For keyboardist Mr. Nerona, has his first songwriting credit on the album, there is a “good vibe” that fans can look forward to.

“It’s very ’60s,” he said. “We have a song that I co-wrote with Clem about a car and about my daughter as well. �ճ��’s an overall modern vintage quality to it.”

As for their expectations for how the new songs will be received, Mr. Castro explained that they are at the stage where they are simply doing what they want.

“It’s not about instant success. It took ‘Heaven Knows’ 20 years before it became a hit. It’s about the legacy of the band, what we leave our families and fans, how we want to be remembered,” he said.

EUROPE TOUR
The group will be embarking on their European tour next month, with stops in major cities like London, Milan, Madrid, Paris, and Amsterdam. The first stop will be Dublin on May 14.

“A lot of OPM acts are touring Europe now, but it isn’t as convoluted as the scene in the US,” Mr. Castro said of their venture. “There are already so many concert producers in the US.”

The tour, aside from being geared towards the Filipino community abroad, is meant to attract new listeners from varying backgrounds and ethnicities.

“What excites us most is the contrast — you’re playing for people who may be hearing you for the first time, alongside Filipinos who’ve carried the music with them wherever they are,” said Mr. Castro. “�ճ��’s something spe-cial about that mix. For Filipinos abroad, the songs become a connection to home. For new listeners, it’s a fresh introduction.”

As for the set list, O&L emphasized that it will be a balance of essential songs and newer material, with the two-pronged goal of “discovery and nostalgia.”

“We were kids from Bulacan who rose from nowhere and couldn’t handle the fame and money. That’s what showbiz did to O&L, and we don’t regret that because it’s a very expensive lesson in life,” Mr. Castro explained, when asked about how they see their fame.

While the Europe tour represents O&L at the stage of being young enough to “just have fun with it,” they are also already old enough to be wiser.

“All of that has made us aware that music is a business, and we’re now mindful of how we preserve our legacy, how we control our songwriting and masters,” he said, adding half-jokingly that there could be enough material for a tell-all au-tobiography.

“We even have a legacy contract. We’re forward thinkers now!”

O&L’s “Too Young To Be Old” is available on all digital music platforms worldwide. Their Europe tour runs from May 14 to June 7. — Brontë H. Lacsamana

What is the state of visual arts today?

��ý — Tue, 21 Apr 2026 16:07:44 +0000

Museum directors, gallerists, curators, artists share their thoughts on the CCP’s role

WHILE the Main Building of the Cultural Center of the Philippines (CCP) is being readied for reopening in stages this year, the institution’s trustees and chair members recently welcomed conversations about the state of visual arts in the Philippines.

“We want to identify programs, projects, and activities that may be able to assist in achieving the objective of getting Filipino visual artists better known by international museums and collectors, and better appreciated within Philippine culture,” said CCP chairman Jaime C. Laya, in his opening remarks at the roundtable on April 8, held at the CCP Blackbox Theater lobby.

Meanwhile, CCP President Kaye C. Tinga pointed out that the institution houses a underutilized art collection, which they aim to put to use with their programs. She also expressed eagerness to build on the Thirteen Artists Awards’ positive effects on inspiring young artists.

“Our thrust is to continue to contribute to national development,” Ms. Tinga said.

MORE VISIBILITY HERE…
One issue brought up by Metropolitan Museum of Manila President Tina Colayco was the public perception of the CCP.

“It’s more known among Filipinos for its performances, as a performing arts center,” she said. “Maybe the CCP can do a rebranding of this when the main building opens.”

To this, Ms. Tinga explained that, under the National Cultural Heritage Act, the National Museum is tasked to protect visual arts, the National Historical Commission of the Philippines is focused on built heritage, and the CCP for performing arts.

Despite this, the CCP’s vast visual arts collection should still not be overlooked. “We’ll definitely pour in more resources to promote what we have,” she said, “Especially to younger generations through social media.”

Aside from this, Ms. Colayco recommended that the CCP lead more efforts to unite art institutions, to “cast a wider net,” which may or may not eventually lead to a biennale.

“�ճ��’s a great need for all of our institutions to work together, to come together,” she explained. “Conservation services, studios and residencies for visiting artists, and the like are also needed by many museums. It can be something that different institutions can share.”

Providing an artist’s perspective to this suggestion were Alfredo and Isabel Aquilizan, whose exploratory, free-spirited approach to artmaking exposed them to exhibition models in other countries.

“In the ’80s and ’90s, Cuba started a biennale for artists from developing countries. Every two years, they could see contemporary artists from around the globe and look at the level of what artists can produce,” explained Mr. Aquilizan. “That was the best education they could get so they don’t have to send their artists overseas to study.”

… AND ABROAD
Silverlens Gallery founder and director Isa Lorenzo, speaking as someone who was able to set up a New York branch of their gallery, said that there is a demand for Philippine art abroad, among the Filipino and Southeast Asian diaspora.

“I wish that the CCP becomes the gold standard for exhibition making, not just in the Philippines, but in the region. It has many aspects to be maximized,” she said. “The CCP should be more outward-looking. That means being more active on social media, having more voices that speak to many generations, whether it’s through TikTok or Instagram or whatever social media.”

All panelists agreed that leaning into international art events can widen the existing network of Philippine art abroad.

Perfectly placed to give insight to this was Spain-based arts management educator Ana Maria Ortega, who shared that the Museo Nacional del Prado is preparing its 2027 lineup which will include Philippine art. It’s also set to hold a symposium on Philippine art.

