By Sam L. Marcelo
\nTheater Review
\nArt
\nBy Yasmina Reza
\nPresented by Repertory Philippines
IN YASMINA REZA\u2019s Art, a 15-year friendship among three men falls apart when one of them shells out 200,000 francs for a white painting \u2014 about five feet by four, with a white background… completely white \u2014 and another decries it as \u201ca piece of shit.\u201d
\nDirected by Victor Lirio for the 88th season of Repertory Philippines, Art revolves around Serge (British-Filipino actor Martin Sarreal), a dermatologist and the smug owner of the divisive white painting; Marc (London-based actor Freddy Sawyer), an aeronautical engineer who cannot stomach that one of his closest friends quotes French poetry, recommends Seneca, and deploys words like \u201cdeconstruction\u201d without a hint of irony; and Yvan (Gawad Buhay awardee Brian Sy), a neophyte in the stationery business who finds himself caught in the middle of the sometimes intellectual, sometimes physical argument while he\u2019s on the precipice of a personal meltdown due to his impending nuptials.
\nCentral to the comedy\u2019s plot is Marc\u2019s dilemma: \u201cI love Serge and I can\u2019t love the Serge who\u2019s capable of buying that painting.\u201d The white painting isn\u2019t just a white painting, after all; it is a stand-in for values, ethics, and morals that are often split along class lines. In an hour-and-a-half, Art summarizes Pierre Bourdieu\u2019s Distinction: A Social Critique of the Judgement of Taste in a much more entertaining and lighthearted manner.
\nTransported into the present year for reasons unknown (except maybe sartorial \u2014 as Marc, a traditionalist, is still beholden to his skinny jeans even if they went out of style in the 2010s, while Serge, who fancies himself a modern man, is dressed in the wider and more generous cut of pants du jour; yet curiously they kept giving the painting\u2019s price in francs not euros), Art unfolds on a spare stage with minimal props, the most important of which is the white painting \u2014 about five feet by four, completely white, we are constantly reminded \u2014 that possesses all the requisite markers of a prestige object: it is a piece by a well-known painter, from the right period of his career (it\u2019s an Antrios and not just any Antrios \u2014 but a seventies Antrios, says Serge); coveted by a blue-chip gallerist and collector (namechecked by Serge); and validated by a major cultural institution (there are three Antrioses in the Pompidou, says Serge). An aside: Real-life art handlers would have a heart attack seeing how this fictional artwork is moved around with utter disregard for the painted surface.
\nWith multiple monologues and fast-paced banter, Art (translated from the original French by British playwright Christopher Hampton), gives each actor his turn in the spotlight.
\nSarreal, with his posh British accent (perfected, perhaps, in Bridgerton, where he played Lord Barnell in Season 3), perpetually raised eyebrow, and perennial crooked grin (the kind that would merit being smacked off one\u2019s face) exudes the pomposity of a man suffering from a Napoleon complex. As Sarreal\u2019s antagonist, Sawyer is sarcastic, aggressive, and angry \u2014 his towering physique adding another layer to the conflict between Marc and Serge. And in the middle \u2014 ever the pacifist, ever the referee, ever the overlooked amoeba \u2014 is Sy, whose Yvan is a sweaty quivering ball of beta-male energy capable of rousing both sympathy and irritation.
\nPraised for its global and long-lasting appeal, Art debuted in 1994 and enjoyed successful runs in London and New York, garnering a slew of awards (multiple Olivier Awards, Tony Awards, and Drama Desk Awards). At the opening gala, Repertory Philippines President and Chief Executive Officer Mindy Perez-Rubio remarked that the company was fortunate to produce the play for local audiences as it is scheduled to open on Broadway this August with Neil Patrick Harris, alongside James Corden and Bobby Cannavale.
\nThe staging of Reza\u2019s Art and its accompanying commentary on the value of art is timely as cultural institutions in the West \u2014 America, specifically \u2014 are under attack. One hopes that the Marcs of the world, those who loudly condemn art as \u201cshit,\u201d experience a change of heart and see the poetry hiding in a white canvas, five feet by four, with a white background… completely white.
\n(Rep\u2019s production of Art is on a limited run until June 29, with performances on Fridays and Saturdays at 8 p.m., and matinee performances on Sundays at 3:30 p.m., at the Rep Eastwood Theater, Eastwood City Walk 2, Eastwood Ave., Bagumbayan, in Quezon City.)
\n\n
Sam L. Marcelo is the head of publications at the Museum of Contemporary Art and Design (MCAD) Manila and the managing editor at Exploding Galaxies Press, Inc. Prior to joining the world of books, Marcelo was a newspaper journalist who covered the arts-and-culture beat for 大象传媒.
\nHere is a list of recommendations related to Yasmina Reza\u2019s Art
\n\u2022 \u201cWhy these all-white paintings are in museums and mine aren\u2019t,\u201d posted Sept. 8, 2017 by Vox, YouTube, https://youtu.be/9aGRHOpMRUg
\nAntrios might be fictional but Robert Ryman \u2014 whose all-white painting Bridge (1980) was hammered at $20,605,000 at a 2015 Christie\u2019s sale \u2014 is not. In this Vox video, a curator discusses the minimalist movement and how a square of white paint requires the viewer to \u201cdo a lot more work\u201d before being rewarded. Art is also mentioned in a supercut of men raging and freaking out due to the \u201csuper pretentious meets uber pretentious nonsense\u201d of modern art.
\n\u2022 Roman Mars, host, 99% Invisible, podcast, episode 347, \u201cThe Many Deaths of a Painting,\u201d March 26, 2019, https://99percentinvisible.org/episode/the-many-deaths-of-a-painting/
\nMarc\u2019s loathing for Serge\u2019s Antrios isn\u2019t unusual. This podcast episode talks about a work by abstract expressionist Barnett Newman and \u201ca reaction the painting received that was so intense, so violent, it set off a chain of events that shook the art world to its core.\u201d
\n\u2022 John Logan, Red, 2009
\nArt and Red would make the perfect double bill. Where Art has a white rectangle, Red has a dark rectangle. Where Art is a comedy told from the perspective of the people looking at a painting, Red \u2014 based on the life of AbEx painter Mark Rothko \u2014 is a drama told from the perspective of the artist who paints them. (Incidentally, Bart Guingona has starred in local productions of Art and Red.)
\n\u2022 Don Thompson, The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art (St. Martin\u2019s Griffin, 2008)
\nHow can a white painting be worth 200,000 francs? How can The Physical Impossibility of Death in the Mind of Someone Living by Damien Hirst be worth millions? Don Thompson explains the machinery of the art market and its eye-watering prices.
\n\u2022 Craig Damrauer, New Math Modern Art, https://www.wonderstore.assortedbitsofwisdom.com/shop/p/new-math-modern-art
\nMODERN ART = I COULD DO THAT + YEAH, BUT YOU DIDN\u2019T.
\n(Yours for $140.)
\n", "content_text": "1 of 2\r\n \r\n \r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n A SCENE FROM Repertory Philippines\u2019 Art.\r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n\r\n \r\n\r\n \r\n \nYasmina Reza\u2019s Art and a painting\u2019s power to destroy friendships\nBy Sam L. Marcelo\nTheater Review\nArt\nBy Yasmina Reza\nPresented by Repertory Philippines\nIN YASMINA REZA\u2019s Art, a 15-year friendship among three men falls apart when one of them shells out 200,000 francs for a white painting \u2014 about five feet by four, with a white background… completely white \u2014 and another decries it as \u201ca piece of shit.\u201d\nDirected by Victor Lirio for the 88th season of Repertory Philippines, Art revolves around Serge (British-Filipino actor Martin Sarreal), a dermatologist and the smug owner of the divisive white painting; Marc (London-based actor Freddy Sawyer), an aeronautical engineer who cannot stomach that one of his closest friends quotes French poetry, recommends Seneca, and deploys words like \u201cdeconstruction\u201d without a hint of irony; and Yvan (Gawad Buhay awardee Brian Sy), a neophyte in the stationery business who finds himself caught in the middle of the sometimes intellectual, sometimes physical argument while he\u2019s on the precipice of a personal meltdown due to his impending nuptials.\nCentral to the comedy\u2019s plot is Marc\u2019s dilemma: \u201cI love Serge and I can\u2019t love the Serge who\u2019s capable of buying that painting.\u201d The white painting isn\u2019t just a white painting, after all; it is a stand-in for values, ethics, and morals that are often split along class lines. In an hour-and-a-half, Art summarizes Pierre Bourdieu\u2019s Distinction: A Social Critique of the Judgement of Taste in a much more entertaining and lighthearted manner.\nTransported into the present year for reasons unknown (except maybe sartorial \u2014 as Marc, a traditionalist, is still beholden to his skinny jeans even if they went out of style in the 2010s, while Serge, who fancies himself a modern man, is dressed in the wider and more generous cut of pants du jour; yet curiously they kept giving the painting\u2019s price in francs not euros), Art unfolds on a spare stage with minimal props, the most important of which is the white painting \u2014 about five feet by four, completely white, we are constantly reminded \u2014 that possesses all the requisite markers of a prestige object: it is a piece by a well-known painter, from the right period of his career (it\u2019s an Antrios and not just any Antrios \u2014 but a seventies Antrios, says Serge); coveted by a blue-chip gallerist and collector (namechecked by Serge); and validated by a major cultural institution (there are three Antrioses in the Pompidou, says Serge). An aside: Real-life art handlers would have a heart attack seeing how this fictional artwork is moved around with utter disregard for the painted surface.\nWith multiple monologues and fast-paced banter, Art (translated from the original French by British playwright Christopher Hampton), gives each actor his turn in the spotlight.\nSarreal, with his posh British accent (perfected, perhaps, in Bridgerton, where he played Lord Barnell in Season 3), perpetually raised eyebrow, and perennial crooked grin (the kind that would merit being smacked off one\u2019s face) exudes the pomposity of a man suffering from a Napoleon complex. As Sarreal\u2019s antagonist, Sawyer is sarcastic, aggressive, and angry \u2014 his towering physique adding another layer to the conflict between Marc and Serge. And in the middle \u2014 ever the pacifist, ever the referee, ever the overlooked amoeba \u2014 is Sy, whose Yvan is a sweaty quivering ball of beta-male energy capable of rousing both sympathy and irritation.\nPraised for its global and long-lasting appeal, Art debuted in 1994 and enjoyed successful runs in London and New York, garnering a slew of awards (multiple Olivier Awards, Tony Awards, and Drama Desk Awards). At the opening gala, Repertory Philippines President and Chief Executive Officer Mindy Perez-Rubio remarked that the company was fortunate to produce the play for local audiences as it is scheduled to open on Broadway this August with Neil Patrick Harris, alongside James Corden and Bobby Cannavale.\nThe staging of Reza\u2019s Art and its accompanying commentary on the value of art is timely as cultural institutions in the West \u2014 America, specifically \u2014 are under attack. One hopes that the Marcs of the world, those who loudly condemn art as \u201cshit,\u201d experience a change of heart and see the poetry hiding in a white canvas, five feet by four, with a white background… completely white.\n(Rep\u2019s production of Art is on a limited run until June 29, with performances on Fridays and Saturdays at 8 p.m., and matinee performances on Sundays at 3:30 p.m., at the Rep Eastwood Theater, Eastwood City Walk 2, Eastwood Ave., Bagumbayan, in Quezon City.)\n \nSam L. Marcelo is the head of publications at the Museum of Contemporary Art and Design (MCAD) Manila and the managing editor at Exploding Galaxies Press, Inc. Prior to joining the world of books, Marcelo was a newspaper journalist who covered the arts-and-culture beat for 大象传媒.\n\nInterest piqued?\nHere is a list of recommendations related to Yasmina Reza\u2019s Art\n\u2022 \u201cWhy these all-white paintings are in museums and mine aren\u2019t,\u201d posted Sept. 8, 2017 by Vox, YouTube, https://youtu.be/9aGRHOpMRUg\nAntrios might be fictional but Robert Ryman \u2014 whose all-white painting Bridge (1980) was hammered at $20,605,000 at a 2015 Christie\u2019s sale \u2014 is not. In this Vox video, a curator discusses the minimalist movement and how a square of white paint requires the viewer to \u201cdo a lot more work\u201d before being rewarded. Art is also mentioned in a supercut of men raging and freaking out due to the \u201csuper pretentious meets uber pretentious nonsense\u201d of modern art.\n\u2022 Roman Mars, host, 99% Invisible, podcast, episode 347, \u201cThe Many Deaths of a Painting,\u201d March 26, 2019, https://99percentinvisible.org/episode/the-many-deaths-of-a-painting/\nMarc\u2019s loathing for Serge\u2019s Antrios isn\u2019t unusual. This podcast episode talks about a work by abstract expressionist Barnett Newman and \u201ca reaction the painting received that was so intense, so violent, it set off a chain of events that shook the art world to its core.\u201d\n\u2022 John Logan, Red, 2009\nArt and Red would make the perfect double bill. Where Art has a white rectangle, Red has a dark rectangle. Where Art is a comedy told from the perspective of the people looking at a painting, Red \u2014 based on the life of AbEx painter Mark Rothko \u2014 is a drama told from the perspective of the artist who paints them. (Incidentally, Bart Guingona has starred in local productions of Art and Red.)\n\u2022 Don Thompson, The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art (St. Martin\u2019s Griffin, 2008)\nHow can a white painting be worth 200,000 francs? How can The Physical Impossibility of Death in the Mind of Someone Living by Damien Hirst be worth millions? Don Thompson explains the machinery of the art market and its eye-watering prices.\n\u2022 Craig Damrauer, New Math Modern Art, https://www.wonderstore.assortedbitsofwisdom.com/shop/p/new-math-modern-art\nMODERN ART = I COULD DO THAT + YEAH, BUT YOU DIDN\u2019T.\n(Yours for $140.)", "date_published": "2025-06-25T00:06:04+08:00", "date_modified": "2025-06-24T17:56:13+08:00", "authors": [ { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2025/06/03.jpg", "tags": [ "Sam L. Marcelo", "Arts & Leisure", "Editors' Picks" ], "summary": "IN YASMINA REZA\u2019s Art, a 15-year friendship among three men falls apart when one of them shells out 200,000 francs for a white painting \u2014 about five feet by four, with a white background... completely white \u2014 and another decries it as \u201ca piece of shit.\u201d" }, { "id": "/?p=528886", "url": "/editors-picks/2023/06/16/528886/seeing-red-talking-art/", "title": "Seeing Red, talking art", "content_html": "THEATER
\nRed
\nThe Necessary Theatre
\nStarring Bart Guingona,
\nJC Santos
\nJune 16-18
\nFri., 8 p.m.; Sat. & Sun., 3:30 and 8 p.m.
\nPETA Theater Center, Eynmard Dr., New Manila, Quezon City
JOHN LOGAN\u2019S\u00a0straight play Red does a better job of introducing painter Mark Rothko, Abstract Expressionism, and the angst of artists than Clement Greenberg\u2019s criticism ever will.
\nA decade after he first played Rothko in Logan\u2019s two-hander, Bart Guingona reprises the role of the art-world giant known for painting rectangles floating in color fields, for expressing big emotions through pigments, for withdrawing his Seagram murals from the Four Seasons Restaurant in New York City because he couldn\u2019t bear to see his work as the background for clinking silverware and idle chatter, and for offing himself in 1970.
\nMr. Guingona, who called Rothko \u201ca genius asshole\u201d in 2013, has more sympathy for the artist, who, along with the likes of Barnett Newman and Clyfford Still, wished to convey \u201ctragedy, ecstasy, and doom\u201d through color.
\n\u201cThis is a much deeper etching of the play because I think I understand now: He protected his work like they were his children. [Painting] is like getting a piece of your flesh, of yourself, and putting it out there unprotected. And you need to protect it \u2014 that never occurred to me before,\u201d said Mr. Guingona, who now plays \u201ca more nuanced version\u201d of the genius asshole and academic snob. \u201cHe had to be the way he was because he was protecting his creation.\u201d
\nOpposite Mr. Guingona is JC Santos, who plays Rothko\u2019s fictional assistant, Ken, with the eager vulnerability of a puppy exposing its soft underbelly to its master, hungry for attention and tummy rubs. This dynamic, more avuncular than antagonistic, sets up a different emotional payoff than the 2013 version which featured Joaquin Valdes, whose onstage chemistry with Mr. Guingona had all the fragility \u201ctwo alpha males\u201d butting heads, as the veteran actor put it.
\n\u201c[JC\u2019s Ken] is a child,\u201d said Mr. Guingona. \u201cYou see Rothko as cruel, particularly to someone who\u2019s so open. When the play shifts later on, the tenderness becomes even more pronounced.\u201d
\nThe two go back-and-forth for 90 minutes, without intermission, trading barbs and monologues in vivid language as when Rothko and Ken play a word association game sparked by the color red. Found in scene 2, this verbal fillip is populated by persimmons and pomegranates, flame and dead Fauvists, Santa Claus and Satan, showcasing how Logan\u2019s concrete writing is far more accessible than Greenberg\u2019s critic-speak. (To wit: \u201cNewman and Rothko turn away from the painterliness of Abstract Expressionism as though to save the objects of painterliness \u2014 color and openness \u2014 from painterliness itself. This is why their art could be called a synthesis of painterly and non-painterly or, better, a transcending of the differences between the two.\u201d)
\nMr. Guingona and Mr. Santos took a crash course in art history to prepare for Red, bringing back memories of their formal training in theater arts (Mr. Guingona studied directing in London; Mr. Santos, acting in New York City).
\n\u201cYou come into class, you have books that you have to read and all the theories are there,\u201d said Mr. Guingona. \u201cThe beauty of that is that once you know all the theories and you put them into practice, you can just toss the books out. It becomes second nature.\u201d
\nRed is an example of how diverse voices enrich the conversation. Those who are baffled by the syntax of art exhibition text \u2014 distinct enough to be given a name (International Art English) and parodied \u2014 will find an alternative in Logan\u2019s play, which rarely, if ever, lapses into nominalizations and jargon.
\nThe more doorways to enter the wonderful, crazy world of art, the better.
\nNan Z. Da, an English professor at the University of Notre Dame, talked about \u201ccurious crossings\u201d in a piece about \u201cpreserving the generic, categorical distinctions that separate different forms of writing\u201d: \u201cAcademic writing has to look different than nonfiction writing, has to look different than journalism, and so forth, for much the same reason that interdisciplinarity means nothing if disciplines don\u2019t have operational closure, don\u2019t have integrity. You have to have categorical and systemic partitioning, even hard generic distinctions, in order to see curious crossings.\u201d (Nan Z. Da and Jessica Swoboda, \u201cCurious Crossings: A conversation with Nan Z. Da,\u201d The Point, April 19, 2022, thepointmag.com/dialogue/curious-crossings/).
\nAnd to borrow from the Tony Award-winning play itself, these different registers are not in conflict but in symbiosis: \u201cThey need each other. Dionysus\u2019 passion is focused \u2014 is made bearable \u2014 by Apollo\u2019s will to form. In fact, the only way we can endure the sheer ferocity of Dionysus\u2019 emotion is because we have the control and intelligence of Apollo, otherwise the emotion would overwhelm us.\u201d
\nFor Mr. Santos, who is the reason that Red is back on stage after 10 years, the play is a shot in the arm for those who languished over the pandemic: \u201cI want this to be a reminder for us \u2014 and for other artists \u2014 to be inspired again.\u201d
\nPrior to joining a contemporary art museum and a small independent press as a publishing consultant, Sam L. Marcelo was a reporter and editor at 大象传媒.
\n", "content_text": "THEATER\nRed\nThe Necessary Theatre\nStarring Bart Guingona,\nJC Santos\nJune 16-18\nFri., 8 p.m.; Sat. & Sun., 3:30 and 8 p.m.\nPETA Theater Center, Eynmard Dr., New Manila, Quezon City\nJOHN LOGAN\u2019S\u00a0straight play Red does a better job of introducing painter Mark Rothko, Abstract Expressionism, and the angst of artists than Clement Greenberg\u2019s criticism ever will.\nA decade after he first played Rothko in Logan\u2019s two-hander, Bart Guingona reprises the role of the art-world giant known for painting rectangles floating in color fields, for expressing big emotions through pigments, for withdrawing his Seagram murals from the Four Seasons Restaurant in New York City because he couldn\u2019t bear to see his work as the background for clinking silverware and idle chatter, and for offing himself in 1970.\nMr. Guingona, who called Rothko \u201ca genius asshole\u201d in 2013, has more sympathy for the artist, who, along with the likes of Barnett Newman and Clyfford Still, wished to convey \u201ctragedy, ecstasy, and doom\u201d through color.\n\u201cThis is a much deeper etching of the play because I think I understand now: He protected his work like they were his children. [Painting] is like getting a piece of your flesh, of yourself, and putting it out there unprotected. And you need to protect it \u2014 that never occurred to me before,\u201d said Mr. Guingona, who now plays \u201ca more nuanced version\u201d of the genius asshole and academic snob. \u201cHe had to be the way he was because he was protecting his creation.\u201d\nOpposite Mr. Guingona is JC Santos, who plays Rothko\u2019s fictional assistant, Ken, with the eager vulnerability of a puppy exposing its soft underbelly to its master, hungry for attention and tummy rubs. This dynamic, more avuncular than antagonistic, sets up a different emotional payoff than the 2013 version which featured Joaquin Valdes, whose onstage chemistry with Mr. Guingona had all the fragility \u201ctwo alpha males\u201d butting heads, as the veteran actor put it.\n\u201c[JC\u2019s Ken] is a child,\u201d said Mr. Guingona. \u201cYou see Rothko as cruel, particularly to someone who\u2019s so open. When the play shifts later on, the tenderness becomes even more pronounced.\u201d\nThe two go back-and-forth for 90 minutes, without intermission, trading barbs and monologues in vivid language as when Rothko and Ken play a word association game sparked by the color red. Found in scene 2, this verbal fillip is populated by persimmons and pomegranates, flame and dead Fauvists, Santa Claus and Satan, showcasing how Logan\u2019s concrete writing is far more accessible than Greenberg\u2019s critic-speak. (To wit: \u201cNewman and Rothko turn away from the painterliness of Abstract Expressionism as though to save the objects of painterliness \u2014 color and openness \u2014 from painterliness itself. This is why their art could be called a synthesis of painterly and non-painterly or, better, a transcending of the differences between the two.\u201d)\nMr. Guingona and Mr. Santos took a crash course in art history to prepare for Red, bringing back memories of their formal training in theater arts (Mr. Guingona studied directing in London; Mr. Santos, acting in New York City).\n\u201cYou come into class, you have books that you have to read and all the theories are there,\u201d said Mr. Guingona. \u201cThe beauty of that is that once you know all the theories and you put them into practice, you can just toss the books out. It becomes second nature.\u201d\nRed is an example of how diverse voices enrich the conversation. Those who are baffled by the syntax of art exhibition text \u2014 distinct enough to be given a name (International Art English) and parodied \u2014 will find an alternative in Logan\u2019s play, which rarely, if ever, lapses into nominalizations and jargon.\nThe more doorways to enter the wonderful, crazy world of art, the better.\nNan Z. Da, an English professor at the University of Notre Dame, talked about \u201ccurious crossings\u201d in a piece about \u201cpreserving the generic, categorical distinctions that separate different forms of writing\u201d: \u201cAcademic writing has to look different than nonfiction writing, has to look different than journalism, and so forth, for much the same reason that interdisciplinarity means nothing if disciplines don\u2019t have operational closure, don\u2019t have integrity. You have to have categorical and systemic partitioning, even hard generic distinctions, in order to see curious crossings.\u201d (Nan Z. Da and Jessica Swoboda, \u201cCurious Crossings: A conversation with Nan Z. Da,\u201d The Point, April 19, 2022, thepointmag.com/dialogue/curious-crossings/).\nAnd to borrow from the Tony Award-winning play itself, these different registers are not in conflict but in symbiosis: \u201cThey need each other. Dionysus\u2019 passion is focused \u2014 is made bearable \u2014 by Apollo\u2019s will to form. In fact, the only way we can endure the sheer ferocity of Dionysus\u2019 emotion is because we have the control and intelligence of Apollo, otherwise the emotion would overwhelm us.\u201d\nFor Mr. Santos, who is the reason that Red is back on stage after 10 years, the play is a shot in the arm for those who languished over the pandemic: \u201cI want this to be a reminder for us \u2014 and for other artists \u2014 to be inspired again.\u201d\nPrior to joining a contemporary art museum and a small independent press as a publishing consultant, Sam L. Marcelo was a reporter and editor at 大象传媒.", "date_published": "2023-06-16T00:11:11+08:00", "date_modified": "2023-06-15T17:40:37+08:00", "authors": [ { "name": "大象传媒", "url": "/author/zievelivminerth/", "avatar": "https://secure.gravatar.com/avatar/8c6621749f5c11b2227b3eaf717ce98695677abb3578c9bc29a69874709f78da?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/zievelivminerth/", "avatar": "https://secure.gravatar.com/avatar/8c6621749f5c11b2227b3eaf717ce98695677abb3578c9bc29a69874709f78da?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2023/06/RED.jpg", "tags": [ "Bart Guingona", "JC Santos", "PETA Theater Center", "Red", "Sam L. Marcelo", "Arts & Leisure", "Editors' Picks" ], "summary": "JOHN LOGAN\u2019S\u00a0straight play Red does a better job of introducing painter Mark Rothko, Abstract Expressionism, and the angst of artists than Clement Greenberg\u2019s criticism ever will." }, { "id": "/?p=516474", "url": "/arts-and-leisure/2023/04/14/516474/encantada-women-worship-and-the-wild/", "title": "Encantada: Women, worship, and the wild", "content_html": "\r\n \r\n\r\nDance
\nEncantada by Agnes D. Locsin
\nAlice Reyes Dance Philippines
\nSamsung Performing Arts Theater: April 14 and 15, 7:30 p.m.; April 15, 2 p.m.