“The world is ready to see us on the world stage. It’s a perfect moment for us to deepen our art scholarship, with the growing momentum towards large exhibitions bringing together Spanish and Philippine collections,” Ms. Ortega explained.

“The interest is already here. We have an opportunity to connect these efforts to build something more coherent and enduring.”

She added that 2027 is the 80^th anniversary of diplomatic relations between the Philippines and Spain, something the CCP can play a leading role in to create an integrated narrative.

ROOM FOR IMPROVEMENT
Art historian and critic Carlos Quijon, Jr. suggested that the CCP provide a strong curatorial framework for young artists, which could “sharpen its focus” as a visual arts institution.

“The anxiety of being part of global conversations must be reviewed. Things are already working. We just need to support whoever is already on the field,” said Mr. Quijon, referring to Filipino artists and experts on Philippine art who are working abroad.

Another input he had was the lack of follow-through after the Thirteen Artists Awards. “Who works with those artists after they win the awards? Do they have solo shows? If there’s no follow-through, what is the award even for?” he said.

Silverlens’ Ms. Lorenzo added that the award money should be increased, and made separate from the production money, which would be possible with the right sponsors and patrons.

For National Gallery Singapore curator Clarissa Chikiamco, who joined the roundtable via Zoom, one gap in the CCP’s curation was that of non-traditional acquisitions like installations, video, and performance art.

“The legacy of the CCP venue as a non-commercial exhibition space, especially under the tenure of [the CCP’s museum director from 1970 to 1985] Ray Albano is in danger of being lost,” she said. “Right now, it’s difficult to access archives of this. Mainly it’s done through [the] Asia Art Archive, but it should be available at [the] CCP.”

She pointed out that archives related to the late conceptual artist Roberto Chabet, Albano’s contemporary, have been digitized, but there is still a lot more not yet covered.

“It’s important for Philippine institutions to collect contemporary art. It’s always the international institutions that have been actively acquiring such works,” explained Ms. Chikiamco. “Aside from paintings and sculptures, how does one acquire a concept? It’s in danger of disappearing if not worked on.”

Benilde Center for Campus Exhibitions director and Art Fair Philippines co-founder Geraldine Araneta added that the approach to Philippine art cannot be “one size fits all.”

“I see it as developmental — different artists need different things, and they have different capacities at different points in their careers,” she said. “We have to consider what each area needs.”

TAKEAWAYS
CCP Vice-President Dennis Marasigan concluded the roundtable with takeaways which the institution can use in their efforts moving forward.

They were summarized in five points: build on the programs that are already there; continue exhibitions and retrospectives; expand access to the CCP collection; collaborate more with other galleries and international organizations; and provide institutional support to artists, researchers, and curators.

“Our goal with this event was to find out what we could do more with the resources we have, and how to work with others to maximize our collection,” Mr. Marasigan told ��ý after the roundtable. “Now that we have all this food for thought, we have a lot of work to do.” — Brontë H. Lacsamana

In line with summer, Cup of Joe mounts a water festival

��ý — Mon, 20 Apr 2026 16:07:39 +0000

Show marks first OPM act to headline at Philippine Sports Stadium

CUP OF JOE, a five-piece Filipino pop rock band from Baguio City, will return to the stage with a unique solo concert titled SANDALI: The Cup of Joe Fest at the Philippine Sports Stadium, on May 23.

Eight years since the band formed, Cup of Joe has cemented their reputation as the definitive Gen Z act in Philippine music. This month, their mega-hit “Multo” became the most-streamed Original Pilipino Music (OPM) song of all time on Spotify, surpassing half a billion streams.

To offer a new experience for its fans (nicknamed “Joewahs”), they have decided to mount a water festival for their fourth major solo concert in the Philippine Sports Stadium — setting a high bar as the first-ever OPM act to headline a show at the massive, open-air venue.

��Բ��辱�� siya sa experience namin tuwing lumilibot kami sa bansa, specifically sa mga fiesta sa probinsya na malalayo (It’s inspired by our experiences when we tour the country, specifically at fiestas in faraway provinces),” vocalist Gian Bernardino said at a press conference in Quezon City on April 15.

“We’ve established that when it’s our set, people jump and go wild,” he explained. “Kapag rain shows, sobrang taas ng energy. Magiging masaya, lalo na’t tag-araw na (When we have rain shows, the energy is very high. It will be fun, especially now that it’s summer).”

The Philippine Sports Stadium, with a sprawling capacity of about 25,000 for concerts, also marks a huge milestone for the band, which started out performing in intimate bars and cafés. The show will be directed by Paolo Valenciano, whose vision for it will include “water cannons and fireworks.”

While the seated section is already sold out, splash zone tickets are still available and are recommended by the band for the optimal experience.

“It’s our dream festival from an audience perspective!” Mr. Bernardino said, adding that people should come in “comfortable yet chic summer outfits,” with a change of clothes since they could get wet.

NEW EP
Because the concert is titled SANDALI, fans can also expect an EP of the same name to come out soon beforehand.

“It can be interpreted as sandali as in ‘moment,’ or sandali as in ‘wait,’” said Mr. Bernardino, on the title of the EP and show. “It’s a wordplay between asking the world to wait a bit or to just savor the moment, like getting scared or nervous but doing it anyway.”

Compared to Cup of Joe’s emotionally heavy album Silakbo, the new record will be “much lighter,” according to vocalist Raphaell Ridao.

“Sandali is more high-energy, but also emotional. It still talks about personal experiences but in a more uplifting way,” he said. “Nakaayon siya sa SANDALI Fest na celebratory (It fits with the SANDALI Fest which is celebratory).”

When asked what the vibe of the EP will be like, the band said that they could imagine the songs being used for travel vlogs and videos. Mr. Bernardino teased that one song is about “choosing between two paths.”

As for the concert, fans can expect both new tracks and old songs done with new arrangements. Instead of their usual 45-minute set, the show is slated to last three hours.

Cup of Joe also revealed that there will be guest artists set to perform alongside them, one of which is iconic OPM band Kamikaze.

Tickets to SANDALI: The Cup of Joe Fest at the Philippine Sports Stadium in Bulacan are available via SM Tickets and Ticketnet online and outlets nationwide, and range in price from P1,000 to P7,800. — Brontë H. Lacsamana

Sari Dalena’s films screened in retrospective

��ý — Mon, 20 Apr 2026 16:06:15 +0000

THE FEATURE films, documentaries, hybrids, experimental works, and video art of filmmaker Sari Dalena are being screened in a multi-site retrospective which started in March and continues until May.

Film scholar and programmer Patrick F. Campos curated the program, titled “Counter-Archives of a Film Guerrera: A Retrospective of Sari Dalena’s Cinema.” It aims to look at “film as a counter archive: a made form of evidence shaped by testimony, return, montage, and the risks of visibility, especially where women’s labor and memory have been pushed to the margins of official history.”

Following screenings, masterclasses, and talkbacks at the University of the Philippines Film Institute in Diliman, Quezon City, and the University of the Philippines Mindanao and The Green House Cinema, both in Davao City, a few more stops lie ahead.

Ms. Dalena’s short films were screened on April 15 at the Mowelfund Film Institute in Quezon City, and will be shown again there on April 22. That first day she told ��ý that “the guerrilla energy of filmmaking in the ’90s is impossible to recreate now, though it lives on in different ways.

“It was important for me to establish a sense of support from my family and from collaborators. I found a community and felt comfortable working with smaller crews back then,” she explained.

FILMS IN FRAGMENTS
Ms. Dalena’s most recent film, Cinemartyrs, was part of the Cinemalaya Independent Film Festival lineup last year — and was also the driving force behind Mr. Campos’ decision to mount a retrospective about the filmmaker.

“I observed it had a way of baffling so many people, because it makes you think, ‘what is this film?’” he said, at the opening remarks of the Mowelfund screening program. “That’s her cinema. It makes you ask ‘what is this?’ so I thought it was the right time to do a retrospective.

“Over 30 years of making films in the alternative scene, as a woman and as a mother, is no joke. So, I thought it was the right time,” added Mr. Campos.

The short films shown that evening — Bullet Days, Kamikaze, Asong Simbahan, Mumunting Krus, and Puting Paalam — were Ms. Dalena’s earliest works that emerged from her time at the UP Film Institute, the Mowelfund Film Institute, and New York University.

“What these films preserve is the wonder of youth in a profound sense, the excitement of finding form, and the appetite for experimenting. These are youthful works by a young filmmaker trying what a settled industry would caution against,” said Mr. Campos.

He also explained that this part of her filmography marks her “willingness to work through fragments, collision, rough edges, abrupt feeling, multiple art forms, and formal leaps,” which deepened later on in her career.

INTERDISCIPLINARY
Ms. Dalena told ��ý that this rich filmmaking practice was only possible because of the artistic wealth passed down to her by her parents, Julie Lluch and Danilo Dalena.

“I come from a family of visual artists. As children, we were exposed to German expressionism, Akira Kurosawa films, animation like Disney’s Fantasia, Alfred Hitchcock films. It was very natural for us and we were encouraged to explore,” she said.

An exhibit accompanying the retrospective, Notes Toward a Guerrera Cinema, ran earlier this month at the UP Film Institute’s Ishmael Bernal Gallery. There, storyboards, sketches, paintings, and sculptures across Ms. Dalena’s practice were displayed, including some contributed by family members.

At the Mowelfund talkback, she said that being exposed to her mother’s sculptural works planted the seeds of feminism in her, while her father’s paintings embedded a sense of spirituality.

One film, Asong Simbahan, was a direct translation of his “Pakil” series of paintings into the medium of film, reflecting the very Pinoy, somewhat humorous depiction of the ubiquity of dogs in local churches.

“Using the medium of film to translate and interpret his works was something else,” she said. “I never really thought of my practice as separate from other forms. It’s all really interdisciplinary.”

Another example is Mumunting Krus which makes use of art installations and is based on Ms. Dalena’s childhood experiences playing in open fields and swimming in the river in the province during summer.

Puting Paalam (White Funeral), which features clay artwork and stop-motion animation, is one of the first dance films in the Philippines. It’s a collaboration between Ms. Dalena and acclaimed dance artist Myra Beltran, set in the lahar landscapes of Zambales and Pampanga after the eruption of Mt. Pinatubo in 1991.

“It was largely intuitive and collaborative. I just jammed with them,” Ms. Beltran said at the talkback. “We had to keep going and going because it was hot out there on the lahar. I don’t know how kids work these days, but you just have to go and commit yourself.”