\nManila Metropolitan Theater: April 21 and 22, 7:30 p.m.; April 22, 2 p.m.
WIDESPREAD\u00a0acclaim and the newly bestowed mantle of National Artist for Dance have done nothing to ease pre-opening night jitters for Agnes D. Locsin, who is restaging her magnum opus \u2014 a full-length piece titled Encantada that tackles the rapacious appetite of man, the destruction of the environment, and the violation of the sacred feminine \u2014 to open the season of Alice Reyes Dance Philippines (ARDP).
\n\u201cIt\u2019s bloody,\u201d she said in a video call with 大象传媒. \u201cFor me, the pressure is the work, the beauty of the work. \u2026 My standards have gotten higher.\u201d
\n\u2018LOCSIN, WE HAVE A CLASSIC\u2019
\nFirst staged in February 1992, Encantada is a landmark piece that introduced audiences to Ms. Locsin\u2019s neo-ethnic choreography \u2014 a fusion of ethnic dance, modern dance, and classical ballet \u2014 and later helped cement her legacy as a terpsichorean pioneer.
Featuring music by Joey Ayala and a libretto by Al Santos, Encantada and the nascent sketches leading up to it are detailed over two chapters in Ms. Locsin\u2019s book Philippine Neo-Ethnic Choreography: A Creative Process (2012).
\n\u201cLet me as early as now clarify that a lot of unpleasant things occur in any creative endeavor,\u201d Ms. Locsin wrote of the year-long process of making Encantada with Messrs. Ayala and Santos. \u201cOurs was what I call a necessary occurrence. We were a perfect creative team but highly volatile. Three strong personalities, each one capable of taking the directorial seat.\u201d
\nIn the end, Ms. Locsin had the final say.
\nThe multimillion production is a generous display of the breadth and depth of her research-based choreography. Listed in her book are references to Catholic gestures of genuflection and flagellation, Marinduque\u2019s Moriones festival, Manobo healing rituals, Cebu\u2019s Sinulog festival, Baguio\u2019s Grand Ca\u00f1ao Festival, Balinese trance dancing, and Kalibo\u2019s Ati-Atihan festival.
\nThe climactic \u201cDigmaan\u201d section, which takes place in the middle of the Encantada\u2019s second act, was a challenge to choreograph since the members of the triumvirate each had their own idea of what it had to be and what it had to accomplish.
\nIn her book, she writes that packed in that \u201c10-minute visualization of a battle in epic proportions\u201d are \u201critual fighting, deforestation, rape of nature, and kaingin.\u201d
\n\u201cI dug into it,\u201d she said in the video call of the war scene, which was inspired by Mindanao\u2019s Moro-Moro and Luzon\u2019s Commedia dell\u2019Arte. \u201cI think I succeeded. \u2026 It was \u2014 and will probably always be \u2014 my favorite.\u201d
\nDespite the standing ovations Encantada received during its premiere, almost 20 years had to pass before its creators realized the abiding cultural impact of the piece and their place in the pantheon of Philippine dance.
\nMs. Locsin remembers that after catching a show at the Cultural Center of the Philippines (CCP) in 2011 \u2014 the last time Encantada was restaged \u2014 Mr. Ayala turned to her and said: \u201cLocsin, we have a classic.\u201d And gave her a high five.
\n(Long-time collaborators, Ms. Locsin and Mr. Ayala met as students at Ateneo de Davao University; they call each other by their last names as schoolmates are wont to do.)
\nThis year\u2019s restaging, overseen by Ms. Locsin, 65, stays as faithful to the original as possible. The iconic Encantada mountain by National Artist for Theater and Design Salvador \u201cBadong\u201d F. Bernal will rise in the Samsung Performing Arts Theater, which approximates the Main Theater of the Cultural Center of the Philippines (CCP) in size; and Manila Metropolitan Theater, which has a smaller footprint.
\nA cast of about 35 dancers, composed of ARDP members who are experiencing Ms. Locsin\u2019s muscular yet precise choreography for the first time and several veterans whose bodies were forged by it, are tasked with preserving the integrity of her vision.
\n\u201cThey\u2019re the future,\u201d she said of this intergenerational mix. \u201cAs much as possible, we impart to the dancers how it should and must be done to the best of their ability.\u201d
\n\u2018PREPARAR KA\u2019
\nGeorgette Sanchez-Vargas, 48, was standing in the middle of a hardware store when she received a message from Ms. Locsin: \u201cPreparar ka.\u201d (Ilonggo for \u201cBe prepared.\u201d)
It was a foregone conclusion that Ms. Sanchez-Vargas, who was 16 when she started working with Ms. Locsin, would reprise Encantada\u2019s gut-wrenching title role (for which she won a Gawad Buhay Award in 2011).
\nShe feels that she is now better prepared for the task, having more life experience to draw on. \u201cSo many things have happened in the past few years,\u201d she said in the vernacular.
\nHer connection to the piece is deep and familial: she has danced in every iteration of Encantada and she is related to its choreographer (Ms. Locsin is the cousin of Ms. Sanchez-Vargas\u2019 mother).
\n\u201cI appreciate the images created by Agnes more. \u2026 The way she taught us how to control our bodies is amazing,\u201d she said. \u201cWith Agnes, everything is particular \u2014 even your fingers and the way you stand. It\u2019s very intense.\u201d
\nReturning to the stage with Ms. Sanchez-Vargas are Kris-Belle Paclibar-Mamangun, a former member of Cirque du Soleil, who will alternate in the role of Babaylan with Carissa Adea (who won a Gawad Buhay Award for her performance in 2011).
\nCompared to these three, ARDP\u2019s Monica A. Gana is a neophyte when it comes to the neo-ethnic style. She recently got a taste of it when she performed in Ms. Locsin Igorot, as part of a show that paid tribute to Ms. Locsin and ARDP founder Alice G. Reyes.
\n\u201cIt was quite mind boggling to be able to understand how one could feel the ground on shoes that were originally created to make dancers look like they\u2019re floating onstage. But that\u2019s where the attention to detail came in,\u201d Ms. Gana said in an e-mail. \u201cIt was how you would tap or stomp your shoe on the floor. The lengthening of the entire body while still being connected to the ground as we bourree on pointe. Even in doing the traveling combination of steps, instead of thinking of hitting positions like the arabesque or the grand jete, it was more of how I will transfer my \u2018center.\u2019\u201d
\nWhen she watched a recording of the 2011 performance, Ms. Gana was struck by the athleticism and stamina Encantada required of the ensemble.
\n\u201cIn most ballets, there are big group dance sections but most of the physically demanding steps are done by the leads. But in Encantada, it\u2019s everyone,\u201d she said. \u201cA number of my colleagues have performed Encantada and they all affirmed how demanding it was not only physically but emotionally. But, when they shared their stories, it seemed like it was one of their best career experiences. \u2026 We have to work together to breathe and dance as one. No one should be left behind. We each have a responsibility to support and bring each other up.\u201d
\nEVERGREEN MESSAGE
\nThe message of Encantada is as enduring as Ms. Locsin\u2019s neo-ethnic choreography. The piece, which opened in the wake of a flash flood that devastated Ormoc City in November 1991 and claimed thousands of lives, comes down hard on humanity\u2019s disregard for the environment.
\u201cWe do a lot of things to destroy nature. It will come back to us,\u201d said Ms. Sanchez-Vargas. \u201cKarma is a bitch. You\u2019ll see it in the ballet.\u201d
\nAside from Encantada, Ms. Locsin has choreographed Alay sa Puno, a suite of dances meditating on the movement of trees: Ugat, Dahon, Puno, Sanga, Bulak, and Bunga.
\nIn her downtime, she tends to her mini forest, which she calls her Santuario ng Puno, composed of hardwood and ornamental trees. \u201cThey grow so slowly,\u201d she said with a laugh of the acacia, narra, and molave she has planted. \u201cMamamatay na lang ako, wala pa itong mga puno ko.\u201d
\nWhile her saplings need more time to spread their roots and stretch skyward, Ms. Locsin\u2019s neo-ethnic choreography has already reached its zenith with Encantada.
\nPrior to joining a contemporary art museum and a small independent press as a publishing consultant, Sam L. Marcelo was a reporter and editor at 大象传媒.
\n", "content_text": "1 of 2\r\n \r\n \r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n A STILL from the play Encantada \u2014PHOTO BY DARRELL SICAM\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n PHOTO BY DARRELL SICAM\r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n\r\n \r\n\r\n \r\n \nDance\nEncantada by Agnes D. Locsin\nAlice Reyes Dance Philippines\nSamsung Performing Arts Theater: April 14 and 15, 7:30 p.m.; April 15, 2 p.m.\nManila Metropolitan Theater: April 21 and 22, 7:30 p.m.; April 22, 2 p.m.\nWIDESPREAD\u00a0acclaim and the newly bestowed mantle of National Artist for Dance have done nothing to ease pre-opening night jitters for Agnes D. Locsin, who is restaging her magnum opus \u2014 a full-length piece titled Encantada that tackles the rapacious appetite of man, the destruction of the environment, and the violation of the sacred feminine \u2014 to open the season of Alice Reyes Dance Philippines (ARDP).\n\u201cIt\u2019s bloody,\u201d she said in a video call with 大象传媒. \u201cFor me, the pressure is the work, the beauty of the work. \u2026 My standards have gotten higher.\u201d\n\u2018LOCSIN, WE HAVE A CLASSIC\u2019\nFirst staged in February 1992, Encantada is a landmark piece that introduced audiences to Ms. Locsin\u2019s neo-ethnic choreography \u2014 a fusion of ethnic dance, modern dance, and classical ballet \u2014 and later helped cement her legacy as a terpsichorean pioneer.\nFeaturing music by Joey Ayala and a libretto by Al Santos, Encantada and the nascent sketches leading up to it are detailed over two chapters in Ms. Locsin\u2019s book Philippine Neo-Ethnic Choreography: A Creative Process (2012).\n\u201cLet me as early as now clarify that a lot of unpleasant things occur in any creative endeavor,\u201d Ms. Locsin wrote of the year-long process of making Encantada with Messrs. Ayala and Santos. \u201cOurs was what I call a necessary occurrence. We were a perfect creative team but highly volatile. Three strong personalities, each one capable of taking the directorial seat.\u201d\nIn the end, Ms. Locsin had the final say.\nThe multimillion production is a generous display of the breadth and depth of her research-based choreography. Listed in her book are references to Catholic gestures of genuflection and flagellation, Marinduque\u2019s Moriones festival, Manobo healing rituals, Cebu\u2019s Sinulog festival, Baguio\u2019s Grand Ca\u00f1ao Festival, Balinese trance dancing, and Kalibo\u2019s Ati-Atihan festival.\nThe climactic \u201cDigmaan\u201d section, which takes place in the middle of the Encantada\u2019s second act, was a challenge to choreograph since the members of the triumvirate each had their own idea of what it had to be and what it had to accomplish.\nIn her book, she writes that packed in that \u201c10-minute visualization of a battle in epic proportions\u201d are \u201critual fighting, deforestation, rape of nature, and kaingin.\u201d\n\u201cI dug into it,\u201d she said in the video call of the war scene, which was inspired by Mindanao\u2019s Moro-Moro and Luzon\u2019s Commedia dell\u2019Arte. \u201cI think I succeeded. \u2026 It was \u2014 and will probably always be \u2014 my favorite.\u201d\nDespite the standing ovations Encantada received during its premiere, almost 20 years had to pass before its creators realized the abiding cultural impact of the piece and their place in the pantheon of Philippine dance.\nMs. Locsin remembers that after catching a show at the Cultural Center of the Philippines (CCP) in 2011 \u2014 the last time Encantada was restaged \u2014 Mr. Ayala turned to her and said: \u201cLocsin, we have a classic.\u201d And gave her a high five.\n(Long-time collaborators, Ms. Locsin and Mr. Ayala met as students at Ateneo de Davao University; they call each other by their last names as schoolmates are wont to do.)\nThis year\u2019s restaging, overseen by Ms. Locsin, 65, stays as faithful to the original as possible. The iconic Encantada mountain by National Artist for Theater and Design Salvador \u201cBadong\u201d F. Bernal will rise in the Samsung Performing Arts Theater, which approximates the Main Theater of the Cultural Center of the Philippines (CCP) in size; and Manila Metropolitan Theater, which has a smaller footprint.\nA cast of about 35 dancers, composed of ARDP members who are experiencing Ms. Locsin\u2019s muscular yet precise choreography for the first time and several veterans whose bodies were forged by it, are tasked with preserving the integrity of her vision.\n\u201cThey\u2019re the future,\u201d she said of this intergenerational mix. \u201cAs much as possible, we impart to the dancers how it should and must be done to the best of their ability.\u201d\n\u2018PREPARAR KA\u2019\nGeorgette Sanchez-Vargas, 48, was standing in the middle of a hardware store when she received a message from Ms. Locsin: \u201cPreparar ka.\u201d (Ilonggo for \u201cBe prepared.\u201d)\nIt was a foregone conclusion that Ms. Sanchez-Vargas, who was 16 when she started working with Ms. Locsin, would reprise Encantada\u2019s gut-wrenching title role (for which she won a Gawad Buhay Award in 2011).\nShe feels that she is now better prepared for the task, having more life experience to draw on. \u201cSo many things have happened in the past few years,\u201d she said in the vernacular.\nHer connection to the piece is deep and familial: she has danced in every iteration of Encantada and she is related to its choreographer (Ms. Locsin is the cousin of Ms. Sanchez-Vargas\u2019 mother).\n\u201cI appreciate the images created by Agnes more. \u2026 The way she taught us how to control our bodies is amazing,\u201d she said. \u201cWith Agnes, everything is particular \u2014 even your fingers and the way you stand. It\u2019s very intense.\u201d\nReturning to the stage with Ms. Sanchez-Vargas are Kris-Belle Paclibar-Mamangun, a former member of Cirque du Soleil, who will alternate in the role of Babaylan with Carissa Adea (who won a Gawad Buhay Award for her performance in 2011).\nCompared to these three, ARDP\u2019s Monica A. Gana is a neophyte when it comes to the neo-ethnic style. She recently got a taste of it when she performed in Ms. Locsin Igorot, as part of a show that paid tribute to Ms. Locsin and ARDP founder Alice G. Reyes.\n\u201cIt was quite mind boggling to be able to understand how one could feel the ground on shoes that were originally created to make dancers look like they\u2019re floating onstage. But that\u2019s where the attention to detail came in,\u201d Ms. Gana said in an e-mail. \u201cIt was how you would tap or stomp your shoe on the floor. The lengthening of the entire body while still being connected to the ground as we bourree on pointe. Even in doing the traveling combination of steps, instead of thinking of hitting positions like the arabesque or the grand jete, it was more of how I will transfer my \u2018center.\u2019\u201d\nWhen she watched a recording of the 2011 performance, Ms. Gana was struck by the athleticism and stamina Encantada required of the ensemble.\n\u201cIn most ballets, there are big group dance sections but most of the physically demanding steps are done by the leads. But in Encantada, it\u2019s everyone,\u201d she said. \u201cA number of my colleagues have performed Encantada and they all affirmed how demanding it was not only physically but emotionally. But, when they shared their stories, it seemed like it was one of their best career experiences. \u2026 We have to work together to breathe and dance as one. No one should be left behind. We each have a responsibility to support and bring each other up.\u201d\nEVERGREEN MESSAGE\nThe message of Encantada is as enduring as Ms. Locsin\u2019s neo-ethnic choreography. The piece, which opened in the wake of a flash flood that devastated Ormoc City in November 1991 and claimed thousands of lives, comes down hard on humanity\u2019s disregard for the environment.\n\u201cWe do a lot of things to destroy nature. It will come back to us,\u201d said Ms. Sanchez-Vargas. \u201cKarma is a bitch. You\u2019ll see it in the ballet.\u201d\nAside from Encantada, Ms. Locsin has choreographed Alay sa Puno, a suite of dances meditating on the movement of trees: Ugat, Dahon, Puno, Sanga, Bulak, and Bunga.\nIn her downtime, she tends to her mini forest, which she calls her Santuario ng Puno, composed of hardwood and ornamental trees. \u201cThey grow so slowly,\u201d she said with a laugh of the acacia, narra, and molave she has planted. \u201cMamamatay na lang ako, wala pa itong mga puno ko.\u201d\nWhile her saplings need more time to spread their roots and stretch skyward, Ms. Locsin\u2019s neo-ethnic choreography has already reached its zenith with Encantada.\nPrior to joining a contemporary art museum and a small independent press as a publishing consultant, Sam L. Marcelo was a reporter and editor at 大象传媒.", "date_published": "2023-04-14T00:05:19+08:00", "date_modified": "2023-04-13T16:43:42+08:00", "authors": [ { "name": "大象传媒", "url": "/author/zievelivminerth/", "avatar": "https://secure.gravatar.com/avatar/8c6621749f5c11b2227b3eaf717ce98695677abb3578c9bc29a69874709f78da?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/zievelivminerth/", "avatar": "https://secure.gravatar.com/avatar/8c6621749f5c11b2227b3eaf717ce98695677abb3578c9bc29a69874709f78da?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2023/04/Georgette-Sanchez-Vargas-as-the-Encantada-Photo-by-Darrell-Sicam.jpg", "tags": [ "Agnes D. Locsin", "ccp", "Encantada", "Sam L. Marcelo", "Arts & Leisure", "Editors' Picks" ] }, { "id": "/?p=507475", "url": "/arts-and-leisure/2023/03/01/507475/warp-and-weft-of-life/", "title": "Warp and weft of life", "content_html": "\r\n \r\n\r\nBy Sam L. Marcelo
\nFASHION designer Patis Tesoro and Romanian textile conservator Florica Zaharia are bonded by the belief that what we wear can be art, as worthy of care and attention as the monuments erected in honor of heroes and the paintings that fetch millions at auctions.
\n\u201cAlmost anything can become an art object if it serves the purpose of the collection,\u201d said Ms. Zaharia, conservator emerita at the Metropolitan Museum of Art in New York and director and co-owner of the Muzeul Textilelor in Romania.
\nA hemp kitchen towel made by Ms. Zaharia\u2019s mother carries in itself \u2014 stains and all \u2014 Ms. Zaharia\u2019s personal history, her family history, as well as a portion of hemp\u2019s history. To someone like Ms. Zaharia, who is fluent in the language of fabric, the towel speaks volumes about process, technology, and cultural context.
\n\u201cWe used to take textile for granted. We wear them every day, we use them every day,\u201d she said. \u201cBut we have made big progress in bringing textile to a different level, \u2026 to the level of art objects.\u201d
\nThe Romanian conservator, who has several pi\u00f1a pieces by Ms. Tesoro in her collection, described the fabric as \u201cone of the finest fibers in the world.\u201d
\n\u201cI think when you see something as beautiful as this, you get excited,\u201d she said.
\n\u2018SALON DE PATIS\u2019
\nMs. Zaharia, who met Ms. Tesoro in 2019 at the International Festival of Extraordinary Textiles (FITE) in Romania, was in the Philippines this January to share conservation practices that can be applied to local textiles such pi\u00f1a, abaca, silk, and Philippine cotton.
\u201cWe immediately connected,\u201d said Ms. Zaharia of Ms. Tesoro, who invited her to visit. \u201cShe is wonderful and so complex. Patis is a rare artist who is a creator and, at the same time, is doing a lot of work in preserving the materials and techniques that are typical to the Philippines, which is an enormous, enormous task. She does both \u2014 creation and preservation \u2014 with incredible energy.\u201d
\nOn a rainy Saturday, Ms. Zaharia, who wore a linen dress and a braided fabric necklace resembling a thick rope of gold (made by a Japanese artist, she said), held court at PatisTito Garden Cafe in San Pablo City, Laguna, a beautifully busy place rioting with color and bursting at the seams with details, much like the mind of Ms. Tesoro.
\n\u201cThe dream is to make this a creative mentorship place where you meet different kinds of people,\u201d said Ms. Tesoro, who wants to make the borders separating academic and artistic disciplines more porous.
\nA long-table lunch assembled the \u201cdoers\u201d (as Ms. Tesoro\u2019s daughter, Nina Tesoro-Poblador, put it) in the fashion designer\u2019s orbit, including an agriculturist, an artist, a curator, a dog trainer, a mambabatok (a traditional Kalinga tattooist), a photographer, a psychiatrist, a scientist, a sound engineer, and a weaver.
\nMs. Zaharia occupied the place of honor while Ms. Tesoro \u2014 the Grand Dame of Philippine Fashion credited with reviving pi\u00f1a in the 1980s and \u201990s \u2014 flitted from one guest to the next, entertaining and dispensing wit and wisdom gained from a career spanning decades.
\nAsked if this coterie was her \u201cSalon de Patis\u201d (a play on salon de Paris, a gathering of like-minded people in the drawing rooms of France), Ms. Tesoro chuckled in amused agreement and moved on to the next conversation.
\nWithin earshot were exchanges on chicken manure and maggots, cotton and circular economy \u2014 all over a meal prepared by Jonas Ng, the chef behind James & Daughters restaurant at Estancia at Capitol Commons in Pasig City.
\nLunch consisted of roasted garlic dip and flatbread, gazpacho and barbecue elote, pinaputok na gulay with miso aioli, salt-roasted barbecue fish, kinulob na manok sa palayok, smoked duck, and, for dessert, suman a la Hasset (sticky rice with ube and leche flan) and hot chocolate (spiked with alcohol to taste).
\nSated, guests filtered into another section of PatisTito Garden Cafe, which, for the day, was converted into a lecture hall equipped with a sound system seconded from a neighbor\u2019s karaoke sessions.
\n\u2018PATIENCE AND PASSION\u2019
\nHumidity is the main culprit when one tries to prolong the life of textiles in the Philippines. \u201cTextiles are organic materials and they deteriorate faster than inorganic materials. We know they are very sensitive to the environment,\u201d said Ms. Zaharia.
In a proprietary 30-minute presentation on minimal conservation practices, Ms. Zaharia gave an overview of her work, including the required facilities and equipment (sometimes you need to borrow tools from other professions \u2014 a dental vacuum is much more appropriate than a floor vacuum when dealing with fragile materials), methods of mounting and displaying (a good mannequin, like a good hanger, is difficult to find), storage, and cataloging.
\n\u201cIt\u2019s actually very complicated,\u201d she said. \u201cYou need patience and passion.\u201d
\nTicking the basics, Ms. Zaharia said one should know the materials they are working with; control humidity, temperature, light, and air; stabilize the environment and start from there.
\nAt the end of the talk, a scientist and a curator got into a spirited conversation about silica gel and how its merits as a desiccant stack against its environmental impact \u2014 a niche conversation, which, perhaps, illustrates the value of Salon de Patis.
\n\u201cWe have people here who can spread the word,\u201d said Ms. Zaharia. \u201cI think it will be great to see in this country an institution dedicated to fibers. If I can help in any way, of course I will.\u201d
\nFor more information on Muzeul Textilelor, visit muzeultextilelor.org. Patis Tesoro is on Facebook (facebook.com/patisboutique) and Instagram (instagram.com/patistesoro).
\nPrior to joining a contemporary art museum and a small independent press as a publishing consultant, Sam L. Marcelo was a reporter and editor at 大象传媒.