HISTORICAL WOUNDS
On May 6, the hybrid documentaries Memories of a Forgotten War and Cinemartyrs will be screened at the Mindanao State University’s campuses in Iligan and Tawi-Tawi.

What makes this event relevant is that it commemorates 120 years since the 1906 Bud Dajo massacre, a central historical wound revisited by both films.

“As technology changed and the types of projects changed, I tried different approaches, and eventually went from experimental forms to historical documentary,” Ms. Dalena said.

For her, having the films screened in the region was important because of her own family roots and filmmaking practice, both inextricable from Mindanao.

Mr. Campos explained that her films offer a look into history that is unique from mainstream retellings — which is the very reason retrospectives of alternative filmmakers are important.

“In Dalena’s cinema, history is kept otherwise through shards, returns, traces, and embodied labor,” he said, “Rather than through the polished order preferred by the center.”

Admission, reservations, and venue-specific details of the upcoming screenings can be found on the Mowelfund and Mindanao State University’s sites and their social media channels. — Brontë H. Lacsamana

Prime Video invests in Filipino content

��ý — Thu, 16 Apr 2026 16:05:43 +0000

ABS-CBN, GMA bring in original and licensed titles

PRIME VIDEO, the global streaming service of Amazon, is set to deliver more Filipino storytelling by collaborating with leading studios ABS-CBN and GMA.

“Our content strategy for the Philippines is built on a simple principle: meet customers where they are and give them what they love,” said David Simonsen, director for Prime Video Southeast Asia, Australia, and New Zealand, in an e-mail interview with ��ý.

“It’s not about imposing a one-size-fits-all approach. It’s about understanding that Filipino audiences want authentic local stories, premium international content, and live sports all in one place,” he said, adding that the goal is to be a “one-stop entertainment destination.”

With this, Prime Video is beefing up its Filipino content slate, spanning family drama, political thrillers, suspense, romance, crime, and comedy.

THE LINEUP
Leading the charge is LOL: Last One Laughing Philippines, which had its first season premiere on the platform in 2024. Directed by Randolph Longjas and hosted by Vice Ganda, it is a competition show where the contestants face off in a showdown, with the goal to make others laugh without cracking up themselves.

“Season two will be crazier,” Mr. Longjas told ��ý on the sidelines of Prime Video’s event announcing the slate on April 14. Though they can’t yet reveal the new set of contestant comedians, he promised that it will represent “comedy from different platforms across all generations.”

“LOL proved that we don’t need to pretend to be someone else. If we stick to our core [as Filipino storytellers], that can become global,” he added, explaining how the series has reached other countries.

Released in March was the crime drama The Silent Noise, starring Angelica Panganiban and Zanjoe Marudo. It will be followed by more in the thriller genre — romance-thriller Love Is Never Gone featuring Joshua Garcia and Ivana Alawi, and psychological thriller The Loyalty Game featuring Janine Gutierrez and Jericho Rosales.

Meanwhile, Paulo Avelino and Kim Chiu take on their third Prime Video project as co-stars after Linlang and The Alibi, to deliver the Filipino-Korean cross-cultural drama Kopino.

CROSS CULTURAL, CROSS NETWORK
Rondel Lindayag, ABS-CBN creative head, spoke at a panel at the slate announcement, saying that these collaborations are their way of “experimenting with how to write and produce content.”

“When it comes to bringing stories to the global market, it’s all about sharing our authentic Filipino narratives while also experimenting,” he said.

�ճ��’s Honor Thy Mother, marking a monumental collaboration between ABS-CBN and GMA, with Kapamilya (ABS-CBN) icon Sharon Cuneta and Kapuso (GMA) star Barbie Forteza leading the family drama.

“At the height of the network wars, there was a wall between us and there was no crossing that boundary, so this is a golden era,” said Aloy Adlawan, GMA creative director. “Barbie grew up before our eyes and she’s a generational talent because she can do comedy and drama. We’re happy and excited that she’s doing this with Sharon.”

Rounding out the slate of Filipino Prime Originals is Behind Closed Doors, starring Marian Rivera in an unfamiliar yet juicy role as a journalist and mistress. It reunites her with GMA Network director Dominic Zapata.

“Walang dahilan para mag-no for this project kasi ang offbeat niya para sa akin! (I had no reason to say no for this project because it’s quite offbeat for me!)” Ms. Rivera said at the launch. She expressed excitement, this being her comeback project after two years.

Mr. Simonsen explained in an e-mail that building “the infrastructure, relationships, and content pipeline that serves the audience at scale” allows them to help Filipino stories reach a global customer base.

“We’re enabling new models of collaboration — bringing together talent and partners in ways that weren’t possible in traditional broadcasting — because we can focus purely on what creates the best customer experience,” he said.

Prime Video is currently offered in over 240 countries and territories worldwide.

PINOY MOVIES, NBA
Caitlin Parkinson, head of APAC programming strategy at Prime Video, said that their customer-first approach has led them to balance both local and international opportunities.

“It’s about getting to know what drives audiences. We would never create something for the Philippines that Filipino audiences don’t want to see,” she said.

Along with the seven original titles, Prime Video announced exclusive licensed Filipino films: Samahan ng mga Makasalanan; Gabi ng Lagim; the Bayaniverse trilogy: Quezon, Heneral Luna, and Goyo: Ang Batang Heneral; Bar Boys: After School; and Open Endings.