\n", "content_text": "1 of 2\r\n \r\n \r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n PATIS TESORO (R) and Florica Zahara (L) discuss the challenges of preserving pi\u00f1a fabric at the PatisTito Garden Cafe in San Pablo City, Laguna. \u2014 AT MACULANGAN\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n AT MACULANGAN\r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n\r\n \r\n\r\n \r\n \nPatis Tesoro and Florica Zaharia on conserving local textiles\nBy Sam L. Marcelo\nFASHION designer Patis Tesoro and Romanian textile conservator Florica Zaharia are bonded by the belief that what we wear can be art, as worthy of care and attention as the monuments erected in honor of heroes and the paintings that fetch millions at auctions.\n\u201cAlmost anything can become an art object if it serves the purpose of the collection,\u201d said Ms. Zaharia, conservator emerita at the Metropolitan Museum of Art in New York and director and co-owner of the Muzeul Textilelor in Romania.\nA hemp kitchen towel made by Ms. Zaharia\u2019s mother carries in itself \u2014 stains and all \u2014 Ms. Zaharia\u2019s personal history, her family history, as well as a portion of hemp\u2019s history. To someone like Ms. Zaharia, who is fluent in the language of fabric, the towel speaks volumes about process, technology, and cultural context.\n\u201cWe used to take textile for granted. We wear them every day, we use them every day,\u201d she said. \u201cBut we have made big progress in bringing textile to a different level, \u2026 to the level of art objects.\u201d\nThe Romanian conservator, who has several pi\u00f1a pieces by Ms. Tesoro in her collection, described the fabric as \u201cone of the finest fibers in the world.\u201d\n\u201cI think when you see something as beautiful as this, you get excited,\u201d she said.\n\u2018SALON DE PATIS\u2019\nMs. Zaharia, who met Ms. Tesoro in 2019 at the International Festival of Extraordinary Textiles (FITE) in Romania, was in the Philippines this January to share conservation practices that can be applied to local textiles such pi\u00f1a, abaca, silk, and Philippine cotton.\n\u201cWe immediately connected,\u201d said Ms. Zaharia of Ms. Tesoro, who invited her to visit. \u201cShe is wonderful and so complex. Patis is a rare artist who is a creator and, at the same time, is doing a lot of work in preserving the materials and techniques that are typical to the Philippines, which is an enormous, enormous task. She does both \u2014 creation and preservation \u2014 with incredible energy.\u201d\nOn a rainy Saturday, Ms. Zaharia, who wore a linen dress and a braided fabric necklace resembling a thick rope of gold (made by a Japanese artist, she said), held court at PatisTito Garden Cafe in San Pablo City, Laguna, a beautifully busy place rioting with color and bursting at the seams with details, much like the mind of Ms. Tesoro.\n\u201cThe dream is to make this a creative mentorship place where you meet different kinds of people,\u201d said Ms. Tesoro, who wants to make the borders separating academic and artistic disciplines more porous.\nA long-table lunch assembled the \u201cdoers\u201d (as Ms. Tesoro\u2019s daughter, Nina Tesoro-Poblador, put it) in the fashion designer\u2019s orbit, including an agriculturist, an artist, a curator, a dog trainer, a mambabatok (a traditional Kalinga tattooist), a photographer, a psychiatrist, a scientist, a sound engineer, and a weaver.\nMs. Zaharia occupied the place of honor while Ms. Tesoro \u2014 the Grand Dame of Philippine Fashion credited with reviving pi\u00f1a in the 1980s and \u201990s \u2014 flitted from one guest to the next, entertaining and dispensing wit and wisdom gained from a career spanning decades.\nAsked if this coterie was her \u201cSalon de Patis\u201d (a play on salon de Paris, a gathering of like-minded people in the drawing rooms of France), Ms. Tesoro chuckled in amused agreement and moved on to the next conversation.\nWithin earshot were exchanges on chicken manure and maggots, cotton and circular economy \u2014 all over a meal prepared by Jonas Ng, the chef behind James & Daughters restaurant at Estancia at Capitol Commons in Pasig City.\nLunch consisted of roasted garlic dip and flatbread, gazpacho and barbecue elote, pinaputok na gulay with miso aioli, salt-roasted barbecue fish, kinulob na manok sa palayok, smoked duck, and, for dessert, suman a la Hasset (sticky rice with ube and leche flan) and hot chocolate (spiked with alcohol to taste).\nSated, guests filtered into another section of PatisTito Garden Cafe, which, for the day, was converted into a lecture hall equipped with a sound system seconded from a neighbor\u2019s karaoke sessions.\n\u2018PATIENCE AND PASSION\u2019\nHumidity is the main culprit when one tries to prolong the life of textiles in the Philippines. \u201cTextiles are organic materials and they deteriorate faster than inorganic materials. We know they are very sensitive to the environment,\u201d said Ms. Zaharia.\nIn a proprietary 30-minute presentation on minimal conservation practices, Ms. Zaharia gave an overview of her work, including the required facilities and equipment (sometimes you need to borrow tools from other professions \u2014 a dental vacuum is much more appropriate than a floor vacuum when dealing with fragile materials), methods of mounting and displaying (a good mannequin, like a good hanger, is difficult to find), storage, and cataloging.\n\u201cIt\u2019s actually very complicated,\u201d she said. \u201cYou need patience and passion.\u201d\nTicking the basics, Ms. Zaharia said one should know the materials they are working with; control humidity, temperature, light, and air; stabilize the environment and start from there.\nAt the end of the talk, a scientist and a curator got into a spirited conversation about silica gel and how its merits as a desiccant stack against its environmental impact \u2014 a niche conversation, which, perhaps, illustrates the value of Salon de Patis.\n\u201cWe have people here who can spread the word,\u201d said Ms. Zaharia. \u201cI think it will be great to see in this country an institution dedicated to fibers. If I can help in any way, of course I will.\u201d\nFor more information on Muzeul Textilelor, visit muzeultextilelor.org. Patis Tesoro is on Facebook (facebook.com/patisboutique) and Instagram (instagram.com/patistesoro).\nPrior to joining a contemporary art museum and a small independent press as a publishing consultant, Sam L. Marcelo was a reporter and editor at 大象传媒.", "date_published": "2023-03-01T00:07:47+08:00", "date_modified": "2023-02-28T18:25:50+08:00", "authors": [ { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2023/02/PatisAndFlorica_20230114-6487.jpg", "tags": [ "Sam L. Marcelo", "Arts & Leisure", "Editors' Picks" ], "summary": "FASHION designer Patis Tesoro and Romanian textile conservator Florica Zaharia are bonded by the belief that what we wear can be art, as worthy of care and attention as the monuments erected in honor of heroes and the paintings that fetch millions at auctions." }, { "id": "/?p=476927", "url": "/arts-and-leisure/2022/09/28/476927/iconoclasts-to-icons-two-national-artists-one-stage/", "title": "Iconoclasts to icons: Two National Artists, one stage", "content_html": "\r\n \r\n\r\nBy Sam L. Marcelo, Multimedia Editor
\nBallet
\nPulso Pilipinas II: Alay nina Alice at Agnes
\nSept. 30, 8 p.m.
\nOct. 1, 3 p.m. and 8 p.m.
\nOct. 2, 3 p.m.
\nTanghalang Nicanor Abelardo (CCP Main Theater)
\nCultural Center of the Philippines
A PRODUCTION that celebrates the work of two living National Artists for Dance \u2014 Alice G. Reyes and Agnes D. Locsin \u2014 will attempt to encapsulate more than 50 years of Philippine dance and make a stand about its future.
\nPulso Pilipinas II: Alay nina Alice at Agnes will see the Alice Reyes Dance Philippines (ARDP) performing alongside underprivileged youth from different regions in a program composed of Ms. Reyes\u2019 Carmina Burana, a feat of athleticism and stamina that matches the musicality and monumentality of German composer Carl Orff\u2019s cantata; and Ms. Locsin\u2019s Igorot, Moriones, and Elias at Salome, a trio of works that show off the range of the pioneering neo-ethnic choreographer known for her angularity, percussive power, and groundedness.
\nAccreted time and accolades have turned these dances into masterpieces but they were revolutionary \u2014 controversial, even \u2014 when they were first staged and their choreographers, iconoclasts instead of the icons they are now.
\n\u201cPeople like to put things in boxes,\u201d said Ms. Reyes at an open rehearsal in the Cultural Center of the Philippines this July. \u201cShould you step out of these boxes and do something else, people \u2026 don\u2019t know how to deal with it.\u201d
\n\u2018A HAPPY SOLUTION\u2019
\nCarmina Burana, like the rest of Ms. Reyes\u2019s oeuvre, incorporates different dance vocabularies: where ballet has pointe shoes, modern dance has bare flexed feet; where ballet desires to escape gravity, modern dance is enamored of it.
The ability to do both is the hallmark of a dancer who has been trained by Ms. Reyes and her prot\u00e9g\u00e9s. Celebrated today, the combination of techniques was questioned then. \u201cPeople thought I was doing something really stupid because I was doing modern and classical ballet. They thought it was odd,\u201d she said. \u201cAnd now you won\u2019t find a ballet or dance company that doesn\u2019t do that \u2014 even in Russia.\u201d
\nThe last is a veiled reference to the rift between Ms. Reyes and Ballet Philippines (BP), the company she founded in 1969. (See \u201cCopyright fight: Ballet Philippines risks losing \u2018treasure trove\u2019 of dance\u201d)
\nAt a masterclass on copyright organized by BP this August, Lorna P. Kapunan, the company\u2019s legal adviser, advised diplomacy: \u201cThe more important thing here is the viewing public. Let\u2019s not deprive the public of good creations. \u2026\u00a0 The public benefits from the parties not quarreling whether it\u2019s Ballet Philippines, Alice Reyes, or CCP. The constitution says that intellectual property must have a social function. To me, the social function of art is to bring happiness and not discord to people. Perhaps Ballet Philippines, CCP, and Alice Reyes should sit down and come up with a happy solution.\u201d
\nBASTARDIZATION, VINDICATION
\nMeanwhile, Ms. Locsin, who once dressed women in G-strings as they portrayed gender-bending roles (a necessity since she lacked male dancers), was accused of bastardizing and appropriating indigenous dances when her neo-ethnic pieces premiered. Igorot is inspired by dance rituals of the Mountain Province; Moriones, by the Moriones Festival of Marinduque.
\u201cI never explained myself. The best answer to criticism is silence,\u201d said Ms. Locsin in a Zoom call with 大象传媒. Naysayers have dwindled over the decades, or have become smart enough to remain silent themselves.
\nWhen pressed, Ms. Locsin has always said that she never wanted to supplant tradition. \u201cThis is my tribute to Philippine culture,\u201d she said of her research-based choreography.
\nVindication by way of being conferred the highest state honor for individuals who have done much for their artistic field is far from her mind. \u201cRight now, this National Artist thing hasn\u2019t sunk in,\u201d she said, adding that she is concentrating on helping Ms. Reyes\u2019 fledgling company.
\n\u201cI want ARDP to continue and further Alice Reyes\u2019 legacy,\u201d she said. \u201cWhy make a new vision when her vision is there and it is good? There is room for all kinds of dances, room for growth.\u201d
\nEPHEMERAL, OF THE MOMENT
\nAlay nina Alice at Agnes is a rare jewel, given how few and far between National Artists are among those who toil in dance. Ms. Locsin, recognized this year, is only the 6th; Ms. Reyes, recognized in 2014, was the 5th.
The dearth of honorees \u2014 as compared to, say, those in the visual arts \u2014 might be explained by the nature of dance itself and the limits of video technology when Ms. Reyes, 79, and Ms. Locsin, 64, began their careers.
\n\u201cIf you never saw me dance, you never saw me dance. If you didn\u2019t see Agnes Locsin\u2019s Encantada 10 years ago, then you\u2019ve never seen it,\u201d said Ms. Reyes. \u201cIt [dance] is so ephemeral, so of the moment, and so not visible after the moment.\u201d
\nThe momentousness of Alay nina Alice at Agnes as a moment in Philippine dance is not lost on the members of ARDP.
\n\u201cWe\u2019re starting something new and we want to make an impression on the audience: this is who we are, we\u2019re different from them, this is what we\u2019re focused on,\u201d said ARDP ballet soloist Monica A. Gana. Unnamed but out in the open in her reply is how ARDP compares to BP (\u201cthem\u201d).
\nAdded Ronelson P. Yadao, ARDP artistic director: \u201cThere is pressure and I can feel it. But Alice Reyes believes in the group and in me: that gives me confidence.\u201d
\nThe dancers have always been the priority of Ms. Reyes, who formed ARDP out of like-minded individuals who were displaced from various dance companies over the pandemic \u2014 and it is for them that she continues despite less-than-ideal circumstances: Zoom as the de facto means of communication, the lack of an office and studio, questions about copyright, and competing ideologies.
\nWhen Ms. Reyes staged her first modern dance concert at the CCP in 1969, she had the run of the place. \u201cIt was a different world. The CCP was ours. And now, there are different resident companies all wanting space, all with their own plans and programs,\u201d she said. \u201cYou\u2019re not going to get everyone to understand. There will always be those who prefer opera to BTS. There will always be those who prefer Swan Lake to Encantada or Amada.\u201d
\n", "content_text": "1 of 3\r\n \r\n \r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n MONICA GANA and Katrene San Miguel in Carmina Burana (2018) by Alice Reyes \u2014 PHOTO BY JOJO MAMANGUN\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n MORIONES by Agnes Locsin \u2014 PHOTO BY ERICA M. JACINTO\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n RONELSO YADAO in Carmina Burana (2018) by Alice Reyes \u2014 PHOTO BY JOJO MAMANGUN\r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n\r\n \r\n\r\n \r\n \nBy Sam L. Marcelo, Multimedia Editor\nBallet\nPulso Pilipinas II: Alay nina Alice at Agnes\nSept. 30, 8 p.m.\nOct. 1, 3 p.m. and 8 p.m.\nOct. 2, 3 p.m.\nTanghalang Nicanor Abelardo (CCP Main Theater)\nCultural Center of the Philippines\nA PRODUCTION that celebrates the work of two living National Artists for Dance \u2014 Alice G. Reyes and Agnes D. Locsin \u2014 will attempt to encapsulate more than 50 years of Philippine dance and make a stand about its future.\nPulso Pilipinas II: Alay nina Alice at Agnes will see the Alice Reyes Dance Philippines (ARDP) performing alongside underprivileged youth from different regions in a program composed of Ms. Reyes\u2019 Carmina Burana, a feat of athleticism and stamina that matches the musicality and monumentality of German composer Carl Orff\u2019s cantata; and Ms. Locsin\u2019s Igorot, Moriones, and Elias at Salome, a trio of works that show off the range of the pioneering neo-ethnic choreographer known for her angularity, percussive power, and groundedness.\nAccreted time and accolades have turned these dances into masterpieces but they were revolutionary \u2014 controversial, even \u2014 when they were first staged and their choreographers, iconoclasts instead of the icons they are now.\n\u201cPeople like to put things in boxes,\u201d said Ms. Reyes at an open rehearsal in the Cultural Center of the Philippines this July. \u201cShould you step out of these boxes and do something else, people \u2026 don\u2019t know how to deal with it.\u201d\n\u2018A HAPPY SOLUTION\u2019\nCarmina Burana, like the rest of Ms. Reyes\u2019s oeuvre, incorporates different dance vocabularies: where ballet has pointe shoes, modern dance has bare flexed feet; where ballet desires to escape gravity, modern dance is enamored of it.\nThe ability to do both is the hallmark of a dancer who has been trained by Ms. Reyes and her prot\u00e9g\u00e9s. Celebrated today, the combination of techniques was questioned then. \u201cPeople thought I was doing something really stupid because I was doing modern and classical ballet. They thought it was odd,\u201d she said. \u201cAnd now you won\u2019t find a ballet or dance company that doesn\u2019t do that \u2014 even in Russia.\u201d\nThe last is a veiled reference to the rift between Ms. Reyes and Ballet Philippines (BP), the company she founded in 1969. (See \u201cCopyright fight: Ballet Philippines risks losing \u2018treasure trove\u2019 of dance\u201d)\nAt a masterclass on copyright organized by BP this August, Lorna P. Kapunan, the company\u2019s legal adviser, advised diplomacy: \u201cThe more important thing here is the viewing public. Let\u2019s not deprive the public of good creations. \u2026\u00a0 The public benefits from the parties not quarreling whether it\u2019s Ballet Philippines, Alice Reyes, or CCP. The constitution says that intellectual property must have a social function. To me, the social function of art is to bring happiness and not discord to people. Perhaps Ballet Philippines, CCP, and Alice Reyes should sit down and come up with a happy solution.\u201d\nBASTARDIZATION, VINDICATION\nMeanwhile, Ms. Locsin, who once dressed women in G-strings as they portrayed gender-bending roles (a necessity since she lacked male dancers), was accused of bastardizing and appropriating indigenous dances when her neo-ethnic pieces premiered. Igorot is inspired by dance rituals of the Mountain Province; Moriones, by the Moriones Festival of Marinduque.\n\u201cI never explained myself. The best answer to criticism is silence,\u201d said Ms. Locsin in a Zoom call with 大象传媒. Naysayers have dwindled over the decades, or have become smart enough to remain silent themselves.\nWhen pressed, Ms. Locsin has always said that she never wanted to supplant tradition. \u201cThis is my tribute to Philippine culture,\u201d she said of her research-based choreography.\nVindication by way of being conferred the highest state honor for individuals who have done much for their artistic field is far from her mind. \u201cRight now, this National Artist thing hasn\u2019t sunk in,\u201d she said, adding that she is concentrating on helping Ms. Reyes\u2019 fledgling company.\n\u201cI want ARDP to continue and further Alice Reyes\u2019 legacy,\u201d she said. \u201cWhy make a new vision when her vision is there and it is good? There is room for all kinds of dances, room for growth.\u201d\nEPHEMERAL, OF THE MOMENT\nAlay nina Alice at Agnes is a rare jewel, given how few and far between National Artists are among those who toil in dance. Ms. Locsin, recognized this year, is only the 6th; Ms. Reyes, recognized in 2014, was the 5th.\nThe dearth of honorees \u2014 as compared to, say, those in the visual arts \u2014 might be explained by the nature of dance itself and the limits of video technology when Ms. Reyes, 79, and Ms. Locsin, 64, began their careers.\n\u201cIf you never saw me dance, you never saw me dance. If you didn\u2019t see Agnes Locsin\u2019s Encantada 10 years ago, then you\u2019ve never seen it,\u201d said Ms. Reyes. \u201cIt [dance] is so ephemeral, so of the moment, and so not visible after the moment.\u201d\nThe momentousness of Alay nina Alice at Agnes as a moment in Philippine dance is not lost on the members of ARDP.\n\u201cWe\u2019re starting something new and we want to make an impression on the audience: this is who we are, we\u2019re different from them, this is what we\u2019re focused on,\u201d said ARDP ballet soloist Monica A. Gana. Unnamed but out in the open in her reply is how ARDP compares to BP (\u201cthem\u201d).\nAdded Ronelson P. Yadao, ARDP artistic director: \u201cThere is pressure and I can feel it. But Alice Reyes believes in the group and in me: that gives me confidence.\u201d\nThe dancers have always been the priority of Ms. Reyes, who formed ARDP out of like-minded individuals who were displaced from various dance companies over the pandemic \u2014 and it is for them that she continues despite less-than-ideal circumstances: Zoom as the de facto means of communication, the lack of an office and studio, questions about copyright, and competing ideologies.\nWhen Ms. Reyes staged her first modern dance concert at the CCP in 1969, she had the run of the place. \u201cIt was a different world. The CCP was ours. And now, there are different resident companies all wanting space, all with their own plans and programs,\u201d she said. \u201cYou\u2019re not going to get everyone to understand. There will always be those who prefer opera to BTS. There will always be those who prefer Swan Lake to Encantada or Amada.\u201d", "date_published": "2022-09-28T00:07:50+08:00", "date_modified": "2022-09-28T08:43:44+08:00", "authors": [ { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2022/09/Monica-Gana-and-Katrene-San-Miguel-in-Carmina-Burana-2018-by-Alice-Reyes-Photo-by-Jojo-Mamangun.jpg", "tags": [ "Sam L. Marcelo", "Arts & Leisure", "Editors' Picks" ], "summary": "A PRODUCTION that celebrates the work of two living National Artists for Dance \u2014 Alice G. Reyes and Agnes D. Locsin \u2014 will attempt to encapsulate more than 50 years of Philippine dance and make a stand about its future." }, { "id": "/?p=469731", "url": "/podcast/2022/08/22/469731/b-side-podcast-building-a-great-place-to-work/", "title": "[B-SIDE Podcast]\u00a0Building a great place to work", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nTeleperformance Philippines (TP) received its fifth consecutive \u201cGreat Place to Work\u201d certification this year, based on responses from a 2022 trust index survey conducted by the Great Place to Work, an international institute that does research on company culture.
\nIn this B-Side\u00a0episode, TP senior vice president for human capital resource management Jeffrey Johnson tells\u00a0大象传媒\u00a0reporter Bront\u00eb H. Lacsamana how companies can keep a human touch in a hybrid workplace.
\n\u201cIt\u2019s really important that you listen to employees because the employees will tell you what it is they want when it comes to engaging from a digital perspective,\u201d he said.\u00a0
\n\u201cAs long as you\u2019re listening and then actively applying solutions for that, I think that\u2019s a key success factor to making sure that you\u2019re able to drive the right engagement.\u201d\u00a0
\nTAKEAWAYS\u00a0
\nTrain employees to have a continuous learning mindset.\u00a0
\n\u201cYou need a lot of training to understand the changing situation at work. That can be both self-driven and organizationally driven,\u201d said Mr. Johnson.\u00a0
\nTP, which has more than 55,000 employees, understands that each person in its organization learns in different ways and encourages them: some may prefer to read and process on their own while others might want to take an e-learning course.\u00a0
\n“When you have that culture, people are more likely to succeed,\u201d said Mr. Johnson.\u00a0
\nUpgrade programs, policies, and partnerships to suit the times.\u00a0\u00a0
\nOn a macro level, a large organization can influence the local community by improving its policies, implementing new programs, and entering public and private partnerships.\u00a0
\nTeleperformance Cloud Campus, for example, is a long-term remote work solution that connects employees through a suite of software for those working from home. There are also hubs and microsites for those who want face-to-face meetings, training, and support.\u00a0
\nTP just opened its first microsite in Laoag City in Ilocos, with the next one slated to open in General Santos City in Mindanao.\u00a0
\n\u201cWe fully support the efforts of government and private telcos to make sure that digital penetration reaches as far into the countryside as possible, and it is reliable, consistent, and fast \u2014 all the things you need in a digital world,\u201d he said.\u00a0
\nEmployee feedback is the north star for better policies.\u00a0
\nFor an information technology-business process management (IT-BPM) company to provide good services, its employees have to be taken care of.\u00a0
\nThis means leaders must ask each team member how they want to engage and connect, said Mr. Johnson. Meanwhile, on a company scale, sentiment and satisfaction surveys will give important insights into what policies can be improved.\u00a0
\nDiversity, equity, and inclusion (DEI) policies, for example, have been found to address concerns about maternity leaves for men and women, and healthcare benefits and restroom access for lesbian, gay, bisexual, and trans (LGBT+) employees.\u00a0
\n\u201cWe make sure we go back and listen. Once we make adjustments, what do employees say? Then change course and correct,\u201d Mr. Johnson said. \u201cIt\u2019s a constant process.\u201d\u00a0
\n\n
Recorded remotely on August 11, 2022. Produced by Earl R. Lagundino and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nTeleperformance Philippines (TP) received its fifth consecutive \u201cGreat Place to Work\u201d certification this year, based on responses from a 2022 trust index survey conducted by the Great Place to Work, an international institute that does research on company culture.\nIn this B-Side\u00a0episode, TP senior vice president for human capital resource management Jeffrey Johnson tells\u00a0大象传媒\u00a0reporter Bront\u00eb H. Lacsamana how companies can keep a human touch in a hybrid workplace.\n\u201cIt\u2019s really important that you listen to employees because the employees will tell you what it is they want when it comes to engaging from a digital perspective,\u201d he said.\u00a0\n\u201cAs long as you\u2019re listening and then actively applying solutions for that, I think that\u2019s a key success factor to making sure that you\u2019re able to drive the right engagement.\u201d\u00a0\nTAKEAWAYS\u00a0\nTrain employees to have a continuous learning mindset.\u00a0\n\u201cYou need a lot of training to understand the changing situation at work. That can be both self-driven and organizationally driven,\u201d said Mr. Johnson.\u00a0\nTP, which has more than 55,000 employees, understands that each person in its organization learns in different ways and encourages them: some may prefer to read and process on their own while others might want to take an e-learning course.\u00a0\n“When you have that culture, people are more likely to succeed,\u201d said Mr. Johnson.\u00a0\nUpgrade programs, policies, and partnerships to suit the times.\u00a0\u00a0\nOn a macro level, a large organization can influence the local community by improving its policies, implementing new programs, and entering public and private partnerships.\u00a0\nTeleperformance Cloud Campus, for example, is a long-term remote work solution that connects employees through a suite of software for those working from home. There are also hubs and microsites for those who want face-to-face meetings, training, and support.\u00a0\nTP just opened its first microsite in Laoag City in Ilocos, with the next one slated to open in General Santos City in Mindanao.\u00a0\n\u201cWe fully support the efforts of government and private telcos to make sure that digital penetration reaches as far into the countryside as possible, and it is reliable, consistent, and fast \u2014 all the things you need in a digital world,\u201d he said.\u00a0\nEmployee feedback is the north star for better policies.\u00a0\nFor an information technology-business process management (IT-BPM) company to provide good services, its employees have to be taken care of.\u00a0\nThis means leaders must ask each team member how they want to engage and connect, said Mr. Johnson. Meanwhile, on a company scale, sentiment and satisfaction surveys will give important insights into what policies can be improved.\u00a0\nDiversity, equity, and inclusion (DEI) policies, for example, have been found to address concerns about maternity leaves for men and women, and healthcare benefits and restroom access for lesbian, gay, bisexual, and trans (LGBT+) employees.\u00a0\n\u201cWe make sure we go back and listen. Once we make adjustments, what do employees say? Then change course and correct,\u201d Mr. Johnson said. \u201cIt\u2019s a constant process.\u201d\u00a0\n \nRecorded remotely on August 11, 2022. Produced by Earl R. Lagundino and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2022-08-22T09:52:03+08:00", "date_modified": "2022-08-28T20:02:13+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2022/08/08.22.22-B_Side_Jeffrey-Johnson_1400x1400.jpg", "tags": [ "B-Side", "Earl R. Lagundino", "Podcast", "Sam L. Marcelo", "Teleperformance" ] }, { "id": "/?p=465089", "url": "/podcast/2022/08/01/465089/b-side-podcast-democratizing-ict-solutions-in-the-phl/", "title": "[B-SIDE Podcast] Democratizing ICT solutions in the PHL", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\n(This\u00a0B-Side\u00a0episode is sponsored by Tata Consultancy Services Philippines.)
\nData analytics and consulting company GlobalData recently projected that the Philippine cloud market will reach $2.8 billion by 2025 from $1.8 billion in 2020, as more enterprises migrate their workload online.
\nTata Consultancy Services (TCS) Philippines Country Head Shiju Varghese and Eastern Communications Product and Innovation Head Edsel Paglinawan speak with\u00a0大象传媒\u00a0contributor Santiago J. Arnaiz about ICT (information and communications technology) solutions and the consequences of falling behind the competition.
\n\u201cDigital transformation is not just a matter of capital investment. It\u2019s also about developing strategies, executing, and addressing the challenges and opportunities associated with it,\u201d said Mr. Varghese.
\nRecorded remotely in June 2022. Produced by Earl R. Lagundino and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\n(This\u00a0B-Side\u00a0episode is sponsored by Tata Consultancy Services Philippines.)\nData analytics and consulting company GlobalData recently projected that the Philippine cloud market will reach $2.8 billion by 2025 from $1.8 billion in 2020, as more enterprises migrate their workload online.\nTata Consultancy Services (TCS) Philippines Country Head Shiju Varghese and Eastern Communications Product and Innovation Head Edsel Paglinawan speak with\u00a0大象传媒\u00a0contributor Santiago J. Arnaiz about ICT (information and communications technology) solutions and the consequences of falling behind the competition.\n\u201cDigital transformation is not just a matter of capital investment. It\u2019s also about developing strategies, executing, and addressing the challenges and opportunities associated with it,\u201d said Mr. Varghese.\nRecorded remotely in June 2022. Produced by Earl R. Lagundino and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2022-08-01T10:02:02+08:00", "date_modified": "2022-08-01T10:05:43+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2022/08/10.25.21-B_Side_Varghese-1400x1400-1.jpg", "tags": [ "B-Side", "cloud computing", "digitalization", "Earl R. Lagundino", "eastern communications", "Podcast", "Sam L. Marcelo", "TCS" ] }, { "id": "/?p=463166", "url": "/podcast/2022/07/25/463166/b-side-podcast-the-future-is-electric/", "title": "[B-SIDE Podcast] The future is electric", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nThe mainstream adoption of electric vehicles (EVs) is expected to gain traction after the previous Congress passed a law that seeks to develop the Philippines\u2019 EV industry.
\nThe law facilitates a shift to EVs by imposing a 5% EV fleet quota for industries that operate vehicles \u2014 such as cargo logistics, food delivery companies, tour agencies, and utilities providers \u2014 within a timeline that will be set by regulators.
\nIn this\u00a0B-Side\u00a0episode, Terry L. Ridon, an investment analyst and convener of InfraWatchPH, speaks with\u00a0大象传媒\u00a0reporter Kyle Aristophere T. Atienza about the potential of EVs.
\nCost is the number one concern, according to Mr. Ridon. For EVs to be adopted by average consumers, their prices have to be comparable to their gas-powered counterparts.
\nRecorded remotely in June 2022. Produced by Joseph Emmanuel L. Garcia and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nThe mainstream adoption of electric vehicles (EVs) is expected to gain traction after the previous Congress passed a law that seeks to develop the Philippines\u2019 EV industry.\nThe law facilitates a shift to EVs by imposing a 5% EV fleet quota for industries that operate vehicles \u2014 such as cargo logistics, food delivery companies, tour agencies, and utilities providers \u2014 within a timeline that will be set by regulators.\nIn this\u00a0B-Side\u00a0episode, Terry L. Ridon, an investment analyst and convener of InfraWatchPH, speaks with\u00a0大象传媒\u00a0reporter Kyle Aristophere T. Atienza about the potential of EVs.\nCost is the number one concern, according to Mr. Ridon. For EVs to be adopted by average consumers, their prices have to be comparable to their gas-powered counterparts.\nRecorded remotely in June 2022. Produced by Joseph Emmanuel L. Garcia and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2022-07-25T11:08:46+08:00", "date_modified": "2022-07-25T11:08:46+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2022/07/07.25.22-B_Side_Terry-L.-Ridon_1400x1400.jpg", "tags": [ "B-Side", "electric vehicles", "EVs", "Joseph Emmanuel L. Garcia", "Kyle Aristophere T. Atienza", "Podcast", "Sam L. Marcelo", "Terry L. Ridon" ] }, { "id": "/?p=462208", "url": "/arts-and-leisure/2022/07/20/462208/silverlens-to-open-in-ny/", "title": "Silverlens to open in NY", "content_html": "\r\n \r\n\r\nBy Sam L. Marcelo, Multimedia Editor
\nSILVERLENS, the 18-year-old Manila-based gallery, is opening in New York City this September with solo shows by Martha Atienza and Yee I-Lann \u2014 bucking the trend of businesses closing due to the coronavirus pandemic, surging inflation, and a global economy on the brink of recession.
\nSilverlens co-owners Isa Lorenzo and Rachel Rillo bought an airy 2,500-square-foot space in the Chelsea Arts District that used to house Bryce Wolkowitz Gallery.
\n\u201cIt\u2019s like we\u2019re jumping off a cliff and we don\u2019t know what\u2019s at the bottom,\u201d said Ms. Rillo, in a Zoom call with 大象传媒 on July 16.
\n\u201cAnd we don\u2019t know if it\u2019s a five-foot cliff or a five-kilometer cliff,\u201d Ms. Lorenzo added.
\nNow being renovated, the New York space has a footprint comparable to Silverlens\u2019 home in Makati City \u2014 which the gallery rents in Lapanday Center along Chino Roces Extension \u2014 but with the advantage of a higher ceiling height of 20 feet and massive skylights.
\nLocated right by the High Line, on 505 W 24th Street, Silverlens NY will enter a district crowded with big names, such as Lehmann Maupin, Lisson Gallery, Marianne Boesky Gallery, and Gagosian.
\n\u201cIf you go to New York and you\u2019re going to spend one day looking at galleries, you\u2019re going to go to Chelsea. \u2026 It\u2019s amazing to be in this neighborhood,\u201d said Ms. Lorenzo of the Manhattan borough\u2019s gravitational pull.
\nThe gallerists declined to share how much they were investing in the space, saying only that it was \u201ca commitment.\u201d
\nListing portal StreetEasy, a subsidiary of real-estate marketplace company Zillow, estimates the average price per square foot in West Chelsea at $2,362 as of this writing.
\n\u2018TRULY NUTS\u2019
\nThis \u201ctrans-continental move,\u201d as Ms. Lorenzo and Ms. Rillo described it, was driven by the coronavirus disease 2019 (COVID-19) pandemic.
When lockdowns pushed everyone and everything online, Silverlens found that 25% to 30% of its website visitors were from the United States.
\n\u201cWe had a team that was watching who was watching us,\u201d said Ms. Rillo.
\nCurious as to whether their website analytics translated into a genuine market for Silverlens artists in the United States, Ms. Lorenzo and Ms. Rillo flew to New York City in the middle of 2021 to meet with curators and art habitu\u00e9s they befriended in the decade or so that Silverlens has been participating in the art fair circuit.
\nTheir month-long trip solidified their desire to be part of the New York art scene and the stars aligned quickly once they decided that they wanted to be there: The space was offered this January; it was turned over in April; Silverlens NY opens this September.
\n\u201cIt\u2019s truly nuts,\u201d said Ms. Rillo. \u201cThe more we tell people about this timeline in the art world, the more they don\u2019t believe us. They think we\u2019ve been planning this for five years.\u201d
\nBRICK-AND-MORTAR VS THE METAVERSE
\nOpening a brick-and-mortar space halfway around the world might seem ironic, given the emphasis on e-commerce and the rise of virtual galleries that specialize in digital artworks that exist as non-fungible tokens (NFTs).
However, a report titled \u201cFuture of New York\u201d published this February by UBS Financial Services, Inc., is bullish on the physical gallery.
\n\u201cI don\u2019t see a shift away from gallery spaces in New York for two reasons. The foreign galleries benefited tremendously from the fact that they were within walking and driving distance of this great body of collectors. \u2026 Henceforth, gallery owners will, if anything, see the need to have more of a foothold in New York, not less,\u201d said Marc Spiegler, global director of Art Basel, who was interviewed in the report.
\n\u201cAnd just as importantly, galleries are investing in New York real estate. \u2026 So this meme that \u2018the gallery space is over,\u2019 that \u2018everyone\u2019s going to move into the metaverse,\u2019 is just not sustained by the evidence on the ground,\u201d he continued.
\nThe UBS report also stated that \u201cNew York\u2019s position as a global center of the art market will continue uninterrupted.\u201d
\n\u201cThe Art Market 2022,\u201d an Art Basel and UBS report published this March, noted that US collectors had the highest share overall (53%) of new and emerging artists\u2019 works.
\n\u2018THE OPPORTUNITY OF A PANDEMIC\u2019
\nThe New York art scene, in the past few years, has consolidated, making room for international players like Silverlens.
Galleries from Brazil, Korea, Mexico (and now, the Philippines) have moved into the industrial spaces in Chelsea vacated by medium-sized American galleries, which, depending on their fortunes, either closed or relocated to the historic cast-iron buildings of posh Tribeca.
\n\u201cWe couldn\u2019t let the opportunity of a pandemic pass us by,\u201d said Ms. Lorenzo.
\n\u201cThere\u2019s a lot of movement. What\u2019s happening in Chelsea right now is you have a lot of the big blue-chip guys and then you have the migrants. There\u2019s space,\u201d she added, using \u201cspace\u201d in terms of real estate and diversity.
\nThe very attributes that would have made it impossible for Ms. Lorenzo and Ms. Rillo to set up shop in New York in the early aughts now make them appealing: they are queer BIPOC (Black, Indigenous, and people of color).
\n\u201cThey need BIPOC representation. And that\u2019s what we are,\u201d said Ms. Lorenzo. Added Ms. Rillo: \u201cWe tick off quite a number of boxes so we\u2019re going to jump on board.\u201d
\nThe West\u2019s cultural reckoning \u2014 provoked by the immigration debate, the #MeToo movement, the Black Lives Matter movement, anti-Asian violence, and the climate crisis, among others \u2014 have put marginalized communities front and center.
\n\u201cIt\u2019s a pivotal moment, specifically in the United States,\u201d said Ms. Lorenzo. \u201cWe are squarely in that spotlight because we are brown. There is a sense of being seen.\u201d
\nThese global issues inform the positioning of Silverlens NY as shown by the two artists featured in the inaugural show: Dutch-Filipino video and installation artist Ms. Atienza and Malaysian photomedia-based artist Ms. Yee, whose works are both rife with geopolitical tension.
\nMs. Atienza\u2019s The Protectors features the fisherfolk of Bantayan Island and \u201cexplores environment, community, and development\u201d while questioning who owns the land and who owns the sea.
\nIn Roof of the Mouth, meanwhile, Ms. Yee collaborates with indigenous Malaysian weavers to present a body of work that \u201cclaims and celebrates communities and their geographies, often at the peripheries, that give shape to the center.\u201d
\nThe primary goal of Silverlens NY is to get institutions and museums to collect the work of its artists and provide a Southeast Asian perspective to topics, such as climate change and circular economies, that have a direct impact on the Philippines and the region.
\n\u201cWe want to be part of the conversation,\u201d said Ms. Lorenzo. \u201cThere are so many issues that they are championing and talking about over there [in the West] but we\u2019re the ones who are living this on a daily basis.\u201d
\nNO LONGER AN ISLAND
\nSilverlens NY is not the first time that Ms. Lorenzo and Ms. Rillo are venturing beyond the Philippines. From 2012 to 2015, they operated in Singapore at Gillman Barracks, where they focused on the artists on their roster.
\u201cWe were like an island, just showing our own thing,\u201d said Ms. Lorenzo.
\nThe lessons they learned from their three-year stint in Singapore influenced their New York programming, which will be composed of two-month exhibitions that are gallery-curated \u2014 as in Gillman Barracks \u2014 and curator-led, thus broadening Silverlens\u2019 horizons.
\n\u201cWe\u2019re going to invite curators from there [the United States] to put up shows with our artists and artists in their radar,\u201d said Ms. Rillo. \u201cI\u2019m excited about that because then there\u2019s a sense of discovery for us.\u201d
\nSilverlens is eyeing artists who are part of the Asian diaspora, reflective of the backgrounds of both gallerists. Prior to founding Silverlens, Ms. Lorenzo studied at the Parsons School of Design in New York City and worked at the International Center of Photography, also in the same city; Ms. Rillo, meanwhile, was on the opposite coast: she studied at the Academy of Art College (now known as Academy of Art University) in San Francisco and was a photographer based in Los Angeles.
\nAlso related to this migratory/trans-continental experience is the matter of currency and whether there is a danger of skewing the prices of their artists out of the Philippine market.
\n\u201cWe\u2019ve been working at this price level for many years. We don\u2019t need to create an international price and a local price \u2014 it doesn\u2019t work that way,\u201d said Ms. Lorenzo. \u201cWe\u2019re pretty much established and our artists are also established \u2014 it\u2019s not so much an issue.\u201d
\n\u201cWe just happen to be in the Philippines,\u201d she added. \u201cI already feel like we are running a very international standard program. It\u2019s just a matter of applying ourselves and what we already do in Manila to New York.\u201d
\nSilverlens will present the first New York solo gallery shows by artists Martha Atienza and Yee I-Lann, on Sept. 8, at Silverlens NY, 505 W 24th Street, New York, NY. For more information, visit www.silverlensgalleries.com.
\n", "content_text": "1 of 3\r\n \r\n \r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n YEE I-LANN, Measuring Project: Chapter 1, digital inkjet pigment print on Hahnem\u00fchle Photo Rag paper, 2021 (detail). \u2014 IMAGE COURTESY SILVERLENS GALLERY\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n MARTHA ATIENZA, Tigpanalipod (the Protectors) 11\u00b002\u201906.4\u201dN 123\u00b036\u201924.1\u201dE, 2022 (film still). \u2014 IMAGE COURTESY SILVERLENS GALLERY\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n Silverlens co-owners Rachel Rillo and Isa Lorenzo.\r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n\r\n \r\n\r\n \r\n \n(if they can make it there, they can make it anywhere)\nBy Sam L. Marcelo, Multimedia Editor\nSILVERLENS, the 18-year-old Manila-based gallery, is opening in New York City this September with solo shows by Martha Atienza and Yee I-Lann \u2014 bucking the trend of businesses closing due to the coronavirus pandemic, surging inflation, and a global economy on the brink of recession.\nSilverlens co-owners Isa Lorenzo and Rachel Rillo bought an airy 2,500-square-foot space in the Chelsea Arts District that used to house Bryce Wolkowitz Gallery.\n\u201cIt\u2019s like we\u2019re jumping off a cliff and we don\u2019t know what\u2019s at the bottom,\u201d said Ms. Rillo, in a Zoom call with 大象传媒 on July 16.\n\u201cAnd we don\u2019t know if it\u2019s a five-foot cliff or a five-kilometer cliff,\u201d Ms. Lorenzo added.\nNow being renovated, the New York space has a footprint comparable to Silverlens\u2019 home in Makati City \u2014 which the gallery rents in Lapanday Center along Chino Roces Extension \u2014 but with the advantage of a higher ceiling height of 20 feet and massive skylights.\nLocated right by the High Line, on 505 W 24th Street, Silverlens NY will enter a district crowded with big names, such as Lehmann Maupin, Lisson Gallery, Marianne Boesky Gallery, and Gagosian.\n\u201cIf you go to New York and you\u2019re going to spend one day looking at galleries, you\u2019re going to go to Chelsea. \u2026 It\u2019s amazing to be in this neighborhood,\u201d said Ms. Lorenzo of the Manhattan borough\u2019s gravitational pull.\nThe gallerists declined to share how much they were investing in the space, saying only that it was \u201ca commitment.\u201d\nListing portal StreetEasy, a subsidiary of real-estate marketplace company Zillow, estimates the average price per square foot in West Chelsea at $2,362 as of this writing.\n\u2018TRULY NUTS\u2019\nThis \u201ctrans-continental move,\u201d as Ms. Lorenzo and Ms. Rillo described it, was driven by the coronavirus disease 2019 (COVID-19) pandemic.\nWhen lockdowns pushed everyone and everything online, Silverlens found that 25% to 30% of its website visitors were from the United States.\n\u201cWe had a team that was watching who was watching us,\u201d said Ms. Rillo.\nCurious as to whether their website analytics translated into a genuine market for Silverlens artists in the United States, Ms. Lorenzo and Ms. Rillo flew to New York City in the middle of 2021 to meet with curators and art habitu\u00e9s they befriended in the decade or so that Silverlens has been participating in the art fair circuit.\nTheir month-long trip solidified their desire to be part of the New York art scene and the stars aligned quickly once they decided that they wanted to be there: The space was offered this January; it was turned over in April; Silverlens NY opens this September.\n\u201cIt\u2019s truly nuts,\u201d said Ms. Rillo. \u201cThe more we tell people about this timeline in the art world, the more they don\u2019t believe us. They think we\u2019ve been planning this for five years.\u201d\nBRICK-AND-MORTAR VS THE METAVERSE\nOpening a brick-and-mortar space halfway around the world might seem ironic, given the emphasis on e-commerce and the rise of virtual galleries that specialize in digital artworks that exist as non-fungible tokens (NFTs).\nHowever, a report titled \u201cFuture of New York\u201d published this February by UBS Financial Services, Inc., is bullish on the physical gallery.\n\u201cI don\u2019t see a shift away from gallery spaces in New York for two reasons. The foreign galleries benefited tremendously from the fact that they were within walking and driving distance of this great body of collectors. \u2026 Henceforth, gallery owners will, if anything, see the need to have more of a foothold in New York, not less,\u201d said Marc Spiegler, global director of Art Basel, who was interviewed in the report.\n\u201cAnd just as importantly, galleries are investing in New York real estate. \u2026 So this meme that \u2018the gallery space is over,\u2019 that \u2018everyone\u2019s going to move into the metaverse,\u2019 is just not sustained by the evidence on the ground,\u201d he continued.\nThe UBS report also stated that \u201cNew York\u2019s position as a global center of the art market will continue uninterrupted.\u201d\n\u201cThe Art Market 2022,\u201d an Art Basel and UBS report published this March, noted that US collectors had the highest share overall (53%) of new and emerging artists\u2019 works.\n\u2018THE OPPORTUNITY OF A PANDEMIC\u2019\nThe New York art scene, in the past few years, has consolidated, making room for international players like Silverlens.\nGalleries from Brazil, Korea, Mexico (and now, the Philippines) have moved into the industrial spaces in Chelsea vacated by medium-sized American galleries, which, depending on their fortunes, either closed or relocated to the historic cast-iron buildings of posh Tribeca.\n\u201cWe couldn\u2019t let the opportunity of a pandemic pass us by,\u201d said Ms. Lorenzo.\n\u201cThere\u2019s a lot of movement. What\u2019s happening in Chelsea right now is you have a lot of the big blue-chip guys and then you have the migrants. There\u2019s space,\u201d she added, using \u201cspace\u201d in terms of real estate and diversity.\nThe very attributes that would have made it impossible for Ms. Lorenzo and Ms. Rillo to set up shop in New York in the early aughts now make them appealing: they are queer BIPOC (Black, Indigenous, and people of color).\n\u201cThey need BIPOC representation. And that\u2019s what we are,\u201d said Ms. Lorenzo. Added Ms. Rillo: \u201cWe tick off quite a number of boxes so we\u2019re going to jump on board.\u201d\nThe West\u2019s cultural reckoning \u2014 provoked by the immigration debate, the #MeToo movement, the Black Lives Matter movement, anti-Asian violence, and the climate crisis, among others \u2014 have put marginalized communities front and center.\n\u201cIt\u2019s a pivotal moment, specifically in the United States,\u201d said Ms. Lorenzo. \u201cWe are squarely in that spotlight because we are brown. There is a sense of being seen.\u201d\nThese global issues inform the positioning of Silverlens NY as shown by the two artists featured in the inaugural show: Dutch-Filipino video and installation artist Ms. Atienza and Malaysian photomedia-based artist Ms. Yee, whose works are both rife with geopolitical tension.\nMs. Atienza\u2019s The Protectors features the fisherfolk of Bantayan Island and \u201cexplores environment, community, and development\u201d while questioning who owns the land and who owns the sea.\nIn Roof of the Mouth, meanwhile, Ms. Yee collaborates with indigenous Malaysian weavers to present a body of work that \u201cclaims and celebrates communities and their geographies, often at the peripheries, that give shape to the center.\u201d\nThe primary goal of Silverlens NY is to get institutions and museums to collect the work of its artists and provide a Southeast Asian perspective to topics, such as climate change and circular economies, that have a direct impact on the Philippines and the region.\n\u201cWe want to be part of the conversation,\u201d said Ms. Lorenzo. \u201cThere are so many issues that they are championing and talking about over there [in the West] but we\u2019re the ones who are living this on a daily basis.\u201d\nNO LONGER AN ISLAND\nSilverlens NY is not the first time that Ms. Lorenzo and Ms. Rillo are venturing beyond the Philippines. From 2012 to 2015, they operated in Singapore at Gillman Barracks, where they focused on the artists on their roster.\n\u201cWe were like an island, just showing our own thing,\u201d said Ms. Lorenzo.\nThe lessons they learned from their three-year stint in Singapore influenced their New York programming, which will be composed of two-month exhibitions that are gallery-curated \u2014 as in Gillman Barracks \u2014 and curator-led, thus broadening Silverlens\u2019 horizons.\n\u201cWe\u2019re going to invite curators from there [the United States] to put up shows with our artists and artists in their radar,\u201d said Ms. Rillo. \u201cI\u2019m excited about that because then there\u2019s a sense of discovery for us.\u201d\nSilverlens is eyeing artists who are part of the Asian diaspora, reflective of the backgrounds of both gallerists. Prior to founding Silverlens, Ms. Lorenzo studied at the Parsons School of Design in New York City and worked at the International Center of Photography, also in the same city; Ms. Rillo, meanwhile, was on the opposite coast: she studied at the Academy of Art College (now known as Academy of Art University) in San Francisco and was a photographer based in Los Angeles.\nAlso related to this migratory/trans-continental experience is the matter of currency and whether there is a danger of skewing the prices of their artists out of the Philippine market.\n\u201cWe\u2019ve been working at this price level for many years. We don\u2019t need to create an international price and a local price \u2014 it doesn\u2019t work that way,\u201d said Ms. Lorenzo. \u201cWe\u2019re pretty much established and our artists are also established \u2014 it\u2019s not so much an issue.\u201d\n\u201cWe just happen to be in the Philippines,\u201d she added. \u201cI already feel like we are running a very international standard program. It\u2019s just a matter of applying ourselves and what we already do in Manila to New York.\u201d\nSilverlens will present the first New York solo gallery shows by artists Martha Atienza and Yee I-Lann, on Sept. 8, at Silverlens NY, 505 W 24th Street, New York, NY. For more information, visit www.silverlensgalleries.com.", "date_published": "2022-07-20T00:09:04+08:00", "date_modified": "2022-07-26T15:35:41+08:00", "authors": [ { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2022/07/Silverlens-Yee-I-lann.jpg", "tags": [ "Sam L. Marcelo", "Arts & Leisure", "Editors' Picks" ], "summary": "SILVERLENS, the 18-year-old Manila-based gallery, is opening in New York City this September with solo shows by Martha Atienza and Yee I-Lann \u2014 bucking the trend of businesses closing due to the coronavirus pandemic, surging inflation, and a global economy on the brink of recession." }, { "id": "/?p=456716", "url": "/arts-and-leisure/2022/06/23/456716/new-dance-company-to-go-toe-to-toe-with-ballet-philippines/", "title": "New dance company to go toe-to-toe with Ballet Philippines", "content_html": "By Sam L. Marcelo, Multimedia Editor
\nNATIONAL Artist for Dance Alice G. Reyes has made her next move: she has formed another dance company to go toe-to-toe with Ballet Philippines (BP), the 53-year-old company that she founded and fell out of love with after multiple contretemps between her and the BP board \u2014 each one worse than the last, the most recent being a copyright claim on one of her pieces by BP. (See: \u201cCopyright fight: Ballet Philippines risks losing \u2018treasure trove\u2019 of dance\u201d)
\nAlice Reyes Dance Philippines, Inc. (ARDP) has broad ambitions, among them to \u201cestablish and maintain an artistic company or companies for the performance of dance: folk, ballet, classical, modern, as any forms, variations or development thereof; \u2026 [and] to serve as the venue for the dance development apperception programs and projects of the Cultural Center of the Philippines,\u201d according to the company\u2019s Articles of Incorporation filed with the Securities and Exchange Commission on May 17.
\nSitting on ARDP\u2019s board are: Christopher R. Upton, president of John Robert Powers International and Ms. Reyes\u2019s son; Liliane \u201cTats\u201d Rejante Manahan, a restoration expert who also chairs the Heritage Conservation Society; Gregory H. Banzon, chief operating officer and executive vice-president of Century Pacific Food, Inc.; Ricky Toledo, co-founder of design and fashion boutique AC+632; and Cristina S. Keppler, an arts-and-culture patron.
\nMs. Reyes declined to be interviewed for this story.
\nPHOENIX RISING?
\nIt is unclear whether ARDP will be a resident company of the Cultural Center of the Philippines (CCP), although its informal predecessor \u2014 a group of dancers who were retrenched over the pandemic and subsequently mentored by Ms. Reyes \u2014 has already been working with the CCP to mount shows and conduct regional workshops through the CCP\u2019s Professional Artists Support Program (PASP), an initiative formerly known as Professional Dance Support Program backed by CCP Chair Margarita \u201cMargie\u201d Moran Floirendo and CCP President and National Commission for Culture and the Arts (NCCA) Chair Arsenio \u201cNick\u201d Lizaso.
The CCP has four resident dance companies:
\n\u2022 BP, founded in 1969 by Ms. Reyes \u201cto successfully synthesize diverse dance and movement forms\u201d (its status as a resident company is on hold until the legal issue between the board and CCP is resolved);
\n\u2022 Bayanihan Dance Company, founded in 1956 \u201cto research on and preserve indigenous Philippine art forms in music, dance, costumes and folklore\u201d;
\n\u2022 The Ramon Obusan Folkloric Group, founded in 1972 for the \u201cpreservation and perpetuation Philippine traditions with special emphasis on music and dance\u201d;
\n\u2022 And, Philippine Ballet Theatre (PBT), founded in 1987 \u201cas the pre-eminent classical ballet company in the Philippines.\u201d
\n\u201cTo be a resident company of the CCP means that you are the flagship company in relation to excellence in artistic production. You are the flagship in terms of developing original Filipino work in your area,\u201d said Chris B. Millado, then CCP artistic director and vice-president, in a previous interview with 大象传媒.
\nWith BP\u2019s relationship with the CCP on shaky ground, its alumni thinking twice about having its new Russian artistic director stage their masterpieces, and its founder calling it \u201cBallet Russe\u201d in scathing rebuke, the question is: how long can the company hold on to its reputation as the \u201cleading professional classical and contemporary dance institution.\u201d
\nAnd while ARDP is \u201cnew,\u201d it will be composed of familiar faces. Ronelson P. Yadao, who was passed over as artistic director at BP despite Ms. Reyes\u2019 recommendation, will serve in that capacity at ARDP. Forming the corps are dancers who used to be with BP, PBT, Ballet Manila, and Steps Dance Center. And behind all of them: Ms. Reyes herself.