K-drama titles set to premiere later this year include the romance drama, A Love Other Than Yours, starring Seo Kangjun, Ahn Eun-jin, Lee Joo Ahn, and Jo Aram; Final Table, featuring global sensation Ahn Hyo-seop as an overseas-based chef who joins a cooking tournament; and Nine to Six, starring Park Min Young, Yook Sung Jae, and Go Soo in an office romance.

Live basketball is another major content offering that Filipinos can expect on the platform, said Chaitanya Divan, head of content acquisition at Prime Video Southeast Asia. Because basketball is the number one sport in the Philippines, they will exclusively stream live NBA games for that market.

“NBA has the power to bring people together. The data is very revealing, with more than 50% of the population here saying they are NBA fans, 70 to 80% of which regularly engage with NBA content,” Mr. Divan said.

He added that the “pulsating, youthful energy” of the Philippines can be seen in the data they’ve gathered about Filipino customers.

“�ճ��’s the immense diversity in content consumption. There are weeks where local content tops the charts and there are weeks where US and global originals are on top,” he said. “The diversity is fascinating.”

Mr. Simonsen assured that they constantly look at customer data to inform decisions about what content to bring to the platform.

“What we’re seeing is that Filipino audiences are incredibly sophisticated — they don’t want to choose between local and international content; they want both, and they want quality across the board,” he said.

Prime Video is available in the Philippines for P149 per month. — Brontë H. Lacsamana

All Of The Noise presents live sessions, conferences

��ý — Thu, 16 Apr 2026 16:04:42 +0000

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ALL OF THE NOISE — a Manila-based music showcase and conference — is back. This year, it will be a three-day event bringing nearly 30 artists and multiple music industry conferences to the venue.

The multi-format gathering, known as AOTN, is programmed by music events production outfit The Rest Is Noise PH. Like last year, which was its first edition since the COVID-19 pandemic, it aims to unite international and Filipino artists as well as industry leaders for both performances and dialogue.

AOTN 2026 will take place in three venues across Metro Manila: Astbury Makati (April 17 and 19), Sari-Sari in Makati City (April 17 and 19), and 123 Block in Mandaluyong City (April 18).

“We had two editions before the pandemic, in 2018 and 2019,” said MC Galang, co-founder and creative director of The Rest Is Noise PH, at an April 14 press conference in San Juan City. Last year, they revived the festival for the company’s 10^th anniversary.

“By then, we had gone to many showcases abroad and found things that could work here,” Ms. Galang said. “We came up with panels that would be beneficial to either musicians or music industry professionals.”

Their programming is “centered on community building, cross-cultural collaboration, and visibility, positioning Filipino and Asian music as vital forces within the global creative economy.”

The international acts set to perform are Phoebe Rings (New Zealand), Grrrl Gang, Arash Buana, and Gavendri (Indonesia), Shye and Pines (Singapore), and HengJones and Our Shame (Taiwan).

The local acts are BP Valenzuela, Fitterkarma, SOS, Ourselves the Elves, Elijah Canlas, DJ Love from Davao, VVINK, Playertwo, fern, August Wahh, School Girl Classic from Cebu, Delinquent Society from Davao, Alyson, Novocrane, Amateurish from Baguio, Carousel Casualties, Magiliw Street, Ysanygo, and kyleaux.

In addition to live showcase performances, the music culture programming also highlights the music conference format, featuring panels and keynote discussions, documentary screenings, and networking activities.

“All Of The Noise exists to create meaningful intersections between artists, industries, and cultures,” said Ian Emmanuel C. Urrutia, the festival’s program director. “As the region continues to assert its voice on the global stage, our role is to build the infrastructure, dialogue, and opportunities that allow that voice to travel further.”

“We see this platform not only as a showcase but also as a long-term investment in the sustainability and global visibility of Filipino and Asian music,” he added.

CONFERENCES
This year’s edition of “Cut Through The Noise,” the festival’s conference program, will feature panel discussions and keynote presentations from music industry experts and professionals from the Philippines and abroad.

Designed to address the evolving needs of the local and regional music sectors, the topics of the panel segments range from market development and cross-border collaboration, to innovation, policy, and audience growth.

“We want to equip musicians with the knowledge and networks necessary to navigate an increasingly competitive global landscape,” said Ms. Galang. “For us, aside from the creativity aspect of music, the focus on music education is for Filipino artists, who have a surplus of talent, but can only make do with what they have.”

There will be panels on the potential of Southeast Asia, on curating music festivals, on system-building from both the private and public sectors, and on growing indie labels.

More specific panels are set to take place about the original soundtrack of Diary ng Panget and about the music community in Baguio City.

OTHER PROGRAMS
This year’s All Of The Noise will feature three films under its “Echoes Of The Noise” music documentary program. These are: the international debut screenings of Elephant Gym: More Real Than Dreams; Rosas: The Song. The Journey; and This is HANNAH+GABI.

Spotify will also power a key educational component of the program through a Spotify for Artists Masterclass led by the Spotify Asia team.

It is designed as a practical beginner session for artists and music stakeholders, focused on the “essential tools, insights, and platform knowledge needed to strengthen presence on Spotify, promote music more effectively, better understand audience behavior, and navigate the wider music streaming landscape with more clarity and confidence.”

Finally, there will be curated studio sessions, programmed by The Rest Is Noise PH, which brings Filipino songwriters and producers together with international guest performers to co-create original music. Under the “All Of The Noise Music Creatives Program,” the participating artists get to come up with newly written songs.