\nARDP will make its grand entrance with Pulso Filipinas, with regional dance students performing with the artists of the CCP PASP, which is slated for late September at the CCP\u2019s Main Theater; and Alay nina Alice at Agnes (tentatively scheduled this September), a program that celebrates the work of two National Artists for Dance: Ms. Reyes and Agnes D. Locsin, a pioneering neoethnic choreographer who was conferred the title this June and who previously said that the BP board was \u201cdestroying the name [of Ballet Philippines].\u201d
\n\u201cIf BP collapses, let it. And then let it rise like the phoenix,\u201d she said in the vernacular in a previous interview with 大象传媒. \u2014 with Mark T. Amoguis
\n", "content_text": "By Sam L. Marcelo, Multimedia Editor\nNATIONAL Artist for Dance Alice G. Reyes has made her next move: she has formed another dance company to go toe-to-toe with Ballet Philippines (BP), the 53-year-old company that she founded and fell out of love with after multiple contretemps between her and the BP board \u2014 each one worse than the last, the most recent being a copyright claim on one of her pieces by BP. (See: \u201cCopyright fight: Ballet Philippines risks losing \u2018treasure trove\u2019 of dance\u201d)\nAlice Reyes Dance Philippines, Inc. (ARDP) has broad ambitions, among them to \u201cestablish and maintain an artistic company or companies for the performance of dance: folk, ballet, classical, modern, as any forms, variations or development thereof; \u2026 [and] to serve as the venue for the dance development apperception programs and projects of the Cultural Center of the Philippines,\u201d according to the company\u2019s Articles of Incorporation filed with the Securities and Exchange Commission on May 17.\nSitting on ARDP\u2019s board are: Christopher R. Upton, president of John Robert Powers International and Ms. Reyes\u2019s son; Liliane \u201cTats\u201d Rejante Manahan, a restoration expert who also chairs the Heritage Conservation Society; Gregory H. Banzon, chief operating officer and executive vice-president of Century Pacific Food, Inc.; Ricky Toledo, co-founder of design and fashion boutique AC+632; and Cristina S. Keppler, an arts-and-culture patron.\nMs. Reyes declined to be interviewed for this story.\nPHOENIX RISING?\nIt is unclear whether ARDP will be a resident company of the Cultural Center of the Philippines (CCP), although its informal predecessor \u2014 a group of dancers who were retrenched over the pandemic and subsequently mentored by Ms. Reyes \u2014 has already been working with the CCP to mount shows and conduct regional workshops through the CCP\u2019s Professional Artists Support Program (PASP), an initiative formerly known as Professional Dance Support Program backed by CCP Chair Margarita \u201cMargie\u201d Moran Floirendo and CCP President and National Commission for Culture and the Arts (NCCA) Chair Arsenio \u201cNick\u201d Lizaso.\nThe CCP has four resident dance companies:\n\u2022 BP, founded in 1969 by Ms. Reyes \u201cto successfully synthesize diverse dance and movement forms\u201d (its status as a resident company is on hold until the legal issue between the board and CCP is resolved);\n\u2022 Bayanihan Dance Company, founded in 1956 \u201cto research on and preserve indigenous Philippine art forms in music, dance, costumes and folklore\u201d;\n\u2022 The Ramon Obusan Folkloric Group, founded in 1972 for the \u201cpreservation and perpetuation Philippine traditions with special emphasis on music and dance\u201d;\n\u2022 And, Philippine Ballet Theatre (PBT), founded in 1987 \u201cas the pre-eminent classical ballet company in the Philippines.\u201d\n\u201cTo be a resident company of the CCP means that you are the flagship company in relation to excellence in artistic production. You are the flagship in terms of developing original Filipino work in your area,\u201d said Chris B. Millado, then CCP artistic director and vice-president, in a previous interview with 大象传媒.\nWith BP\u2019s relationship with the CCP on shaky ground, its alumni thinking twice about having its new Russian artistic director stage their masterpieces, and its founder calling it \u201cBallet Russe\u201d in scathing rebuke, the question is: how long can the company hold on to its reputation as the \u201cleading professional classical and contemporary dance institution.\u201d\nAnd while ARDP is \u201cnew,\u201d it will be composed of familiar faces. Ronelson P. Yadao, who was passed over as artistic director at BP despite Ms. Reyes\u2019 recommendation, will serve in that capacity at ARDP. Forming the corps are dancers who used to be with BP, PBT, Ballet Manila, and Steps Dance Center. And behind all of them: Ms. Reyes herself.\nARDP will make its grand entrance with Pulso Filipinas, with regional dance students performing with the artists of the CCP PASP, which is slated for late September at the CCP\u2019s Main Theater; and Alay nina Alice at Agnes (tentatively scheduled this September), a program that celebrates the work of two National Artists for Dance: Ms. Reyes and Agnes D. Locsin, a pioneering neoethnic choreographer who was conferred the title this June and who previously said that the BP board was \u201cdestroying the name [of Ballet Philippines].\u201d\n\u201cIf BP collapses, let it. And then let it rise like the phoenix,\u201d she said in the vernacular in a previous interview with 大象传媒. \u2014 with Mark T. Amoguis", "date_published": "2022-06-23T00:08:02+08:00", "date_modified": "2022-06-28T13:29:35+08:00", "authors": [ { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2022/06/Alice-Reyes-National-Artist-for-Dance.jpg", "tags": [ "Mark T. Amoguis", "Sam L. Marcelo", "Arts & Leisure", "Editors' Picks" ], "summary": "NATIONAL Artist for Dance Alice G. Reyes has made her next move: she has formed another dance company to go toe-to-toe with Ballet Philippines (BP), the 53-year-old company that she founded and fell out of love with after multiple contretemps between her and the BP board \u2014 each one worse than the last, the most recent being a copyright claim on one of her pieces by BP. (See: \u201cCopyright fight: Ballet Philippines risks losing \u2018treasure trove\u2019 of dance\u201d)" }, { "id": "/?p=454889", "url": "/arts-and-leisure/2022/06/15/454889/copyright-fight-ballet-philippines-risks-losing-treasure-trove-of-dance/", "title": "Copyright fight: Ballet Philippines risks losing \u2018treasure trove\u2019 of dance", "content_html": "\r\n \r\n\r\nBy Sam L. Marcelo, Multimedia Editor
\nTHE ACRIMONIOUS relationship between the board of Ballet Philippines (BP) and the company\u2019s founder, National Artist for Dance Alice G. Reyes, has turned litigious, prompting choreographers to copyright their creative work to prevent BP from claiming ownership of their dances.
\nMs. Reyes, who was named a Gawad Yamang Isip Awardee by the Intellectual Property Office of the Philippines (IPOPHL) on June 6, has been helping dance artists protect their work. Her crusade picked up steam after one of her pieces became the subject of a cease-and-desist letter sent by BP.
\n\u201cFilipino artists just want respect,\u201d said Ms. Reyes, in a conversation with 大象传媒. \u201cRoyalties would be nice but, really, we just want respect.\u201d
\nUntil the dispute is settled, BP\u2019s status as a resident company of the Cultural Center of the Philippines (CCP) is \u201con hold,\u201d said Chris B. Millado, outgoing CCP vice-president and artistic director, via Zoom on June 8.
\nMr. Millado, whose last official day with the CCP is on June 15, added that BP\u2019s privileges, such as subsidies from the CCP and the use of its venues, have been under evaluation since the beginning of 2022.
\nThe ballet company launched its 53rd season in Gallery by Chele in Taguig City this May with the theme \u201cDance Where No One Else Has.\u201d
\n\u201cBallet Philippines is going somewhere where no one has danced before. \u2026 It does not just pertain to destination or location. We\u2019re talking about the new mindset and that is collaborations with like-minded people and institutions,\u201d said BP President Kathleen \u201cMaymay\u201d L. Liechtenstein, in a speech delivered at the event.
\n\u2018STAKING A CLAIM\u2019
\nOn Oct. 16, 2021, two days after Ms. Reyes\u2019s 79th birthday, BP wrote a cease-and-desist letter to Mr. Millado demanding that CCP stop broadcasting the dance Itim Asu \u2014 a work that Ms. Reyes choreographed in 1970 and remounted in 2020 as part of the show Alice and Friends.
(See \u201c\u2018Total fail\u2019: How communication breakdown broke Ballet Philippines\u2019 leg\u201d)
\n\u201cBP has intellectual property rights to the ballet work as it was created for BP,\u201d stated the letter signed by Ms. Liechtenstein.
\nThe letter also reiterated that BP \u201cdoes not give consent to CCP to stream in CCP\u2019s virtual platforms\u201d five productions that were mounted by, or choreographed in whole or in part by Ms. Reyes.
\nAside from the aforementioned Itim Asu, and Alice and Friends, BP named three shows that were produced during Ms. Reyes\u2019s return as BP artistic director from 2017 to 2020: A Gala Celebration (2017), The Exemplars (2017), and Tales of the Manuvu (2019).
\nTo wit: BP, a resident company of the CCP, sent a cease-and-desist letter to the CCP over Itim Asu, a dance that BP founder Ms. Reyes:
\n\u201cYou own it from the moment you create it,\u201d said Ms. Reyes, referring to a choreographer\u2019s rights to a piece \u2014 in this case, Itim Asu, which is based on Virginia R. Moreno\u2019s award-winning play The Onyx Wolf (also known as La Loba Negra). \u201cIn fact, I have the copyright.\u201d
\nMs. Reyes is quoting the IP Code, which \u201cgrants authors, artists, and other creators, automatic protection for their literary and artistic creations, from the moment they create it.\u201d
\nWHO OWNS WHAT?
\nWhile BP got several important details wrong in its demand (such as when Ms. Reyes created Itim Asu and for whom), the unresolved issue between BP and the coalition of CCP and Ms. Reyes raises larger questions: Who owns a dance and who should profit from it?
It\u2019s complicated.
\nIf Ms. Reyes wishes to mount a new production of Itim Asu \u2014 with a different look and feel \u2014 she can. And it is also Ms. Reyes who has the power to decide who gets to restage Itim Asu.
\nAs summarized by Mr. Millado, while Ms. Reyes owns the rights to the choreography of Itim Asu \u2014 the dance itself \u2014 she does not own the rights to the sets, the costumes, and the lighting design of the 1970 production; or the music of Alfredo S. Buenaventura.
\nIf she wants a faithful restaging of the 1970 original, she will have to get permission from her artistic collaborators or their estates since the production\u2019s different parts are owned by different people. And the entire production itself is owned by its producer. (Ms. Reyes got the required permissions for her 2020 restaging. Ms. Moreno was sitting in the audience, as was painter Jaime De Guzman, who designed the sets.)
\nNeither does Ms. Reyes own the digital file of the 2020 performance that was streamed, or the storage medium (which might be a USB stick, a flash memory card, a CD, or a VHS tape) that it was recorded on \u2014 the CCP owns those.
\nIf she wants to upload and stream CCP\u2019s 2020 recording on her own platforms, she will have to ask permission from the CCP.
\nThe CCP, on the other hand, will also have to get permission from the artists and companies involved if they want to stream recordings of live performances (which it did). If the CCP decides to charge people for viewing the streamed works, then artists can ask for royalties.
\nAnd if the CCP (or BP) wants to restage Ms. Reyes\u2019 work, they will have to get her permission as well.
\nComplicating matters: there was no intellectual property system in the Philippines in the 1970s \u2014 IPOPHL just celebrated its 25th anniversary on June 6 (hence Ms. Reyes\u2019s award) \u2014 and contracts then didn\u2019t account for, say, YouTube and other streaming services.
\nGoodwill was the grease that kept artistic projects going (spoiler: it still is).
\n\u201cNo copyright rules existed during that time, no written contracts covered ownership,\u201d said CCP\u2019s Mr. Millado. \u201cIt\u2019s all retroactive \u2014 what\u2019s happening now \u2014 and people are staking a claim.\u201d
\nThe pandemic, which forced the creative sector to pivot online when restrictions shuttered live performances, highlighted how recordings \u2014 previously thought of as archival material \u2014 can be monetized.
\nAccording to Mr. Millado, there are several compensation models depending on the circumstances of the broadcast. If a show is uploaded and distributed for free to the public on a specific platform for a limited period of time, the CCP informs artists and offers a token fee, which is often waived.
\nIf the CCP charges audiences for streaming a show, then it might offer its creator a one-time royalty of 15% of their original fee for mounting the production; or pay a minimum amount, with the promise of a percentage of the profit, assuming the show earns.
\n\u201cIt\u2019s more work for arts managers but that\u2019s how you make the sector sustainable. That\u2019s where you enter into \u2018creative industry,\u2019\u201d he said.
\n\u201cThey [artists] see that there is an economic opportunity in asserting their moral rights to their intellectual property,\u201d added Mr. Millado. \u201cPerforming artists and choreographers are still quite ambiguous about their rights, that\u2019s why they are usually at the mercy of the \u2018producers.\u2019 \u2026 They need to know what they own, how to protect it, and how they can earn from it.\u201d
\nCommenting on Ms. Reyes\u2019 Itim Asu, the CCP artistic director said: \u201cIf there are no written contracts that say that a company owns a commissioned work or that the artist gives up moral and economic rights to a certain piece, then what prevails is the intellectual property rights law, which is that the work is the ownership of the original creator.\u201d
\nAccording to the IPOPHL website, \u201cregistration and deposit of works isn\u2019t necessary but authors and artists may opt to file for the copyright registration of their work with IPOPHL for the issuance of the appropriate certificate of copyright registration.\u201d
\nThis is a gross oversimplification of a thorny issue that is still with the CCP\u2019s legal department and other agencies. It is also for this reason that IPOPHL cannot comment on the cease-and-desist letter.
\nBP did not reply to multiple requests for comment.
\nA BREAKUP IN THREE ACTS (AND COUNTING)
\nAct 1.
\nCracks first began to show when the BP board passed over Ms. Reyes\u2019 recommendations for her successor and instead appointed Mikhail \u201cMisha\u201d Martynyuk, a dancer of The Kremlin Ballet in Russia, as artistic director of the dance company in February 2020. (See: \u201cThe Russians are coming, the Russians are coming\u201d)
\nAct 2.
\nOver the pandemic, the rift widened: vocal \u201cpro-Alice\u201d BP dancers, some with careers spanning more than a decade, were frozen out of work.
\nMs. Reyes took in these displaced BP dancers, along with retrenched professionals from other dance companies, and formed a group that, through several lockdowns, conducted online classes, mounted shows, and premiered new work with support from the CCP.
\nMs. Reyes mentors a corps of 18 dancers; BP, meanwhile, lists 16 on its website.
\nAct 3.
\nThe tussle over intellectual property rights escalates the schism between the BP board and Ms. Reyes, taking a disagreement over artistry, tradition, and legacy into legal territory with accompanying financial ramifications.
\n\u201cIt\u2019s our right as choreographers to protect our pieces and be given due credit for the hard work we put into creating them,\u201d said Monica A. Gana, a former BP soloist and dancer-choreographer now under Ms. Reyes\u2019 wing.
\nWith Itim Asu turning into a cautionary tale, Ms. Gana and young choreographers like her decided to take control of their pieces, some of which were created and staged under the auspices of BP.
\nFrom 2021 to present, the Bureau of Copyright and Related Rights has issued 21 certificates of copyright registrations for literary and artistic works. Out of this number, four fall under \u201cchoreography.\u201d
\nIn a June 12 e-mail to 大象传媒, Ms. Gana continued: \u201cI felt relieved that I had an official document saying that I, as the choreographer, have the right to decide who can dance it [my piece] and where it can be danced.\u201d
\nLOST TREASURE, SWALLOWED PRIDE
\nAs word of Ms. Liechtenstein\u2019s demands made the rounds in the dance community, artists were dismayed but not surprised at the BP board\u2019s actions.
\u201cI don\u2019t think they realize that choreography is a skill,\u201d said Agnes D. Locsin, a pioneering neoethnic choreographer, via Zoom on June 5. \u201cThey\u2019re destroying the name [of Ballet Philippines]. \u2026 I\u2019m waiting for them to collapse. It\u2019s just money that\u2019s keeping them alive.\u201d
\nNamed a National Artist for Dance on June 10, Ms. Locsin has been copyrighting her work since 1988.
\nOn June 13, the BP board congratulated Ms. Locsin on its platforms, saying: \u201cSome of Agnes\u2019 greatest and most influential works were created with Ballet Philippines.\u201d
\nThe \u201ccurrent BP\u201d \u2014 as Ms. Locsin calls the company under Ms. Liechtenstein \u2014 might find that showcasing the work of the newly minted National Artist a less collegial affair than it used to be.
\nWith the \u201cold BP,\u201d restaging requests would be met with a nonchalant \u201cyeah, sure,\u201d from Ms. Locsin, a former artistic director and resident choreographer of BP.
\nA request from Ms. Reyes herself is even weightier: \u201cYou can\u2019t say no,\u201d said Ms. Locsin, trying to explain how esteemed the BP founder is by generations of dancers.
\nAnd while she is still open to working with the current BP, Ms. Locsin won\u2019t be as accommodating: \u201cFor professional reasons, I feel like I will need to say \u2018yes,\u2019\u201d she replied. \u201cHowever there will definitely be conditions that they will have to meet \u2014 which I am sure they will have difficulty meeting.\u201d
\nMs. Locsin trusts only three dancers with the restaging of her work. After performing her pieces hundreds of times, their bodies remember the jagged angles of Ms. Locsin\u2019s choreography.
\n\u201cMy restagers can explain dance the way I explained it to them,\u201d she said.
\nThis, in a nutshell, illustrates \u201cthe distinct difference between the preservation of dance and other artistic media\u201d as the New York Times put it: \u201cchoreography often depends on an oral tradition to uphold its integrity through style, motivation and content.\u201d
\nMs. Locsin no longer sees the current BP as part of the oral tradition that she is steeped in, in part because of the way it treated Ms. Reyes.
\n\u201cThey have no knowledge of dance in the Philippines if they don\u2019t value Alice Reyes,\u201d said Ms. Locsin. \u201cEven if you remove the title National Artist \u2014 this is Alice Reyes, the founder of Ballet Philippines.\u201d
\nMs. Reyes, in a Viber message to 大象传媒 on June 7, went as far as to call BP, the dance company that has been tied to her name since 1969, \u201cBallet Russe\u201d: \u201cBallet Russe has lost a treasure trove, blindly insisting that it\u2019s theirs \u2014 unless they can swallow their pride, ask permission to stage, pay a teeny royalty.\u201d
\nBy sending the cease-and-desist letter, BP has traded its crown jewels \u2014 its vast repertoire of modern and contemporary Filipino pieces \u2014 for a gaggle of swans.
\n", "content_text": "1 of 2\r\n \r\n \r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n THE 1980 staging of Rama Hari, choreographed by Alice Reyes who also performed. \u2014 PHOTO COURTESY OF RUDY VIDAD, BALLET PHILIPPINES COLLECTION\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n BALLET Philippines produced Chichester Psalm in 1977 with choreography by Alice Reyes. \u2014 PHOTO COURTESY OF RUDY VIDAD, BALLET PHILIPPINES COLLECTION\r\n \r\n \r\n \r\n \r\n\r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n \r\n\r\n \r\n\r\n \r\n \nBy Sam L. Marcelo, Multimedia Editor\nTHE ACRIMONIOUS relationship between the board of Ballet Philippines (BP) and the company\u2019s founder, National Artist for Dance Alice G. Reyes, has turned litigious, prompting choreographers to copyright their creative work to prevent BP from claiming ownership of their dances.\nMs. Reyes, who was named a Gawad Yamang Isip Awardee by the Intellectual Property Office of the Philippines (IPOPHL) on June 6, has been helping dance artists protect their work. Her crusade picked up steam after one of her pieces became the subject of a cease-and-desist letter sent by BP.\n\u201cFilipino artists just want respect,\u201d said Ms. Reyes, in a conversation with 大象传媒. \u201cRoyalties would be nice but, really, we just want respect.\u201d\nUntil the dispute is settled, BP\u2019s status as a resident company of the Cultural Center of the Philippines (CCP) is \u201con hold,\u201d said Chris B. Millado, outgoing CCP vice-president and artistic director, via Zoom on June 8.\nMr. Millado, whose last official day with the CCP is on June 15, added that BP\u2019s privileges, such as subsidies from the CCP and the use of its venues, have been under evaluation since the beginning of 2022.\nThe ballet company launched its 53rd season in Gallery by Chele in Taguig City this May with the theme \u201cDance Where No One Else Has.\u201d\n\u201cBallet Philippines is going somewhere where no one has danced before. \u2026 It does not just pertain to destination or location. We\u2019re talking about the new mindset and that is collaborations with like-minded people and institutions,\u201d said BP President Kathleen \u201cMaymay\u201d L. Liechtenstein, in a speech delivered at the event.\n\u2018STAKING A CLAIM\u2019\nOn Oct. 16, 2021, two days after Ms. Reyes\u2019s 79th birthday, BP wrote a cease-and-desist letter to Mr. Millado demanding that CCP stop broadcasting the dance Itim Asu \u2014 a work that Ms. Reyes choreographed in 1970 and remounted in 2020 as part of the show Alice and Friends.\n(See \u201c\u2018Total fail\u2019: How communication breakdown broke Ballet Philippines\u2019 leg\u201d)\n\u201cBP has intellectual property rights to the ballet work as it was created for BP,\u201d stated the letter signed by Ms. Liechtenstein.\nThe letter also reiterated that BP \u201cdoes not give consent to CCP to stream in CCP\u2019s virtual platforms\u201d five productions that were mounted by, or choreographed in whole or in part by Ms. Reyes.\nAside from the aforementioned Itim Asu, and Alice and Friends, BP named three shows that were produced during Ms. Reyes\u2019s return as BP artistic director from 2017 to 2020: A Gala Celebration (2017), The Exemplars (2017), and Tales of the Manuvu (2019).\nTo wit: BP, a resident company of the CCP, sent a cease-and-desist letter to the CCP over Itim Asu, a dance that BP founder Ms. Reyes:\n\nchoreographed in 1970, at the behest of the League of the Filipino Composers and the CCP, and\nremounted in 2020 with the help of a CCP grant.\n\n\u201cYou own it from the moment you create it,\u201d said Ms. Reyes, referring to a choreographer\u2019s rights to a piece \u2014 in this case, Itim Asu, which is based on Virginia R. Moreno\u2019s award-winning play The Onyx Wolf (also known as La Loba Negra). \u201cIn fact, I have the copyright.\u201d\nMs. Reyes is quoting the IP Code, which \u201cgrants authors, artists, and other creators, automatic protection for their literary and artistic creations, from the moment they create it.\u201d\nWHO OWNS WHAT?\nWhile BP got several important details wrong in its demand (such as when Ms. Reyes created Itim Asu and for whom), the unresolved issue between BP and the coalition of CCP and Ms. Reyes raises larger questions: Who owns a dance and who should profit from it?\nIt\u2019s complicated.\nIf Ms. Reyes wishes to mount a new production of Itim Asu \u2014 with a different look and feel \u2014 she can. And it is also Ms. Reyes who has the power to decide who gets to restage Itim Asu.\nAs summarized by Mr. Millado, while Ms. Reyes owns the rights to the choreography of Itim Asu \u2014 the dance itself \u2014 she does not own the rights to the sets, the costumes, and the lighting design of the 1970 production; or the music of Alfredo S. Buenaventura.\nIf she wants a faithful restaging of the 1970 original, she will have to get permission from her artistic collaborators or their estates since the production\u2019s different parts are owned by different people. And the entire production itself is owned by its producer. (Ms. Reyes got the required permissions for her 2020 restaging. Ms. Moreno was sitting in the audience, as was painter Jaime De Guzman, who designed the sets.)\nNeither does Ms. Reyes own the digital file of the 2020 performance that was streamed, or the storage medium (which might be a USB stick, a flash memory card, a CD, or a VHS tape) that it was recorded on \u2014 the CCP owns those.\nIf she wants to upload and stream CCP\u2019s 2020 recording on her own platforms, she will have to ask permission from the CCP.\nThe CCP, on the other hand, will also have to get permission from the artists and companies involved if they want to stream recordings of live performances (which it did). If the CCP decides to charge people for viewing the streamed works, then artists can ask for royalties.\nAnd if the CCP (or BP) wants to restage Ms. Reyes\u2019 work, they will have to get her permission as well.\nComplicating matters: there was no intellectual property system in the Philippines in the 1970s \u2014 IPOPHL just celebrated its 25th anniversary on June 6 (hence Ms. Reyes\u2019s award) \u2014 and contracts then didn\u2019t account for, say, YouTube and other streaming services.\nGoodwill was the grease that kept artistic projects going (spoiler: it still is).\n\u201cNo copyright rules existed during that time, no written contracts covered ownership,\u201d said CCP\u2019s Mr. Millado. \u201cIt\u2019s all retroactive \u2014 what\u2019s happening now \u2014 and people are staking a claim.\u201d\nThe pandemic, which forced the creative sector to pivot online when restrictions shuttered live performances, highlighted how recordings \u2014 previously thought of as archival material \u2014 can be monetized.\nAccording to Mr. Millado, there are several compensation models depending on the circumstances of the broadcast. If a show is uploaded and distributed for free to the public on a specific platform for a limited period of time, the CCP informs artists and offers a token fee, which is often waived.\nIf the CCP charges audiences for streaming a show, then it might offer its creator a one-time royalty of 15% of their original fee for mounting the production; or pay a minimum amount, with the promise of a percentage of the profit, assuming the show earns.\n\u201cIt\u2019s more work for arts managers but that\u2019s how you make the sector sustainable. That\u2019s where you enter into \u2018creative industry,\u2019\u201d he said.\n\u201cThey [artists] see that there is an economic opportunity in asserting their moral rights to their intellectual property,\u201d added Mr. Millado. \u201cPerforming artists and choreographers are still quite ambiguous about their rights, that\u2019s why they are usually at the mercy of the \u2018producers.\u2019 \u2026 They need to know what they own, how to protect it, and how they can earn from it.\u201d\nCommenting on Ms. Reyes\u2019 Itim Asu, the CCP artistic director said: \u201cIf there are no written contracts that say that a company owns a commissioned work or that the artist gives up moral and economic rights to a certain piece, then what prevails is the intellectual property rights law, which is that the work is the ownership of the original creator.\u201d\nAccording to the IPOPHL website, \u201cregistration and deposit of works isn\u2019t necessary but authors and artists may opt to file for the copyright registration of their work with IPOPHL for the issuance of the appropriate certificate of copyright registration.\u201d\nThis is a gross oversimplification of a thorny issue that is still with the CCP\u2019s legal department and other agencies. It is also for this reason that IPOPHL cannot comment on the cease-and-desist letter.\nBP did not reply to multiple requests for comment.\nA BREAKUP IN THREE ACTS (AND COUNTING)\nAct 1.\nCracks first began to show when the BP board passed over Ms. Reyes\u2019 recommendations for her successor and instead appointed Mikhail \u201cMisha\u201d Martynyuk, a dancer of The Kremlin Ballet in Russia, as artistic director of the dance company in February 2020. (See: \u201cThe Russians are coming, the Russians are coming\u201d)\nAct 2.\nOver the pandemic, the rift widened: vocal \u201cpro-Alice\u201d BP dancers, some with careers spanning more than a decade, were frozen out of work.\nMs. Reyes took in these displaced BP dancers, along with retrenched professionals from other dance companies, and formed a group that, through several lockdowns, conducted online classes, mounted shows, and premiered new work with support from the CCP.\nMs. Reyes mentors a corps of 18 dancers; BP, meanwhile, lists 16 on its website.\nAct 3.\nThe tussle over intellectual property rights escalates the schism between the BP board and Ms. Reyes, taking a disagreement over artistry, tradition, and legacy into legal territory with accompanying financial ramifications.\n\u201cIt\u2019s our right as choreographers to protect our pieces and be given due credit for the hard work we put into creating them,\u201d said Monica A. Gana, a former BP soloist and dancer-choreographer now under Ms. Reyes\u2019 wing.\nWith Itim Asu turning into a cautionary tale, Ms. Gana and young choreographers like her decided to take control of their pieces, some of which were created and staged under the auspices of BP.\nFrom 2021 to present, the Bureau of Copyright and Related Rights has issued 21 certificates of copyright registrations for literary and artistic works. Out of this number, four fall under \u201cchoreography.\u201d\nIn a June 12 e-mail to 大象传媒, Ms. Gana continued: \u201cI felt relieved that I had an official document saying that I, as the choreographer, have the right to decide who can dance it [my piece] and where it can be danced.\u201d\nLOST TREASURE, SWALLOWED PRIDE\nAs word of Ms. Liechtenstein\u2019s demands made the rounds in the dance community, artists were dismayed but not surprised at the BP board\u2019s actions.\n\u201cI don\u2019t think they realize that choreography is a skill,\u201d said Agnes D. Locsin, a pioneering neoethnic choreographer, via Zoom on June 5. \u201cThey\u2019re destroying the name [of Ballet Philippines]. \u2026 I\u2019m waiting for them to collapse. It\u2019s just money that\u2019s keeping them alive.\u201d\nNamed a National Artist for Dance on June 10, Ms. Locsin has been copyrighting her work since 1988.\nOn June 13, the BP board congratulated Ms. Locsin on its platforms, saying: \u201cSome of Agnes\u2019 greatest and most influential works were created with Ballet Philippines.\u201d\nThe \u201ccurrent BP\u201d \u2014 as Ms. Locsin calls the company under Ms. Liechtenstein \u2014 might find that showcasing the work of the newly minted National Artist a less collegial affair than it used to be.\nWith the \u201cold BP,\u201d restaging requests would be met with a nonchalant \u201cyeah, sure,\u201d from Ms. Locsin, a former artistic director and resident choreographer of BP.\nA request from Ms. Reyes herself is even weightier: \u201cYou can\u2019t say no,\u201d said Ms. Locsin, trying to explain how esteemed the BP founder is by generations of dancers.\nAnd while she is still open to working with the current BP, Ms. Locsin won\u2019t be as accommodating: \u201cFor professional reasons, I feel like I will need to say \u2018yes,\u2019\u201d she replied. \u201cHowever there will definitely be conditions that they will have to meet \u2014 which I am sure they will have difficulty meeting.\u201d\nMs. Locsin trusts only three dancers with the restaging of her work. After performing her pieces hundreds of times, their bodies remember the jagged angles of Ms. Locsin\u2019s choreography.\n\u201cMy restagers can explain dance the way I explained it to them,\u201d she said.\nThis, in a nutshell, illustrates \u201cthe distinct difference between the preservation of dance and other artistic media\u201d as the New York Times put it: \u201cchoreography often depends on an oral tradition to uphold its integrity through style, motivation and content.\u201d\nMs. Locsin no longer sees the current BP as part of the oral tradition that she is steeped in, in part because of the way it treated Ms. Reyes.\n\u201cThey have no knowledge of dance in the Philippines if they don\u2019t value Alice Reyes,\u201d said Ms. Locsin. \u201cEven if you remove the title National Artist \u2014 this is Alice Reyes, the founder of Ballet Philippines.\u201d\nMs. Reyes, in a Viber message to 大象传媒 on June 7, went as far as to call BP, the dance company that has been tied to her name since 1969, \u201cBallet Russe\u201d: \u201cBallet Russe has lost a treasure trove, blindly insisting that it\u2019s theirs \u2014 unless they can swallow their pride, ask permission to stage, pay a teeny royalty.\u201d\nBy sending the cease-and-desist letter, BP has traded its crown jewels \u2014 its vast repertoire of modern and contemporary Filipino pieces \u2014 for a gaggle of swans.", "date_published": "2022-06-15T00:08:39+08:00", "date_modified": "2022-06-15T15:54:20+08:00", "authors": [ { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2022/06/Rama-Hari-DSC_2023-scaled.jpg", "tags": [ "Sam L. Marcelo", "Arts & Leisure", "Editors' Picks" ], "summary": "THE ACRIMONIOUS relationship between the board of Ballet Philippines (BP) and the company\u2019s founder, National Artist for Dance Alice G. Reyes, has turned litigious, prompting choreographers to copyright their creative work to prevent BP from claiming ownership of their dances." }, { "id": "/?p=454834", "url": "/arts-and-leisure/2022/06/15/454834/michael-jackson-and-the-moonwalk-copyright-and-dance/", "title": "Michael Jackson and the moonwalk: copyright and dance", "content_html": "WHILE the Intellectual Property Office of the Philippines (IPOPHL) declined to comment on the cease-and-desist letter sent by Ballet Philippines to the Cultural Center of the Philippines in relation to Itim Asu \u2014 a dance choreographed by National Artist Alice G. Reyes \u2014 since \u201cit may result in conflict of interest in the event that the case is filed before the IPOPHL for adjudication,\u201d still, in this June 14 e-mail to 大象传媒, IPOPHL\u2019s Bureau of Copyright and Related Rights did explain the finer points of copyright.
\nQ: Who owns a piece of creative work and what are some of the misconceptions about intellectual property?
\nA: The creator or the author is generally considered the owner of the copyright.
\nNote, however, that ownership of the copyright is different from ownership of the object of copyright (the actual work itself).
\nThis follows from the legal principle that copyright is distinct from the object of copyright. This means that a person may own an object that is subject of copyright but is not the owner of the copyright thereof. Example: one may own a copy of a book but this does not mean that the owner of the copy of the book also owns the copyright of the book.
\nGenerally, it is the author or creator of a work who owns both the actual work and the copyright over it from the moment of creation.
\nHowever, there are certain cases wherein both may be owned by another. For example, when a work is created by an employee during and in the course of employment, it is the employer who owns both the work and the copyright, if the work was the result of the employee\u2019s regularly assigned duties, unless there is an express or implied agreement to the contrary.
\nThere may also be instances where the copyright is owned by the author/creator while the actual work is owned by another. For example, the copyright over the contents of a letter is owned by the writer while the actual letter itself is owned by the person to whom it is addressed.
\nQ: How does the Philippines compare to other countries when it comes to artists\u2019 rights over their work?
\nA: The Philippines is at par \u2014 if not better \u2014 than most jurisdictions when it comes to the legal framework for artists\u2019 protection over their work. Artists\u2019 copyrights are laid down in the Intellectual Property Code (IP Code). It grants both exclusive rights and moral rights to creators of works. It even grants protections to holders of related rights, i.e., performers, sound record producers and broadcasters. The rights granted by the IP Code are in accordance with international treaties and conventions, most of which the Philippines is a contracting party to.
\nQ: What are the unique considerations for dance/choreography that set it apart from other works of art that can be copyrighted?
\nA: The choreography is what is protected.
\nTraditionally, dance is protected when it is written (\u201cfixed\u201d) in the form of ballet notation.
\nNowadays, it is common for the copyright of a choreographic work to be registered by means of capturing it in an audiovisual work or fixed by recording it.
\nIn this case, the audiovisual work is not the main work but only the means of capturing the choreography in a tangible medium for purposes of depositing it since copyright registration requires the deposit of copies of the copyrighted work for archival purposes. i.e., at least in the Philippines, there is no explicit requirement (silent) for a choreography to be fixed; but it needs to be fixed in case the choreographer wants it to be registered.
\nThe silence may have been caused by the dropping of the requirement of fixing choreography in the Stockholm Amendment of the Berne Convention.
\nAdditionally, for dance, like music, choreography can be reduced to writing as in the Benesh Movement Notation or Labanotation wherein a choreographer can document his or her creative work in a fixed and tangible medium through the method of recording bodily movements.
\nThis is described as a system for analyzing and recording human movement. The inventor of Labanotation was Rudolf von Laban. He was known to be the central figure in European modern dance and developed his notation ideas on movement in the 1920s.
\nQ: Could Michael Jackson have copyrighted the moonwalk?
\nA: No. The moonwalk is only a dance move, not a choreography. Being merely an individual move, it is not copyrightable.
\nWhile the moonwalk is closely associated and popularized by Michael Jackson, it is considered as a social dance step or simple routine because according to the US Patent Office, the elements of a copyrightable dance work includes \u201crhythmic movements of one or more dancers\u2019 bodies in a defined sequence and a defined spatial environment, such as a stage; a series of dance movements or patterns organized into an integrated, coherent, and expressive compositional whole; a story, theme, or abstract composition conveyed through movement; a presentation before an audience; a performance by skilled individuals; and musical or textual accompaniment.\u201d
\nHowever, MJ does hold a patent for the shoes that allowed him to perform his famous \u201canti-gravity lean\u201d move as seen in the music video of \u201cSmooth Criminal.\u201d See here: https://patents.google.com/patent/US5255452A/en \u2014 Sam L. Marcelo
\n", "content_text": "WHILE the Intellectual Property Office of the Philippines (IPOPHL) declined to comment on the cease-and-desist letter sent by Ballet Philippines to the Cultural Center of the Philippines in relation to Itim Asu \u2014 a dance choreographed by National Artist Alice G. Reyes \u2014 since \u201cit may result in conflict of interest in the event that the case is filed before the IPOPHL for adjudication,\u201d still, in this June 14 e-mail to 大象传媒, IPOPHL\u2019s Bureau of Copyright and Related Rights did explain the finer points of copyright.\nQ: Who owns a piece of creative work and what are some of the misconceptions about intellectual property?\nA: The creator or the author is generally considered the owner of the copyright.\nNote, however, that ownership of the copyright is different from ownership of the object of copyright (the actual work itself).\nThis follows from the legal principle that copyright is distinct from the object of copyright. This means that a person may own an object that is subject of copyright but is not the owner of the copyright thereof. Example: one may own a copy of a book but this does not mean that the owner of the copy of the book also owns the copyright of the book.\nGenerally, it is the author or creator of a work who owns both the actual work and the copyright over it from the moment of creation.\nHowever, there are certain cases wherein both may be owned by another. For example, when a work is created by an employee during and in the course of employment, it is the employer who owns both the work and the copyright, if the work was the result of the employee\u2019s regularly assigned duties, unless there is an express or implied agreement to the contrary.\nThere may also be instances where the copyright is owned by the author/creator while the actual work is owned by another. For example, the copyright over the contents of a letter is owned by the writer while the actual letter itself is owned by the person to whom it is addressed.\nQ: How does the Philippines compare to other countries when it comes to artists\u2019 rights over their work?\nA: The Philippines is at par \u2014 if not better \u2014 than most jurisdictions when it comes to the legal framework for artists\u2019 protection over their work. Artists\u2019 copyrights are laid down in the Intellectual Property Code (IP Code). It grants both exclusive rights and moral rights to creators of works. It even grants protections to holders of related rights, i.e., performers, sound record producers and broadcasters. The rights granted by the IP Code are in accordance with international treaties and conventions, most of which the Philippines is a contracting party to.\nQ: What are the unique considerations for dance/choreography that set it apart from other works of art that can be copyrighted?\nA: The choreography is what is protected.\nTraditionally, dance is protected when it is written (\u201cfixed\u201d) in the form of ballet notation.\nNowadays, it is common for the copyright of a choreographic work to be registered by means of capturing it in an audiovisual work or fixed by recording it.\nIn this case, the audiovisual work is not the main work but only the means of capturing the choreography in a tangible medium for purposes of depositing it since copyright registration requires the deposit of copies of the copyrighted work for archival purposes. i.e., at least in the Philippines, there is no explicit requirement (silent) for a choreography to be fixed; but it needs to be fixed in case the choreographer wants it to be registered.\nThe silence may have been caused by the dropping of the requirement of fixing choreography in the Stockholm Amendment of the Berne Convention.\nAdditionally, for dance, like music, choreography can be reduced to writing as in the Benesh Movement Notation or Labanotation wherein a choreographer can document his or her creative work in a fixed and tangible medium through the method of recording bodily movements.\nThis is described as a system for analyzing and recording human movement. The inventor of Labanotation was Rudolf von Laban. He was known to be the central figure in European modern dance and developed his notation ideas on movement in the 1920s.\nQ: Could Michael Jackson have copyrighted the moonwalk?\nA: No. The moonwalk is only a dance move, not a choreography. Being merely an individual move, it is not copyrightable.\nWhile the moonwalk is closely associated and popularized by Michael Jackson, it is considered as a social dance step or simple routine because according to the US Patent Office, the elements of a copyrightable dance work includes \u201crhythmic movements of one or more dancers\u2019 bodies in a defined sequence and a defined spatial environment, such as a stage; a series of dance movements or patterns organized into an integrated, coherent, and expressive compositional whole; a story, theme, or abstract composition conveyed through movement; a presentation before an audience; a performance by skilled individuals; and musical or textual accompaniment.\u201d\nHowever, MJ does hold a patent for the shoes that allowed him to perform his famous \u201canti-gravity lean\u201d move as seen in the music video of \u201cSmooth Criminal.\u201d See here: https://patents.google.com/patent/US5255452A/en \u2014 Sam L. Marcelo", "date_published": "2022-06-15T00:07:15+08:00", "date_modified": "2022-06-15T09:43:53+08:00", "authors": [ { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/cedadiantityclea/", "avatar": "https://secure.gravatar.com/avatar/fc38d2668fdee8f1e2b22df5e72ae6f4ad265ab7814de4aa60060edd377a70ce?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2022/06/US5255452-drawings-page-3.jpg", "tags": [ "Featured2", "Sam L. Marcelo", "Arts & Leisure", "Editors' Picks" ], "summary": "WHILE the Intellectual Property Office of the Philippines (IPOPHL) declined to comment on the cease-and-desist letter sent by Ballet Philippines to the Cultural Center of the Philippines in relation to Itim Asu \u2014 a dance choreographed by National Artist Alice G. Reyes \u2014 since \u201cit may result in conflict of interest in the event that the case is filed before the IPOPHL for adjudication,\u201d still, in this June 14 e-mail to 大象传媒, IPOPHL\u2019s Bureau of Copyright and Related Rights did explain the finer points of copyright." }, { "id": "/?p=453220", "url": "/podcast/2022/06/07/453220/b-side-podcast-high-stakes-a-recovering-addicts-journey/", "title": "[B-SIDE Podcast] High stakes: a recovering addict\u2019s journey", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nReagan, a recovering gambling addict who has been sober for 11 years, has been jailed, institutionalized, kidnapped, and held at gunpoint.\u00a0
\nIn this B-Side episode, he tells\u00a0大象传媒\u00a0reporter Patricia B. Mirasol about addiction, support systems, and the lifelong journey to recovery. \u201cI can\u2019t say I\u2019m cured because every day is a struggle. Every day I can relapse,\u201d he said. \u201cBy saying I\u2019m a recovering addict, there\u2019s a humility. That\u2019s step one: to admit that we are powerless over gambling and that our lives have become unmanageable.\u201d
\nTAKEAWAYS
\n‘One bet is too many. A thousand bets are too few.’\u00a0
\n\u201cNothing can beat that first high\u2014you\u2019re going to constantly chase that first high,\u201d said Reagan. \u201cI got caught in the thrill of the chase. The more I lost, the stronger my motivation to play again.\u201d\u00a0
\nReagan started gambling on an incentive trip to Las Vegas when he was 23. His initial bet of $1 won him $18,000.\u00a0
\nGambling addiction refers to the compulsive urge to gamble. It is categorized as a substance-related and addictive disorder in The Diagnostic and Statistical Manual of Mental Disorders, 5th edition (DSM-5)\u2014the first recognized non-substance behavioral addiction.\u00a0
\nGambling is not a \u2018lesser\u2019 addiction. It is driven by emotion rather than finances.
\nGambling addicts believe that they are better than other addicts, such as those who are hooked on narcotics, because no manifestation of the addiction exists on their bodies.\u00a0
\nTime in rehabilitation, however, dispelled that notion for Reagan.\u00a0
\n\u201cIn reality, I was much worse,\u201d he told\u00a0大象传媒. \u201cI was creating my own addiction juice. I didn\u2019t even need a substance to create this addiction,\u201d he said in the vernacular. \u201cI was worse than those other types of addicts, because the addiction was in me.\u201d\u00a0
\nReagan said faith, family, and the 12-step program helped him learn more about himself.\u00a0
\nCreated by Alcoholics Anonymous, 12-step programs are peer support groups that help people recover from substance use disorders, behavioral addictions, and mental health conditions.\u00a0
\nThe correct term is \u2018recovering addict,\u2019 and not \u201crecovered addict.\u201d\u00a0
\nRecovering\u00a0is the correct word when referring to an addict on his/her way to recovery, and not\u00a0recovered. The distinction evokes humility, Reagan said. It also implies that the journey is ongoing, and that tomorrow ushers in a new day.\u00a0
\n\u201cI can\u2019t say I\u2019m cured because every day is a struggle. Every day I can relapse,\u201d he explained. \u201cIt\u2019s [actually] a joke for us to say, \u2018I\u2019m recovered. I\u2019m cured.\u2019\u201d\u00a0
\nAnti-gambling campaigns shouldn’t proselytize or agitate.\u00a0\u00a0
\nReagan pointed to a Facebook meme that showed a gambler who exchanged his four-wheel drive for a tricycle as a result of his addiction. \u201cThat\u2019s a reality,\u201d he said, adding that that non-combative humor is better received than preachy warnings.
\nAwareness campaigns are more effective when they reach their audience before the act of betting, he continued. \u201cBecause the moment they start betting,\u00a0tapos na \u2019yun\u00a0[that\u2019s it]. They can recover afterwards, when they already feel lost.\u201d\u00a0
\nReagan advised those who feel they are struggling against these urges to search online for specific hashtags such as #gamblingsolution or #gamblingfellowship as there are anonymous groups that can help with gambling recovery in the Philippines.
\nRecorded remotely in May 2022. Produced by Earl R. Lagundino, and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nReagan, a recovering gambling addict who has been sober for 11 years, has been jailed, institutionalized, kidnapped, and held at gunpoint.\u00a0\nIn this B-Side episode, he tells\u00a0大象传媒\u00a0reporter Patricia B. Mirasol about addiction, support systems, and the lifelong journey to recovery. \u201cI can\u2019t say I\u2019m cured because every day is a struggle. Every day I can relapse,\u201d he said. \u201cBy saying I\u2019m a recovering addict, there\u2019s a humility. That\u2019s step one: to admit that we are powerless over gambling and that our lives have become unmanageable.\u201d\nTAKEAWAYS\n‘One bet is too many. A thousand bets are too few.’\u00a0\n\u201cNothing can beat that first high\u2014you\u2019re going to constantly chase that first high,\u201d said Reagan. \u201cI got caught in the thrill of the chase. The more I lost, the stronger my motivation to play again.\u201d\u00a0\nReagan started gambling on an incentive trip to Las Vegas when he was 23. His initial bet of $1 won him $18,000.\u00a0\nGambling addiction refers to the compulsive urge to gamble. It is categorized as a substance-related and addictive disorder in The Diagnostic and Statistical Manual of Mental Disorders, 5th edition (DSM-5)\u2014the first recognized non-substance behavioral addiction.\u00a0\nGambling is not a \u2018lesser\u2019 addiction. It is driven by emotion rather than finances.\nGambling addicts believe that they are better than other addicts, such as those who are hooked on narcotics, because no manifestation of the addiction exists on their bodies.\u00a0\nTime in rehabilitation, however, dispelled that notion for Reagan.\u00a0\n\u201cIn reality, I was much worse,\u201d he told\u00a0大象传媒. \u201cI was creating my own addiction juice. I didn\u2019t even need a substance to create this addiction,\u201d he said in the vernacular. \u201cI was worse than those other types of addicts, because the addiction was in me.\u201d\u00a0\nReagan said faith, family, and the 12-step program helped him learn more about himself.\u00a0\nCreated by Alcoholics Anonymous, 12-step programs are peer support groups that help people recover from substance use disorders, behavioral addictions, and mental health conditions.\u00a0\nThe correct term is \u2018recovering addict,\u2019 and not \u201crecovered addict.\u201d\u00a0\nRecovering\u00a0is the correct word when referring to an addict on his/her way to recovery, and not\u00a0recovered. The distinction evokes humility, Reagan said. It also implies that the journey is ongoing, and that tomorrow ushers in a new day.\u00a0\n\u201cI can\u2019t say I\u2019m cured because every day is a struggle. Every day I can relapse,\u201d he explained. \u201cIt\u2019s [actually] a joke for us to say, \u2018I\u2019m recovered. I\u2019m cured.\u2019\u201d\u00a0\nAnti-gambling campaigns shouldn’t proselytize or agitate.\u00a0\u00a0\nReagan pointed to a Facebook meme that showed a gambler who exchanged his four-wheel drive for a tricycle as a result of his addiction. \u201cThat\u2019s a reality,\u201d he said, adding that that non-combative humor is better received than preachy warnings.\nAwareness campaigns are more effective when they reach their audience before the act of betting, he continued. \u201cBecause the moment they start betting,\u00a0tapos na \u2019yun\u00a0[that\u2019s it]. They can recover afterwards, when they already feel lost.\u201d\u00a0\nReagan advised those who feel they are struggling against these urges to search online for specific hashtags such as #gamblingsolution or #gamblingfellowship as there are anonymous groups that can help with gambling recovery in the Philippines.\nRecorded remotely in May 2022. Produced by Earl R. Lagundino, and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2022-06-07T10:35:50+08:00", "date_modified": "2022-06-07T10:36:18+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2022/06/06.06.22-B_Side_Gambling_1400x1400.jpg", "tags": [ "addiction", "B-Side", "Earl R. Lagundino", "gambling", "Patricia B. Mirasol", "Podcast", "Sam L. Marcelo" ] }, { "id": "/?p=442680", "url": "/podcast/2022/04/18/442680/b-side-podcast-compassion-in-the-workplace/", "title": "[B-SIDE Podcast] Compassion in the workplace", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nCreating a compassionate workplace starts at the top. In this B-Side\u00a0episode, Vidya Srinivasan, vice president for Procter and Gamble\u2019s Manila Global Business Services and Global External Reporting, explains to\u00a0大象传媒\u00a0reporter Patricia B. Mirasol how the multinational corporation embraces diversity and inclusion.
\nTAKEAWAYS
\nLeadership sets the tone.\u00a0
\nIt\u2019s the leadership that determines how compassionate and empathetic\u00a0a workplace is.
\n\u201cThe leadership sets the tone… The tone at the top will tremendously help push programs,\u201d said Ms. Srinivasan.
\nTo foster an inclusive and supportive atmosphere, P&G has affinity networks \u2014 which connect employees based on similar interests or diversity aspects \u2014 such as GABLE (which stands for Gay, Ally, Bisexual, Lesbian, and Transgender Employees).
\nIts \u201cShare the Care\u201d policy, meanwhile, grants new parents at least eight weeks of fully paid leave (compared to the seven days of paternal leave mandated in the Philippines).
\nThese efforts would be difficult to implement without the support of P&G\u2019s top brass.
\nMentors pave the way for future leaders.\u00a0
\nTo grow, employees should seek out mentors as Ms. Srinivasan did.\u00a0 Mentorship need not have a formal structure,\u00a0 she added.
\n\u201cYou can tap someone\u2019s shoulder and ask, \u2018Can you be my mentor?\u2019 Informal networking also helps a lot.\u201d
\nCompassion is quantifiable through feedback.\u00a0
\nTo gauge if its programs and policies are working, P&G conducts annual surveys.