The inaugural session will feature Filipino producers Tim and Sam Marquez from One Click Straight and Taiwanese alternative pop band Our Shame, with guidance from DJ Joey Santos of Love One Another Sound Production. The Studio Sessions will also pair rising Filipino R&B artist kyleaux with acclaimed Taiwanese hip-hop artist HengJones, facilitated by CHEKE’s Justin Wieneke.

Tickets, priced from P400 to P700 depending on the day, are available via . A three-day pass worth P999 is inclusive of all programs. — Brontë H. Lacsamana

A woman’s strength

��ý — Tue, 14 Apr 2026 16:06:33 +0000

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Meneline Wong presents new mixed-media works

WOMEN never quite fit into narrow definitions for Meneline Wong, MD, a multidisciplinary artist and obstetrician-gynecologist.

For her, the resilience and beauty of women are best expressed in the mixed-media format, which allows for textures, flourishes, and imperfections. At the Conrad Manila hotel, 20 of Ms. Wong’s latest works provide a splash of color on the walls, for guests and visitors to peruse and admire.

Titled Creases, the 40^th exhibit in the “Of Art and Wine” series at the hotel’s Gallery C reflects the strength that can be found in the imperfect, bridging contemporary art and a doctor’s experience with the women she encounters in her day-to-day life.

Ever since she won 2^nd place in the GSIS National Art Competition in 2018 for non-representational art, Ms. Wong has continued to experiment and infuse her paintings with an intimate understanding of movement, flow, and organic transformation.

“I’m spontaneous. I don’t plan out my works, maybe except for an upcoming one that will be more of a 3D sculpture,” Ms. Wong told ��ý on the sidelines of the exhibit launch on March 24.

“In front of the canvas, I’m really spontaneous,” she said.

The exhibit’s title brings attention to the creases and folds in her artworks, inviting viewers to look closer and appreciate that these are not flaws in the design. The layered textures and expressive forms, backed by bright colors, symbolize the struggles, sacrifices, and silent battles that women carry with grace.

Some notable details are the lightness of the pastels, representing finesse, and the boldness of the metallic colors, which convey inner strength.

“For so long, women have been confined within narrow definitions,” said Ms. Wong. For her, labels such as “the weaker sex,” “too emotional,” and “lacking courage” do not reflect who women are.

“These are limitations imposed by a world that has not taken the time to truly see them,” she explained.

Rupert Hallam, Conrad Manila’s general manager, said at the launch that these creations are a way to recognize “the remarkable contributions and impact of every woman across our business and in every sector, including the arts.

“Through this latest installation, we invite our guests and patrons to experience a thoughtful tribute to the vulnerabilities and imperfections that ultimately give women their depth, character, and enduring beauty,” he said.

As for Susane Tiausus, managing director of Art Lounge Manila which represents Ms. Wong, the highlight of the creased works are the emotions they manage to evoke.

“Meneline does not hesitate to really express what she has inside,” Ms. Tiausus said. “Try to look into her artworks and see what she’s really trying to tell you — the story, the emotions.”

Curated by Nestor Jardin, Creases is a continuation of mixed-media paintings that Ms. Wong produced for a Women’s Month group show two years ago.

She told ��ý that the natural progression of her works will eventually be the removal of the canvas, resulting in a more sculptural form. As she cycles through her usual schedule — clinic three times a week, painting two times a week, and playing sports in her free time — the drive to push the envelope continues.

“My goal is to have more international shows, maybe even a solo show,” she said.

Of Art and Wine: Creases is on view at Conrad Manila’s Gallery C. — Brontë H. Lacsamana

Benilde Open Design and Art merges the natural and the technological

��ý — Tue, 14 Apr 2026 16:05:32 +0000

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FILLING the gallery space with an inviting area of soft seats and hammocks with a netted canopy overhead, Karl Castro’s Maytubig emerged as part of the second set of Benilde Open Design and Art grants. The pop-up cultural space is another in his series titled Locus Pocus: Kinetic Social Infrastructures for Rest and Collective Care, derived from the aesthetics and labor of fishing culture.

The installation at Benilde was one of the most popular on opening night, offering a public space for rest shaped by human and ecological memory. Built in collaboration with fishermen from Talim Island, its canopy draws from the salambao, a traditional lift net once common in Manila Bay and its river networks, and the sakag, a manual push net still commonly used for shrimp fishing.

“I want people to think about our literal relationship with water in the area where Benilde is,” Mr. Castro told the media prior to the launch of Benilde Open on April 11. Malate, Manila, where the campus sits, used to have waterways leading up to Manila Bay.

“I’m grateful to the fisherfolk communities whose knowledge and craft are at the heart of this structure, which makes rest a form of remembering and a temporary act of reclamation,” he said.

He is one of the 10 grantees chosen to receive P300,000 to realize design and art projects encompassing various fields, under the theme “Extension of Nature” for this edition.

Meanwhile, media artist Mac Andre Arboleda turned to the digital sphere to examine colonial crimes against nature, with a project titled Nutrition Month (Presented by Mayor Alice Guo). In a sonic archive format, it cleverly uses the figure of Alice Guo as a lens to investigate the various trends and systems that define the Filipino today.

“It’s presented as a satirical billboard and evolving archive, mimicking the language of government campaigns and online scams,” Mr. Arboleda told ��ý. He posited that a research-driven yet grassroots approach to the complex social media landscape is critical to make real progress.

For him, be it the seafaring network of Filipinos abroad, the e-sabong networks locally, or the complications behind acceptance of gender identities in the Philippines, there is much yet to be studied online.

SELECTION PROCESS
The Benilde Open Design and Art is a grant-giving body organized by De La Salle College of Saint Benilde (CSB). For its second edition, the showcase is installed across the 6^th and 12^th floors of the CSB campus, where students and visitors can browse through the works.

It invited creatives from all fields of design and art — like traditional crafts, textiles, industrial design, video, and architecture, to name a few — to participate. The 130 proposals received were narrowed down to 10 professional grantees, each of whom received a P300,000 grant to fulfill their projects.

This year, the international selection committee was composed of Freddie Anzures, Creative Partner at HPIQ; Jiho Lee, curator at the National Museum of Modern and Contemporary Art in Korea; architect Mireia Luzárraga of TAKK; Natalie Huni, managing director and head of design at Wells Fargo; and Timothy Moore, curator of contemporary design and architecture at the National Gallery of Victoria and director of Melbourne Design Week.

“It was very difficult to select because there’s hundreds of creatives and we were really confronted with the variety of disciplines. What was helpful was the theme, which looks at nature,” Mr. Moore told ��ý. “As a jury, we were really interested in projects that challenge the binary relationship between nature and human, projects that look at how nature is complex and entangled in our lives.”

He added that Benilde Open is unique in that it commissions “prototypical work that tests out ideas in a gallery setting,” unlike other similar grants of this scale. “It’s brave to have this kind of incubator for people at different stages of their career. It’s quite unique globally, an opportunity that we don’t see a lot,” he said.

FAMILIAR MADE NEW
Some projects reinterpreted day-to-day rituals and materials to develop new forms.

Technospoonism: Wearable Cutlery for a Reimagined Kamayan by designer Bianca Carague presents a speculative jewelry collection that reimagines the Filipino tradition of eating using one’s hands. Her experimentation in form resulted in rings that double as forks, cuffs that also function as plates, and pendants that may carry food.

Datirati by Niño Tayao revisits childhood play through a stacking toy made from agricultural waste. Using organic materials like rice husks, corn husks, various seeds, and starch, his series of toys invites people to contemplate the life cycle of objects.

“Coming from an industrial design background, I found that the agri-waste materials carried nostalgia. I feel that I’m working with a living thing that’s very fragile,” he said. “The uncertainty is kind of a metaphor for the climate we have right now.”

CIVIC LIFE, PUBLIC SPACE
For artist Krishner Appay from Sulu, whose project A Cultural Revival of the Tausug Luhul Giyuting Tree of Life presents appliqué textiles developed with local artisans, the Benilde Open is an opportunity to keep traditional textile knowledge alive.

“Sulu traditional art has to be passed on to the next generation, even in the reality of modernization. This traditional knowledge deserves wider recognition, appreciation, and preservation,” she told ��ý. “This exhibit also challenges the notion that local artisans can only create for local audiences. It can go beyond the community.”

More representations of civic life appear across the showcase. Andi Osmeña’s Waste of Space is an answer to the scarcity of accessible public spaces in Metro Manila. She uses upcycled materials like sachets to put up temporary gathering spaces that communities can build on their own.

“Public space is becoming more topical in light of car-centric infrastructure and rising prices of oil and gas. Metro Manila gets the brunt of it. This is something that we can take hold with our own hands, which is why the materials I chose are simple, inexpensive, and made from post-industrial waste,” said Ms. Osmeña.

“We can do things guerrilla,” she added. “From it, I want people to find hope and small pockets of joy.”

Meanwhile, an exploration of life on Negros Island was captured on film by artists and filmmakers Kiri Dalena and Ben Brix. Common Ground, a multi-channel video installation, examines ecological volatility and colonial agricultural histories on the island.

Both explained that, aside from filming the experiences of locals, they were able to pick up on the contradictions and tensions in the region.

SPECULATIVE DESIGNS
Another video installation among the grantees was helmed by filmmaker Mikael Joaquin. His work, The Memory of Flood, speculates a future Manila reshaped by rising waters.

“It presents an imagined landscape where flooding water has shaped the city. I hope audiences feel the fragility of the image,” he told ��ý.

He said that the video contemplates how Manila’s coastline is drastically ever-changing. It is centered on a lone figure facing the sea while a color image of Dolomite Beach is projected on a thin, makeshift-screen made of gauze.

Nicolei Racal’s What If Snow Falls in the Philippines? is another speculative work, which imagines a fictional climate catastrophe through a textile-based installation.

Atlas of Water Futures by architectural studio Uno Sinotra, led by Mona and Buddy Ong, tackles flooding with an inflatable bubble-dome installation, developed from workshops with children in Cebu.

For selection committee member Freddie Anzures, the 10 final projects stood out because they contained “narratives that relate to cultures globally, just executed in a Filipino lens.”

“They all have a collective aspect, a community aspect, and that is what I would love to see represent the Philippines on a global level,” he explained. “I think a lot of the projects capture a Filipino-ness, though the Philippines is made up of a lot of different cultures. The geographical nature of the country hinders its ability to have a solid identity, so the variety is part of its identity. It’s a collage.”