\n\u201cFeedback \u2026 defines the action plan,\u201d said Ms. Srinivasan.
\nThese surveys helped P&G \u201cwalk the talk\u201d in closing the gender ratio gap which led to P&G being named Champion for the Gender Inclusive Workplace category in the 2021 UNWEP (United Nation’s Women\u2019s Empowerment Principles) Awards.\u00a0The organization has a gender ratio\u00a0of 53% female and 47% male. In the senior management levels, the numbers are 54% female, 46% male.
\nWork-life balance solutions have to be flexible.
\nThe aforementioned \u201cShare the Care\u201d policy also allows for flexibility: a parent chooses how to spend those eight weeks of parental leave \u2014 whether in a single go, or spread out \u2014 depending on their situation.
\n\u201c[Flexibility] empowers our employees to be in the driver\u2019s seat and drive balance in their lives,\u201d said Ms. Srinivasan.
\nSituational mentoring sessions also acknowledge that each employee is unique.
\nTo address traditional biases, include men in the conversation.\u00a0
\n\u201cYou can\u2019t have this journey with only half the people,\u201d Ms.\u00a0Srinivasan\u00a0pointed out.
\nP&G was able to turn their male employees into allies by facilitating workshop sessions, which turned into dialogues, and, eventually, action plans.
\n\u201cThere were many a-ha moments, as everyone started seeing from a different set of eyes,\u201d Ms. Srinivasan said. \u201cAcknowledgement is the first step.\u201d
\nRecorded remotely in March 2022. Produced by Earl R. Lagundino and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nCreating a compassionate workplace starts at the top. In this B-Side\u00a0episode, Vidya Srinivasan, vice president for Procter and Gamble\u2019s Manila Global Business Services and Global External Reporting, explains to\u00a0大象传媒\u00a0reporter Patricia B. Mirasol how the multinational corporation embraces diversity and inclusion.\nTAKEAWAYS\nLeadership sets the tone.\u00a0\nIt\u2019s the leadership that determines how compassionate and empathetic\u00a0a workplace is.\n\u201cThe leadership sets the tone… The tone at the top will tremendously help push programs,\u201d said Ms. Srinivasan.\nTo foster an inclusive and supportive atmosphere, P&G has affinity networks \u2014 which connect employees based on similar interests or diversity aspects \u2014 such as GABLE (which stands for Gay, Ally, Bisexual, Lesbian, and Transgender Employees).\nIts \u201cShare the Care\u201d policy, meanwhile, grants new parents at least eight weeks of fully paid leave (compared to the seven days of paternal leave mandated in the Philippines).\nThese efforts would be difficult to implement without the support of P&G\u2019s top brass.\nMentors pave the way for future leaders.\u00a0\nTo grow, employees should seek out mentors as Ms. Srinivasan did.\u00a0 Mentorship need not have a formal structure,\u00a0 she added.\n\u201cYou can tap someone\u2019s shoulder and ask, \u2018Can you be my mentor?\u2019 Informal networking also helps a lot.\u201d\nCompassion is quantifiable through feedback.\u00a0\nTo gauge if its programs and policies are working, P&G conducts annual surveys.\n\u201cFeedback \u2026 defines the action plan,\u201d said Ms. Srinivasan.\nThese surveys helped P&G \u201cwalk the talk\u201d in closing the gender ratio gap which led to P&G being named Champion for the Gender Inclusive Workplace category in the 2021 UNWEP (United Nation’s Women\u2019s Empowerment Principles) Awards.\u00a0The organization has a gender ratio\u00a0of 53% female and 47% male. In the senior management levels, the numbers are 54% female, 46% male.\nWork-life balance solutions have to be flexible.\nThe aforementioned \u201cShare the Care\u201d policy also allows for flexibility: a parent chooses how to spend those eight weeks of parental leave \u2014 whether in a single go, or spread out \u2014 depending on their situation.\n\u201c[Flexibility] empowers our employees to be in the driver\u2019s seat and drive balance in their lives,\u201d said Ms. Srinivasan.\nSituational mentoring sessions also acknowledge that each employee is unique.\nTo address traditional biases, include men in the conversation.\u00a0\n\u201cYou can\u2019t have this journey with only half the people,\u201d Ms.\u00a0Srinivasan\u00a0pointed out.\nP&G was able to turn their male employees into allies by facilitating workshop sessions, which turned into dialogues, and, eventually, action plans.\n\u201cThere were many a-ha moments, as everyone started seeing from a different set of eyes,\u201d Ms. Srinivasan said. \u201cAcknowledgement is the first step.\u201d\nRecorded remotely in March 2022. Produced by Earl R. Lagundino and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2022-04-18T10:14:11+08:00", "date_modified": "2022-04-18T10:15:36+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2022/04/04.17.22-B_Side_Vidya-Srinivasan_1400x1400.jpg", "tags": [ "B-Side", "Earl R. Lagundino", "P&G", "Patricia B. Mirasol", "Podcast", "Procter & Gamble", "Sam L. Marcelo" ] }, { "id": "/?p=439900", "url": "/podcast/2022/04/04/439900/b-side-podcast-cancel-culture/", "title": "[B-SIDE Podcast] Cancel culture\u00a0", "content_html": "\nThe social media hive mind is as fast as it is vicious. Say or do something triggering and you could find yourself going viral and getting canceled.\u00a0
\n\u201cThe common definition of cancel culture is that it\u2019s a form of public shaming. Sociologically, it\u2019s society\u2019s way of regulating itself. When we cancel somebody, you\u2019re making a moral judgment,\u201d says Nicole C. Curato, a Professor of Political Sociology at Centre for Deliberative Democracy and Global Governance at the University of Canberra. \u201cThe key to understanding cancel culture is that there\u2019s an element of unmet expectation.\u201d
\nIn this\u00a0B-Side\u00a0episode, Ms. Curato tells former\u00a0大象传媒\u00a0reporter Marielle C. Lucenio what it means to get canceled and whether businesses should risk taking a political stand knowing that they could face backlash.
\nNina Ellaine Dizon-Cabrera, founder and chief executive officer of Colourette Cosmetics, also shares what it was like when Twitter tried to cancel her in November 2020, after she used the hashtag #NasaanAngPangulo.
\nRecorded remotely in February 2022. Produced by Earl R. Lagundino and Sam L. Marcelo.
\n", "content_text": "The social media hive mind is as fast as it is vicious. Say or do something triggering and you could find yourself going viral and getting canceled.\u00a0\n\u201cThe common definition of cancel culture is that it\u2019s a form of public shaming. Sociologically, it\u2019s society\u2019s way of regulating itself. When we cancel somebody, you\u2019re making a moral judgment,\u201d says Nicole C. Curato, a Professor of Political Sociology at Centre for Deliberative Democracy and Global Governance at the University of Canberra. \u201cThe key to understanding cancel culture is that there\u2019s an element of unmet expectation.\u201d\nIn this\u00a0B-Side\u00a0episode, Ms. Curato tells former\u00a0大象传媒\u00a0reporter Marielle C. Lucenio what it means to get canceled and whether businesses should risk taking a political stand knowing that they could face backlash.\nNina Ellaine Dizon-Cabrera, founder and chief executive officer of Colourette Cosmetics, also shares what it was like when Twitter tried to cancel her in November 2020, after she used the hashtag #NasaanAngPangulo.\nRecorded remotely in February 2022. Produced by Earl R. Lagundino and Sam L. Marcelo.", "date_published": "2022-04-04T10:06:33+08:00", "date_modified": "2022-04-04T10:07:50+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2022/04/04.04.22-B_Side_CancelCulture_1400x1400.jpg", "tags": [ "B-Side", "cancel culture", "Colourette Cosmetics", "Earl R. Lagundino", "Marielle C. Lucenio", "Nicole C. Curato", "Nina Ellaine Dizon-Cabrera", "Podcast", "Sam L. Marcelo" ] }, { "id": "/?p=431168", "url": "/podcast/2022/02/21/431168/b-side-podcast-votes-for-sale/", "title": "[B-SIDE Podcast] Votes for sale", "content_html": "\nVote buying is prohibited under the Omnibus Election Code, with penalties of imprisonment for one to six years, disqualification to hold public office, and forfeiture of one\u2019s right to vote if found guilty.
\nAnd yet, vote buying still happens.
\nIn this\u00a0B-Side\u00a0episode, Froilan C. Calilung, a political science professor at the University of Santo Tomas, talks about the legalities and loopholes that have allowed vote buying to become part of the Philippine political system, with structures built by those with power and money. \u201cWe could simply say that poverty is one of the contentious issues why we have vote buying, and why it is still very much prevalent in our society nowadays,\u201d he tells\u00a0大象传媒\u00a0reporter Alyssa Nicole O. Tan. \u201cMany Filipinos actually see election time as a frivolous event \u2014 more like a carnival of sorts, if I may say.\u201d
\nTAKEAWAYS
\nUtang na loob\u00a0(debt of gratitude) has a dark side.
\nMany voters will come from the C, D, and E margins which include the lower middle class, working class, and the poor, making them susceptible to the pressure of accepting bribes in exchange for votes.\u00a0
\nThere are two schools of thought when it comes to vote buying, said Mr. Calilung: \u201cOne of which says that you vote according to your conscience which means\u2026 you don\u2019t accept the money at all,\u201d he explained, \u201cand the other one is relevant to the idea of accepting the money but not voting for the candidates.\u201d
\nHe added that vote buying doesn\u2019t even have to involve money; it can come in the form of canned goods, job placements, leisure opportunities, or whatever gains the candidate any sort of favor \u2014 this, in turn, leads to \u201cutang na loob,\u201d or a feeling of indebtedness.
\nVote buying shouldn\u2019t be \u2018condoned, normalized, or romanticized\u2019 no matter how widespread it is.
\nPeople have learned how to rationalize vote buying. \u201cThe premise and the belief that this money is ours, this is taxpayer\u2019s money that these politicians get, and they\u2019re just trying to give it back to us,\u201d said Mr. Calilung.\u00a0
\nEven better: when a preferred candidate buys a vote that was already theirs. \u201cThey are hitting two birds with one stone.\u201d
\nHowever, Mr. Calilung said vote buying must not be condoned, normalized, or romanticized even if the Commission on Elections is unable to prevent it.\u00a0
\nIf you can\u2019t reform politicians, reform the populace instead.
\nAppealing to the collective conscience to \u201cdo the right thing,\u201d might work, said Mr. Calilung, who pointed to non-government organizations and the church as possible messengers.
\nEliminating vote buying, he added, will \u201copen the floodgates for more honest, competent, and highly qualified political aspirants to join the fray.\u201d\u00a0
\n\u201cI think it all boils down to the kind of moral fiber that we have,\u201d Mr. Calilung said, but this reasoning only works for the privileged.\u00a0\u201cPoverty is still going to play a big role in the elections, and it will factor in the decision to accept money from the candidates.\u201d
\nRecorded remotely in December 2021. Produced by Bront\u00eb H. Lacsamana, Jino D. Nicolas, and Sam L. Marcelo.
\n", "content_text": "Vote buying is prohibited under the Omnibus Election Code, with penalties of imprisonment for one to six years, disqualification to hold public office, and forfeiture of one\u2019s right to vote if found guilty.\nAnd yet, vote buying still happens.\nIn this\u00a0B-Side\u00a0episode, Froilan C. Calilung, a political science professor at the University of Santo Tomas, talks about the legalities and loopholes that have allowed vote buying to become part of the Philippine political system, with structures built by those with power and money. \u201cWe could simply say that poverty is one of the contentious issues why we have vote buying, and why it is still very much prevalent in our society nowadays,\u201d he tells\u00a0大象传媒\u00a0reporter Alyssa Nicole O. Tan. \u201cMany Filipinos actually see election time as a frivolous event \u2014 more like a carnival of sorts, if I may say.\u201d\nTAKEAWAYS\nUtang na loob\u00a0(debt of gratitude) has a dark side.\nMany voters will come from the C, D, and E margins which include the lower middle class, working class, and the poor, making them susceptible to the pressure of accepting bribes in exchange for votes.\u00a0\nThere are two schools of thought when it comes to vote buying, said Mr. Calilung: \u201cOne of which says that you vote according to your conscience which means\u2026 you don\u2019t accept the money at all,\u201d he explained, \u201cand the other one is relevant to the idea of accepting the money but not voting for the candidates.\u201d\nHe added that vote buying doesn\u2019t even have to involve money; it can come in the form of canned goods, job placements, leisure opportunities, or whatever gains the candidate any sort of favor \u2014 this, in turn, leads to \u201cutang na loob,\u201d or a feeling of indebtedness.\nVote buying shouldn\u2019t be \u2018condoned, normalized, or romanticized\u2019 no matter how widespread it is.\nPeople have learned how to rationalize vote buying. \u201cThe premise and the belief that this money is ours, this is taxpayer\u2019s money that these politicians get, and they\u2019re just trying to give it back to us,\u201d said Mr. Calilung.\u00a0\nEven better: when a preferred candidate buys a vote that was already theirs. \u201cThey are hitting two birds with one stone.\u201d\nHowever, Mr. Calilung said vote buying must not be condoned, normalized, or romanticized even if the Commission on Elections is unable to prevent it.\u00a0\nIf you can\u2019t reform politicians, reform the populace instead.\nAppealing to the collective conscience to \u201cdo the right thing,\u201d might work, said Mr. Calilung, who pointed to non-government organizations and the church as possible messengers.\nEliminating vote buying, he added, will \u201copen the floodgates for more honest, competent, and highly qualified political aspirants to join the fray.\u201d\u00a0\n\u201cI think it all boils down to the kind of moral fiber that we have,\u201d Mr. Calilung said, but this reasoning only works for the privileged.\u00a0\u201cPoverty is still going to play a big role in the elections, and it will factor in the decision to accept money from the candidates.\u201d\nRecorded remotely in December 2021. Produced by Bront\u00eb H. Lacsamana, Jino D. Nicolas, and Sam L. Marcelo.", "date_published": "2022-02-21T10:55:32+08:00", "date_modified": "2022-02-21T11:33:56+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2022/02/02.21.22-B_Side_Froilan-C.-Calilung-1400x1400-1.jpg", "tags": [ "B-Side", "Bront\u00eb H. Lacsamana", "elections", "Froilan C. Calilung", "Jino D. Nicolas", "Podcast", "Sam L. Marcelo" ] }, { "id": "/?p=422518", "url": "/podcast/2022/01/10/422518/b-side-podcast-fintech-and-the-pandemic-how-covid-19-is-normalizing-digital-wallets/", "title": "[B-SIDE Podcast] Fintech and the pandemic: how COVID-19 is normalizing digital wallets", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nThe financial space has come a long way in the Philippines as\u00a0banks, wallet services, consumer lending, and insurance are all going digital, albeit at different paces.\u00a0
\nThe same goes for the remittance space, largely important in the country due to the large overseas Filipinos worker (OFW) population.\u00a0
\n\u201cMore and more senders and recipients would like to send and receive their money digitally. Case in point would be the acceleration of digital wallets being the primary mode of receiving remittances,\u201d said Earl Allan E. Melivo, country director of cross-border digital payments service WorldRemit.\u00a0
\nIn this B-Side episode, Mr. Melivo shares with\u00a0大象传媒\u00a0reporter Bront\u00eb H. Lacsamana how financial inclusion can be achieved by supporting digital services in the Philippines.\u00a0
\nWe must welcome public, private, domestic, and international players.\u00a0
\nWith the Bangko Sentral ng Pilipinas (BSP) regulating the financial space in support of technological innovations and the operation of multiple domestic and international players that offer beneficial services, digital channels will definitely improve.\u00a0
\n\u201cWith all these combined efforts and obviously support from both the private sector and the government, we are seeing a lot of improvements and also helping the government to reach its goal of higher financial inclusion or more than 50% financial inclusion in the next five years,\u201d said Mr. Melivo.\u00a0
\nHe added that the exponential growth of e-commerce, banks improving their digital banking channels, and people signing up for digital wallets and availing of financial services online, has shown how the Philippines is ahead of the curve.\u00a0
\nCash is still king, but digital payout methods are gaining traction.\u00a0
\nHowever, cash is still the number one means of sending and receiving remittances. Companies like WorldRemit, despite acknowledging this fact, also remain hopeful for the increase of digital payout methods which they facilitate cross-border.\u00a0
\n\u201cYou can see that the market is shifting towards digital receive methods, as I said, due to the emergence of digital banks and also mobile wallets,\u201d Mr. Melivo said, \u201cSo we\u2019re already seeing that as evidence of the industry evolving into a more efficient industry.\u201d\u00a0
\nHe predicts that, in the next three to five years, more remittances will be received via digital channels. The shift can happen very fast, as many companies experienced \u2014 WorldRemit, for instance, launched a send-to-mobile wallet service just a month after the Philippines went into lockdown.\u00a0
\nThe biggest challenge in the Philippines is internet penetration.\u00a0
\nImproving internet quality and access will be a fundamental part of achieving financial inclusion, especially in a large country with thousands of islands.\u00a0
\n\u201cThe government\u2019s drive to do financial inclusion is there, and the industry players are very much supportive and doing their best to increase financial inclusion in the country. However, there\u2019s still a question of\u00a0when\u00a0we can provide the best possible internet technology to pave way even for the remote areas,\u201d Mr. Melivo explained.\u00a0
\nMobile internet, in particular, will be vital in letting as many Filipinos as possible avail of digital services rather than rely mostly on cash remittances.\u00a0
\nGovernment needs to embrace digital culture and help educate the public.\u00a0
\nIn the Philippines, there\u2019s a need to educate the wider audience of financial services available in the market. This includes what they are, where to get them, the benefits, and the threats in the digital financial space.\u00a0
\n\u201cJust like the traditional or offline methods, it\u2019s susceptible to abuse, obviously hackers being wiser these days, so it\u2019s a question of how can we further improve these services and also how we can actually try to protect consumers and educate them of the availability of these services and the full benefits of which,\u201d said Mr. Melivo.\u00a0
\nThough the private sector and the government’s financial sector are well underway in terms of financial technology, other public agencies need to embrace it as well.\u00a0
\nOnly then will financial inclusion be attainable, he added.\u00a0\u00a0
\nRecorded remotely on Dec. 16, 2021. Produced by Bront\u00eb H. Lacsamana, Paolo L. Lopez\u00a0and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nThe financial space has come a long way in the Philippines as\u00a0banks, wallet services, consumer lending, and insurance are all going digital, albeit at different paces.\u00a0\nThe same goes for the remittance space, largely important in the country due to the large overseas Filipinos worker (OFW) population.\u00a0\n\u201cMore and more senders and recipients would like to send and receive their money digitally. Case in point would be the acceleration of digital wallets being the primary mode of receiving remittances,\u201d said Earl Allan E. Melivo, country director of cross-border digital payments service WorldRemit.\u00a0\nIn this B-Side episode, Mr. Melivo shares with\u00a0大象传媒\u00a0reporter Bront\u00eb H. Lacsamana how financial inclusion can be achieved by supporting digital services in the Philippines.\u00a0\nWe must welcome public, private, domestic, and international players.\u00a0\nWith the Bangko Sentral ng Pilipinas (BSP) regulating the financial space in support of technological innovations and the operation of multiple domestic and international players that offer beneficial services, digital channels will definitely improve.\u00a0\n\u201cWith all these combined efforts and obviously support from both the private sector and the government, we are seeing a lot of improvements and also helping the government to reach its goal of higher financial inclusion or more than 50% financial inclusion in the next five years,\u201d said Mr. Melivo.\u00a0\nHe added that the exponential growth of e-commerce, banks improving their digital banking channels, and people signing up for digital wallets and availing of financial services online, has shown how the Philippines is ahead of the curve.\u00a0\nCash is still king, but digital payout methods are gaining traction.\u00a0\nHowever, cash is still the number one means of sending and receiving remittances. Companies like WorldRemit, despite acknowledging this fact, also remain hopeful for the increase of digital payout methods which they facilitate cross-border.\u00a0\n\u201cYou can see that the market is shifting towards digital receive methods, as I said, due to the emergence of digital banks and also mobile wallets,\u201d Mr. Melivo said, \u201cSo we\u2019re already seeing that as evidence of the industry evolving into a more efficient industry.\u201d\u00a0\nHe predicts that, in the next three to five years, more remittances will be received via digital channels. The shift can happen very fast, as many companies experienced \u2014 WorldRemit, for instance, launched a send-to-mobile wallet service just a month after the Philippines went into lockdown.\u00a0\nThe biggest challenge in the Philippines is internet penetration.\u00a0\nImproving internet quality and access will be a fundamental part of achieving financial inclusion, especially in a large country with thousands of islands.\u00a0\n\u201cThe government\u2019s drive to do financial inclusion is there, and the industry players are very much supportive and doing their best to increase financial inclusion in the country. However, there\u2019s still a question of\u00a0when\u00a0we can provide the best possible internet technology to pave way even for the remote areas,\u201d Mr. Melivo explained.\u00a0\nMobile internet, in particular, will be vital in letting as many Filipinos as possible avail of digital services rather than rely mostly on cash remittances.\u00a0\nGovernment needs to embrace digital culture and help educate the public.\u00a0\nIn the Philippines, there\u2019s a need to educate the wider audience of financial services available in the market. This includes what they are, where to get them, the benefits, and the threats in the digital financial space.\u00a0\n\u201cJust like the traditional or offline methods, it\u2019s susceptible to abuse, obviously hackers being wiser these days, so it\u2019s a question of how can we further improve these services and also how we can actually try to protect consumers and educate them of the availability of these services and the full benefits of which,\u201d said Mr. Melivo.\u00a0\nThough the private sector and the government’s financial sector are well underway in terms of financial technology, other public agencies need to embrace it as well.\u00a0\nOnly then will financial inclusion be attainable, he added.\u00a0\u00a0\nRecorded remotely on Dec. 16, 2021. Produced by Bront\u00eb H. Lacsamana, Paolo L. Lopez\u00a0and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2022-01-10T11:17:34+08:00", "date_modified": "2022-01-10T11:18:55+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2022/01/01.03.21-B_Side_Melivo-1400x1400-1.jpg", "tags": [ "B-Side", "Bront\u00eb H. Lacsamana", "Paolo L. Lopez", "Podcast", "Sam L. Marcelo" ] }, { "id": "/?p=415434", "url": "/podcast/2021/12/06/415434/b-side-podcast-money-talks-graduating-to-investing-from-saving/", "title": "[B-SIDE Podcast] Money Talks: Graduating to investing from saving", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nMoney Talks is a series on personal finance sponsored by Metropolitan Bank & Trust Co. (Metrobank).\u00a0
\nMoney is on the mind of many people, particularly amid the COVID-19 pandemic. A recent study titled \u201cState of Banking and Financial Wellness\u201d by US-headquartered research firm Forrester, commissioned by fintech company Backbase, found that more than half (58%) of Filipinos identified building savings (58%) and planning for retirement (52%) among their concerns in personal finance. Debt is a top concern, with 70% of Filipinos citing it as a challenge in financial management.
\nIn this B-Side episode, Chorie Chan, first vice-president and head of the Financial Markets – Investment Distribution Division for Countryside at Metrobank, talks money with 大象传媒, and how the pandemic has changed how we view and think about it.
\nTAKEAWAYS\u00a0
\nWhat has changed, and what hasn\u2019t
\n\u201cI have been in banking for over 27 years now and what the pandemic taught me is this: the basic tenets of saving, budgeting and investing are still there. Am I saving enough? Am I spending too much? How should I budget my finances?\u201d Ms. Chan said.
\n\u201cNo matter how you think about it, no matter if you compute for unforeseen expenses, if you still have an extra amount that you couldn\u2019t possibly need, then we talk about investing. That\u2019s still a universal truth that has not changed over the years, pandemic or not. A universal truth that has probably evolved over the years and more so in the pandemic, would be the need to have better returns, and the need for diversity in what you can possibly invest in.\u201d \u00a0
\nWe must be able to assess our own financial wellness
\nPeople need to reassess how they view money in an environment of uncertainty.
\n\u201cBefore we seemed to have that confidence in stability. Stability of where we are if we have businesses, if we are employed. We kind of were able to project that \u2018I\u2019m still going to have this income stream in the next couple of years.\u2019 But lo and behold, the pandemic happened, and none of us are as certain as before that this could persist in the years or months to come,\u201d Ms. Chan said.
\n\u201cThis has become too pressing for all of us that we might want to consider expanding or deepening that amount of savings that we might need anytime soon to beyond the six-month requirement for expenses.\u201d
\nSaving is not investing
\n\u201cI don\u2019t equate saving with investing. A lot of us get confused that when we have extra from our inflows minus the outflow, we automatically consider that as an investable fund,\u201d Ms. Chan said.
\n\u201cLiquidity. The ability for anyone to convert savings into cash. Liquidity means that you are able to access your money in whatever form it is in and be able to use it for an unforeseen expense. So if there is any doubt in your mind that if say, a family member would need help or your car need maintenance in a few months, then there is an amount that you should always keep liquid, so you can spend for that unforeseen need.\u201d
\nExplore various ways to manage portfolio
\nAt the end of the day, what you need to do about saving and investing will have to depend on what you need and what you hope to accomplish. \u201cThere\u2019s a whole wide world of ways… to discuss how and why and in what manner you can construct your portfolio. At the end of it all, it will have to be about your investment objectives, your tolerance for risk, and your requirement for liquidity,\u201d Ms. Chan said.