The Benilde Open Design and Art 2026 exhibition is on view until April 27 on the 6^th and 12^th floors of the CSB’s School of Design and Arts campus in Pablo Ocampo St., Malate, Manila. — Brontë H. Lacsamana

Bert Lozada Swim School: Alive and splashing for 70 years

��ý — Mon, 13 Apr 2026 16:06:40 +0000

IT HAS been 70 years since the Bert Lozada Swim School (BLSS) began, a staple for those looking for swimming lessons either for themselves or for their children, especially in the summer. As the Philippines’ largest and longest-running swim school, its mission has been simple — to help Filipinos overcome their fear of water.

Started in 1956 by Remberto “Tito Bert” Lozada, whose experience in international swimming competitions motivated him to use what he had learned to teach others, the school has spent the last 70 years championing water safety nationwide. It has taught over one million students in that time, and has produced seven Olympian swimmers.

Bert Lozada’s sons, Anthony and Angelo, now run the business. In a recent virtual interview with ��ý, they said that passion is behind the constant improvement of their programs over the decades.

“When it started, it was a mom-and-pop thing with a few family members teaching at a couple of swimming pools. The curriculum was based on what my dad developed from his experiences coaching abroad,” Anthony Lozada, BLSS president and chief executive officer, told ��ý via video call on April 10.

“At the time, there was no structure, methodology, or pedagogy on how to transfer information to children, given that it’s a free moving environment, not a classroom setting,” he added.

It was Tito Bert’s father, Capt. Catalino Lozada, who sowed the seeds for a swim school in the early 1950s. Each generation of the family got more exposure to international swimming standards, resulting in the necessary modifications and teaching aids.

The brothers underwent a certification course in Australia, where they got the information needed to equip Filipino coaches with the skills to teach basic fundamental swimming, in turn upgrading their own learn-to-swim program.

DROWN-FREE PHILIPPINES
Angelo Lozada, chief operating officer of BLSS, explained that they now boast of “a menu of services for different ability levels,” from children to adults to those with adaptive needs, all based on best practices around the world, available year-round.

“We have 130 regular teachers and coaches around the country. During the summer, where we open up more classes and get to activate working students, we have roughly more than 200 teachers and coaches,” he said.

It is unfortunate that in an archipelagic country, many Filipinos still do not know how to swim. Angelo Lozada posits that a major factor is economics — with people not having the funds to enroll in swimming classes.

“In Australia, if a kid doesn’t know how to swim by the time they’re six years old, that’s considered bad parenting. Here, we noticed a lot of kids don’t learn simply because of lack of money for lessons,” he explained. “Another thing that hinders is the knowledge to teach. That’s the reason we built the Drown-Free Philippines Foundation, to equip people on the barangay level to teach.”

INCLUSIVITY
Now, they are looking to collaborate with more swim providers, to help out more financially challenged Filipinos, especially children.

“It’s doable if we’re able to branch out,” Angelo Lozada said. “We’re already moving forward in terms of reaching different institutions and barangays. We just have to get more sponsors and raise more funds to teach even more kids for free.”

Because Bert Lozada’s dream is to have “a drown-free nation,” his sons are working to bring swimming lessons to indigents, to children from families without access to funds, and to those with physical and intellectual disabilities.

Anthony Lozada, who also handles the national team for para-athletes, told ��ý that they aim to expand their adaptive swimming lessons.

“It’s about inclusivity regardless of demographic. BLSS wants to bring swimming to everyone,” he said.

MAKING GREAT SWIMMERS
BLSS also offers their services to educational institutions, to take over the swimming portions of Physical Education (PE) programs. Those with a fear of water can be more adequately handled by a full-time swim teacher compared to a more general PE teacher, according to the brothers.

It’s also a way to spot talent that can be recruited into more advanced modules, or even a varsity program.

“We’re talking about those who are really comfortable in the water, which you can tell because they move differently. We get to identify usually one or two of those in every 40 students,” said Angelo Lozada.

Once those are spotted, they are encouraged to join intramurals, after which they are brought into a highly competitive program. “A lot of swimmers discovered in our classes now in the national team used to be scared of the water. But with proper guidance and a lesson plan, we were able to tap those hidden talents in them,” he added.

“The motto of our grandfather was: ‘Great swimmers are made, not born.’”

THE FUTURE OF BLSS
Modules used by BLSS now are on par with those of other countries. The brothers likened it to how Jollibee took the fastfood concept from abroad and modified it to the Filipino context — and they continue to improve on it to this day.

“Our students don’t only learn the water safety skill of swimming, but we also impart to them the values of being an athlete and a positive contributor to Philippine society. Many coaches that we recruited are also doing well in jobs abroad,” said Anthony Lozada. “BLSS is a swim school that imparts not just knowledge of how to swim, but also values and the importance of family bonding.”

Right now, they are working on an app which aims to professionalize everything from enrollment to alumni matters. “We want to remind alumni to continue learning to swim, and offer them refresher courses,” said Angelo Lozada.

The brothers assured that “the passion of Tito Bert is alive” through them.

“We have our dad to thank. He really loved teaching,” Anthony Lozada said. “We weren’t able to figure it out before because we were looking at it as a job, but now that we’re in the driver’s seat, the rewards, the fulfillment, are unmatched.”

To inquire about the BLSS Summer Swim Program or their other programs, contact the Bert Lozada Swim School through their social media pages, send an e-mail to blss.inquiry@gmail.com, or call 0917-700-7946. The school has over 40 venues nationwide. — Brontë H. Lacsamana

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