\n\u201cThe critical point that an investor has to be mindful about is the access to these financial investments, securities, or assets is so free that you can actually approach any financial institution that you\u2019re comfortable dealing with and be led to talk to specialists within that institution. Ask them, feel free to explore, talk to people who are in touch with financial markets so they can sit down with you. Advice is free, I\u2019m sure. And they can profile your suitability and your preferences and match these with your needs and objectives.\u201d \u00a0
\n\u00a0\u00a0
\nRecorded remotely Nov. 4. Interview by Santiago J. Arnaiz,\u00a0大象传媒 contributor and chief operating officer of health startup Day3 Innovations. Research by Bjorn Biel \u201cJB\u201d M. Beltran. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nMoney Talks is a series on personal finance sponsored by Metropolitan Bank & Trust Co. (Metrobank).\u00a0\nMoney is on the mind of many people, particularly amid the COVID-19 pandemic. A recent study titled \u201cState of Banking and Financial Wellness\u201d by US-headquartered research firm Forrester, commissioned by fintech company Backbase, found that more than half (58%) of Filipinos identified building savings (58%) and planning for retirement (52%) among their concerns in personal finance. Debt is a top concern, with 70% of Filipinos citing it as a challenge in financial management.\nIn this B-Side episode, Chorie Chan, first vice-president and head of the Financial Markets – Investment Distribution Division for Countryside at Metrobank, talks money with 大象传媒, and how the pandemic has changed how we view and think about it.\nTAKEAWAYS\u00a0\nWhat has changed, and what hasn\u2019t\n\u201cI have been in banking for over 27 years now and what the pandemic taught me is this: the basic tenets of saving, budgeting and investing are still there. Am I saving enough? Am I spending too much? How should I budget my finances?\u201d Ms. Chan said.\n\u201cNo matter how you think about it, no matter if you compute for unforeseen expenses, if you still have an extra amount that you couldn\u2019t possibly need, then we talk about investing. That\u2019s still a universal truth that has not changed over the years, pandemic or not. A universal truth that has probably evolved over the years and more so in the pandemic, would be the need to have better returns, and the need for diversity in what you can possibly invest in.\u201d \u00a0\nWe must be able to assess our own financial wellness\nPeople need to reassess how they view money in an environment of uncertainty.\n\u201cBefore we seemed to have that confidence in stability. Stability of where we are if we have businesses, if we are employed. We kind of were able to project that \u2018I\u2019m still going to have this income stream in the next couple of years.\u2019 But lo and behold, the pandemic happened, and none of us are as certain as before that this could persist in the years or months to come,\u201d Ms. Chan said.\n\u201cThis has become too pressing for all of us that we might want to consider expanding or deepening that amount of savings that we might need anytime soon to beyond the six-month requirement for expenses.\u201d\nSaving is not investing\n\u201cI don\u2019t equate saving with investing. A lot of us get confused that when we have extra from our inflows minus the outflow, we automatically consider that as an investable fund,\u201d Ms. Chan said.\n\u201cLiquidity. The ability for anyone to convert savings into cash. Liquidity means that you are able to access your money in whatever form it is in and be able to use it for an unforeseen expense. So if there is any doubt in your mind that if say, a family member would need help or your car need maintenance in a few months, then there is an amount that you should always keep liquid, so you can spend for that unforeseen need.\u201d\nExplore various ways to manage portfolio\nAt the end of the day, what you need to do about saving and investing will have to depend on what you need and what you hope to accomplish. \u201cThere\u2019s a whole wide world of ways… to discuss how and why and in what manner you can construct your portfolio. At the end of it all, it will have to be about your investment objectives, your tolerance for risk, and your requirement for liquidity,\u201d Ms. Chan said.\n\u201cThe critical point that an investor has to be mindful about is the access to these financial investments, securities, or assets is so free that you can actually approach any financial institution that you\u2019re comfortable dealing with and be led to talk to specialists within that institution. Ask them, feel free to explore, talk to people who are in touch with financial markets so they can sit down with you. Advice is free, I\u2019m sure. And they can profile your suitability and your preferences and match these with your needs and objectives.\u201d \u00a0\n\u00a0\u00a0\nRecorded remotely Nov. 4. Interview by Santiago J. Arnaiz,\u00a0大象传媒 contributor and chief operating officer of health startup Day3 Innovations. Research by Bjorn Biel \u201cJB\u201d M. Beltran. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2021-12-06T10:14:22+08:00", "date_modified": "2021-12-07T13:33:33+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2021/11/11.08.21-Bside_Metrobank_4-scaled.jpg", "tags": [ "B-Side", "Bjorn Biel Beltran", "Chorie R. Chan", "financial wellness", "Metrobank", "Paolo L. Lopez", "personal finance", "Podcast", "Sam L. Marcelo", "Santiago J. Arnaiz", "Spotlight" ] }, { "id": "/?p=405995", "url": "/podcast/2021/10/25/405995/b-side-podcast-teamwork-makes-the-dream-work-a-coach-and-his-winning-ways/", "title": "[B-SIDE Podcast] Teamwork makes the dream work: a coach and his winning ways", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nThrice-a-week Zoom meetings birthed\u00a0Winning Still: Essays from the Philippine Sports Landscape during the Pandemic, an anthology of essays written by accomplished Filipino sports stakeholders and personalities.\u00a0
\nIn this B-Side episode, Ateneo de Davao University athletics director and\u00a0Winning Still\u00a0project coordinator Emmanuel Rene \u201cNoli\u201d S. Ayo tells\u00a0大象传媒\u00a0senior reporter Michael Angelo S. Murillo\u00a0the lessons\u00a0he\u00a0learned from\u00a0wrangling\u00a0a group of alpha individuals \u2014 including Olympic gold medalist and weightlifter\u00a0Hidilyn F. Diaz \u2014 into achieving a \u201ccompelling common goal.\u201d\u00a0
\nTAKEAWAYS\u00a0
\n\u2018Sink or adapt.\u2019\u00a0
\n\u201cIn this pandemic, you either sink or adapt. The book is about adapting, evolving amid the prevailing conditions,\u201d Mr. Ayo said. \u201cThe pandemic has affected us but it also gave the invitation to change. Many are still struggling but there are also others who have moved forward. [Things may look impossible right now] but the thing about impossibility is it only takes one person [or moment] to remove the impossible.\u201d\u00a0\u00a0
\nBreak down silos.\u00a0
\nWinning Still\u00a0highlights the value of a compelling common goal and shared experience.\u00a0
\n\u201cThroughout the meetings we gathered a lot of interesting insights. We felt that we had to share what we were discussing to more people,\u201d said Mr. Ayo. \u201cWe like gathering people but sometimes we operate in silos. We have to come together. It is easier if you have someone with you on this journey.\u201d\u00a0\u00a0\u00a0
\n\u2018You cannot share from an empty cup.\u2019\u00a0
\nThe knee-jerk reaction among coaches at the start of the pandemic was to put the welfare of their athletes before their own. Mr. Ayo reminded these coaches to take care of themselves and their families first. \u201cThere is wisdom in intentional nurturing,\u201d he said. \u201cYou have to nurture yourself and think about how you nurture yourself. \u2026 You cannot share from an empty cup.\u201d\u00a0
\nRecorded remotely on Sept. 17. Produced by Bront\u00eb H. Lacsamana, Paolo L. Lopez\u00a0and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nThrice-a-week Zoom meetings birthed\u00a0Winning Still: Essays from the Philippine Sports Landscape during the Pandemic, an anthology of essays written by accomplished Filipino sports stakeholders and personalities.\u00a0\nIn this B-Side episode, Ateneo de Davao University athletics director and\u00a0Winning Still\u00a0project coordinator Emmanuel Rene \u201cNoli\u201d S. Ayo tells\u00a0大象传媒\u00a0senior reporter Michael Angelo S. Murillo\u00a0the lessons\u00a0he\u00a0learned from\u00a0wrangling\u00a0a group of alpha individuals \u2014 including Olympic gold medalist and weightlifter\u00a0Hidilyn F. Diaz \u2014 into achieving a \u201ccompelling common goal.\u201d\u00a0\nTAKEAWAYS\u00a0\n\u2018Sink or adapt.\u2019\u00a0\n\u201cIn this pandemic, you either sink or adapt. The book is about adapting, evolving amid the prevailing conditions,\u201d Mr. Ayo said. \u201cThe pandemic has affected us but it also gave the invitation to change. Many are still struggling but there are also others who have moved forward. [Things may look impossible right now] but the thing about impossibility is it only takes one person [or moment] to remove the impossible.\u201d\u00a0\u00a0\nBreak down silos.\u00a0\nWinning Still\u00a0highlights the value of a compelling common goal and shared experience.\u00a0\n\u201cThroughout the meetings we gathered a lot of interesting insights. We felt that we had to share what we were discussing to more people,\u201d said Mr. Ayo. \u201cWe like gathering people but sometimes we operate in silos. We have to come together. It is easier if you have someone with you on this journey.\u201d\u00a0\u00a0\u00a0\n\u2018You cannot share from an empty cup.\u2019\u00a0\nThe knee-jerk reaction among coaches at the start of the pandemic was to put the welfare of their athletes before their own. Mr. Ayo reminded these coaches to take care of themselves and their families first. \u201cThere is wisdom in intentional nurturing,\u201d he said. \u201cYou have to nurture yourself and think about how you nurture yourself. \u2026 You cannot share from an empty cup.\u201d\u00a0\nRecorded remotely on Sept. 17. Produced by Bront\u00eb H. Lacsamana, Paolo L. Lopez\u00a0and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2021-10-25T10:13:40+08:00", "date_modified": "2021-10-26T10:07:22+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2021/10/10.25.21-B_Side_Noli-Ayo-1400x1400-1.jpg", "tags": [ "Ateneo de Davao University", "B-Side", "Bront\u00eb H. Lacsamana", "Hidilyn F. Diaz", "Noli Ayo", "Paolo L. Lopez", "podcast B-Side", "Sam L. Marcelo", "Podcast" ] }, { "id": "/?p=402488", "url": "/podcast/2021/10/11/402488/b-side-podcast-going-bananas-and-pineapples-the-future-of-food/", "title": "[B-SIDE Podcast] Going bananas (and pineapples): The future of food", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nThe pandemic changed the way we eat, said Christian Wiegele, president of the Fresh Produce Group of Dole Sunshine Company.\u00a0
\nIn this B-Side episode, he tells\u00a0大象传媒\u00a0reporter Revin\u00a0Mikhael\u00a0D.\u00a0Ochave\u00a0about the future of food and how Dole is meeting the increased demand for fruits despite the logistical challenges caused by the pandemic.\u00a0\u00a0
\nMr. Wiegele, who spent 18 years with Coca-Cola, also talks about moving to an industry where the product is highly dependent on the whims of the weather. \u201cAgriculture is exposed to natural disasters… You need long-term thinking and the ability to adjust your commercial strategy depending on the volume you have available,\u201d he said. And unlike a bottle of Coke, he added, \u201cit takes 18 months to grow a pineapple and nine months to grow a banana.\u201d\u00a0
\nTAKEAWAYS\u00a0\u00a0
\nTo improve food security, the food sector should\u00a0provide\u00a0affordable food, cut food waste, and increase production.\u00a0\u00a0\u00a0
\nMr. Wiegele said companies involved in the food sector can work on three areas namely: providing affordable food solutions for all socioeconomic classes; reducing food waste; and improving yields.\u00a0\u00a0\u00a0
\n\u201cFood security is very much linked to malnutrition. Unfortunately, the pandemic has shown \u2014 due to the economic pressures \u2014 that a lot of people actually have moved into poverty and not being able to afford good nutrition,\u201d Mr. Wiegele said.\u00a0\u00a0\u00a0
\n\u201cThere is so much food waste in the food supply chain from farm to market depending on which statistics you would use, it is somewhere between 30% and 50%,\u201d he explained. \u201cIf you are able to increase yields, the economic situation is much better. The costs go down significantly and we can also sell produce at a lower price.\u201d\u00a0\u00a0\u00a0\u00a0
\nVenturing into the agriculture sector needs long-term thinking.\u00a0\u00a0\u00a0
\nMr. Wiegele, who spent 18 years with the Coca-Cola Company, said the difference between the two companies is in fulfilling demand.\u00a0\u00a0\u00a0
\n\u201cIn the case of Coca-Cola, it is a product where you can fulfill the demand at any time. In the case of Dole, you are centered on our agriculture products. Agriculture is exposed to natural disasters, to changing weather patterns, and to different soil conditions,\u201d he said.\u00a0\u00a0\u00a0
\n\u201cIn agriculture, you need long-term thinking and the ability to adjust your commercial strategy depending on the volume you have available. It takes 18 months to grow a pineapple and nine months to grow a banana.\u201d\u00a0\u00a0\u00a0
\nSupply chains remain vulnerable.\u00a0
\nAccording to Mr. Wiegele, the Philippines accounts for the majority of Dole\u2019s banana and pineapple production.\u00a0\u00a0\u00a0
\nWhile the company\u2019s operations have not faced major disruptions amid the COVID-19 pandemic, there have been challenges in getting the fruit to consumers.\u00a0
\n\u201cIn terms of operations, I am extremely thankful to our associates in the Philippines to say that we haven\u2019t faced any significant disruption. We\u2019ve been able to grow our fruit, harvest our fruit, and process our fruit without any major interruptions,\u201d Mr. Wiegele said.\u00a0\u00a0\u00a0
\n\u201cOn the supply chain side, we have definitely faced some challenges,\u201d he continued. \u201cThere have been container shortages around the world, certain ports being closed from one day to another in some of our export markets. We\u2019ve had vessels which were filled with fruits and suddenly cannot enter the ports.\u201d\u00a0\u00a0\u00a0
\nRecorded remotely\u00a0this\u00a0July. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nThe pandemic changed the way we eat, said Christian Wiegele, president of the Fresh Produce Group of Dole Sunshine Company.\u00a0\nIn this B-Side episode, he tells\u00a0大象传媒\u00a0reporter Revin\u00a0Mikhael\u00a0D.\u00a0Ochave\u00a0about the future of food and how Dole is meeting the increased demand for fruits despite the logistical challenges caused by the pandemic.\u00a0\u00a0\nMr. Wiegele, who spent 18 years with Coca-Cola, also talks about moving to an industry where the product is highly dependent on the whims of the weather. \u201cAgriculture is exposed to natural disasters… You need long-term thinking and the ability to adjust your commercial strategy depending on the volume you have available,\u201d he said. And unlike a bottle of Coke, he added, \u201cit takes 18 months to grow a pineapple and nine months to grow a banana.\u201d\u00a0\nTAKEAWAYS\u00a0\u00a0\nTo improve food security, the food sector should\u00a0provide\u00a0affordable food, cut food waste, and increase production.\u00a0\u00a0\u00a0\nMr. Wiegele said companies involved in the food sector can work on three areas namely: providing affordable food solutions for all socioeconomic classes; reducing food waste; and improving yields.\u00a0\u00a0\u00a0\n\u201cFood security is very much linked to malnutrition. Unfortunately, the pandemic has shown \u2014 due to the economic pressures \u2014 that a lot of people actually have moved into poverty and not being able to afford good nutrition,\u201d Mr. Wiegele said.\u00a0\u00a0\u00a0\n\u201cThere is so much food waste in the food supply chain from farm to market depending on which statistics you would use, it is somewhere between 30% and 50%,\u201d he explained. \u201cIf you are able to increase yields, the economic situation is much better. The costs go down significantly and we can also sell produce at a lower price.\u201d\u00a0\u00a0\u00a0\u00a0\nVenturing into the agriculture sector needs long-term thinking.\u00a0\u00a0\u00a0\nMr. Wiegele, who spent 18 years with the Coca-Cola Company, said the difference between the two companies is in fulfilling demand.\u00a0\u00a0\u00a0\n\u201cIn the case of Coca-Cola, it is a product where you can fulfill the demand at any time. In the case of Dole, you are centered on our agriculture products. Agriculture is exposed to natural disasters, to changing weather patterns, and to different soil conditions,\u201d he said.\u00a0\u00a0\u00a0\n\u201cIn agriculture, you need long-term thinking and the ability to adjust your commercial strategy depending on the volume you have available. It takes 18 months to grow a pineapple and nine months to grow a banana.\u201d\u00a0\u00a0\u00a0\nSupply chains remain vulnerable.\u00a0\nAccording to Mr. Wiegele, the Philippines accounts for the majority of Dole\u2019s banana and pineapple production.\u00a0\u00a0\u00a0\nWhile the company\u2019s operations have not faced major disruptions amid the COVID-19 pandemic, there have been challenges in getting the fruit to consumers.\u00a0\n\u201cIn terms of operations, I am extremely thankful to our associates in the Philippines to say that we haven\u2019t faced any significant disruption. We\u2019ve been able to grow our fruit, harvest our fruit, and process our fruit without any major interruptions,\u201d Mr. Wiegele said.\u00a0\u00a0\u00a0\n\u201cOn the supply chain side, we have definitely faced some challenges,\u201d he continued. \u201cThere have been container shortages around the world, certain ports being closed from one day to another in some of our export markets. We\u2019ve had vessels which were filled with fruits and suddenly cannot enter the ports.\u201d\u00a0\u00a0\u00a0\nRecorded remotely\u00a0this\u00a0July. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2021-10-11T10:04:24+08:00", "date_modified": "2021-10-12T09:51:03+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2021/10/10.11.21-B_Side_Wiegele-1400x1400-1.jpg", "tags": [ "B-Side", "Christian Wiegele", "Dole Sunshine Company", "Paolo L. Lopez", "Podcast", "Revin Mikhael D. Ochave", "Sam L. Marcelo" ] }, { "id": "/?p=399170", "url": "/podcast/2021/09/27/399170/b-side-podcast-money-where-your-mouth-is-the-proposed-national-budget-and-the-governments-priorities/", "title": "[B-SIDE Podcast] Money where your mouth is: the proposed national budget and the government\u2019s priorities", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nDespite saying that the pandemic response is a top priority, the executive department of the Duterte administration slashed the P50.4 billion allotted for healthcare workers\u2019\u00a0allowances\u00a0and other benefits from the proposed 2022 budget.
\n\u201cIt\u2019s so important for us to know exactly what the government wants to do \u2014 and what it really wants to do is reflected in the national budget. It\u2019s not really in the public statements that officials make day in and day out during their press conferences,\u201d said Zy-za Nadine Suzara, executive director of think tank Institute for Leadership, Empowerment, and Democracy (iLead).\u00a0\u00a0
\nIn this B-Side episode with\u00a0大象传媒\u00a0reporter Kyle\u00a0Aristophere\u00a0T. Atienza, Ms. Suzara explains why the broader public should pay close attention to the ongoing budget deliberations.\u00a0
\nTAKEAWAYS\u00a0
\nLook at the line items.\u00a0
\nThe Department of Health\u2019s\u00a0P242 billion\u00a0budget\u00a0may seem like a significant sum, but according to Ms. Suzara, it\u2019s inadequate for a proper pandemic response.\u00a0
\n\u201cWhat\u2019s more important is not to look at the sheer numbers,\u201d she said. \u201cWhat\u2019s more important to look at are the very specific programs that are part of it.\u201d\u00a0
\nVaccines, for example, are under unprogrammed appropriations. \u201cWhen it\u2019s part of unprogrammed appropriations, … it kind of symbolizes that it\u2019s [vaccine procurement] actually second priority.\u00a0
\nPatronage-driven projects have been rebranded as sustainability projects.\u00a0\u00a0
\n\u201cPatronage-driven and less strategic projects like multipurpose halls and small types of infrastructure…\u00a0have been rebranded as sustainability projects under the convergence program,\u201d\u00a0said Ms. Suzara. \u201cThey\u2019re pretty much the same. That\u2019s definitely a cause for concern.\u201d\u00a0
\nThe\u00a02022 budget\u00a0needs to address the public health crisis…\u00a0\u00a0
\n\u201cIf we don\u2019t see funds for contact tracing, massive testing, boosting the public health system and providing risk allowances for health workers who are in the frontlines \u2014 as well as funds for immediately buying the vaccines \u2014 then we\u2019re going to have a hard time containing this pandemic,\u201d said Ms. Suzara. \u201cAnd we\u2019ll probably just see a cycle of lockdown and reopening the economy happening again and again.\u201d\u00a0
\n\u2026 and\u00a0economic recovery.\u00a0
\n\u201cBuild, Build,\u00a0Build\u00a0program projects are capital expenditures which aren\u2019t fast disbursing,\u201d said Ms. Suzara. \u201cIn order for government spending to make an impact on our GDP, it has to be spending for fast-disbursing things.\u201d\u00a0\u00a0
\nInstead of spending on the \u201cBuild, Build,\u00a0Build\u201d projects, Ms. Suzara recommended focusing on\u00a0cash aid, distance learning, service contracting program for public utility vehicle (PUV) drivers, support for micro, small and medium enterprises, among other programs that can help\u00a0Filipinos\u00a0cope with the economic impacts of the pandemic.\u00a0
\nRecorded remotely on Sept. 11. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nDespite saying that the pandemic response is a top priority, the executive department of the Duterte administration slashed the P50.4 billion allotted for healthcare workers\u2019\u00a0allowances\u00a0and other benefits from the proposed 2022 budget.\n\u201cIt\u2019s so important for us to know exactly what the government wants to do \u2014 and what it really wants to do is reflected in the national budget. It\u2019s not really in the public statements that officials make day in and day out during their press conferences,\u201d said Zy-za Nadine Suzara, executive director of think tank Institute for Leadership, Empowerment, and Democracy (iLead).\u00a0\u00a0\nIn this B-Side episode with\u00a0大象传媒\u00a0reporter Kyle\u00a0Aristophere\u00a0T. Atienza, Ms. Suzara explains why the broader public should pay close attention to the ongoing budget deliberations.\u00a0\nTAKEAWAYS\u00a0\nLook at the line items.\u00a0\nThe Department of Health\u2019s\u00a0P242 billion\u00a0budget\u00a0may seem like a significant sum, but according to Ms. Suzara, it\u2019s inadequate for a proper pandemic response.\u00a0\n\u201cWhat\u2019s more important is not to look at the sheer numbers,\u201d she said. \u201cWhat\u2019s more important to look at are the very specific programs that are part of it.\u201d\u00a0\nVaccines, for example, are under unprogrammed appropriations. \u201cWhen it\u2019s part of unprogrammed appropriations, … it kind of symbolizes that it\u2019s [vaccine procurement] actually second priority.\u00a0\nPatronage-driven projects have been rebranded as sustainability projects.\u00a0\u00a0\n\u201cPatronage-driven and less strategic projects like multipurpose halls and small types of infrastructure…\u00a0have been rebranded as sustainability projects under the convergence program,\u201d\u00a0said Ms. Suzara. \u201cThey\u2019re pretty much the same. That\u2019s definitely a cause for concern.\u201d\u00a0\nThe\u00a02022 budget\u00a0needs to address the public health crisis…\u00a0\u00a0\n\u201cIf we don\u2019t see funds for contact tracing, massive testing, boosting the public health system and providing risk allowances for health workers who are in the frontlines \u2014 as well as funds for immediately buying the vaccines \u2014 then we\u2019re going to have a hard time containing this pandemic,\u201d said Ms. Suzara. \u201cAnd we\u2019ll probably just see a cycle of lockdown and reopening the economy happening again and again.\u201d\u00a0\n\u2026 and\u00a0economic recovery.\u00a0\n\u201cBuild, Build,\u00a0Build\u00a0program projects are capital expenditures which aren\u2019t fast disbursing,\u201d said Ms. Suzara. \u201cIn order for government spending to make an impact on our GDP, it has to be spending for fast-disbursing things.\u201d\u00a0\u00a0\nInstead of spending on the \u201cBuild, Build,\u00a0Build\u201d projects, Ms. Suzara recommended focusing on\u00a0cash aid, distance learning, service contracting program for public utility vehicle (PUV) drivers, support for micro, small and medium enterprises, among other programs that can help\u00a0Filipinos\u00a0cope with the economic impacts of the pandemic.\u00a0\nRecorded remotely on Sept. 11. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2021-09-27T10:51:14+08:00", "date_modified": "2021-09-27T13:20:44+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2021/09/09.27.21-B_Side_Zy-za-1400x1400-1.jpg", "tags": [ "2022 national budget", "B-Side", "Coronavirus", "COVID-19", "Kyle Aristophere T. Atienza", "Paolo L. Lopez", "Podcast", "Sam L. Marcelo", "vaccine" ] }, { "id": "/?p=395889", "url": "/podcast/2021/09/13/395889/b-side-podcast-the-science-of-sound-using-music-in-marketing/", "title": "[B-SIDE Podcast] The science of sound: using music in marketing\u00a0", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nYou are what you listen to. By analyzing the songs that are on heavy rotation on your playlist, music solutions agency Homonym can give brands a picture of who you are: from the shampoo that you use on your head to the shoes that you wear on your feet.\u00a0\u00a0
\n\u201cTo us, sonic branding, or the sound part of your branding, is very important because that\u2019s the only way you can make [people] feel. … Audio makes you feel,\u201d said Mike L. Constantino, founder of Homonym.\u00a0
\nIn this B-Side episode, he explains to\u00a0大象传媒\u00a0reporter Bront\u00eb H. Lacsamana how audio data can help brands reach their target market using as an example Nissan\u2019s 2020 X-Trail ad campaign.\u00a0\u00a0
\nBased on Homonym\u2019s research, the marketing push for the X-Trail, described on the Nissan website as \u201can SUV with muscular styling,\u201d used \u201cMoney\u00a0for\u00a0Food\u201d by petite singer-songwriter Barbie\u00a0Almalbis\u00a0in its spots.\u00a0\u00a0
\nHomonym was founded in 2016 as a one-stop shop for artists who need advice on monetizing their art, and agencies that want an endorser to sing or become a musical brand ambassador.\u00a0\u00a0
\n\u201cThey call us,\u201d said Mr. Constantino.\u00a0\u00a0
\nTAKEAWAYS\u00a0
\n\u00a0Visuals make you think. Music makes you feel.\u00a0\u00a0
\nAudio data can help brands, and agencies and event organizers connect to their target market.\u00a0
\nHomonym commissions studies that provide insight into how the music habits of Filipino consumers relate to their age, gender, and lifestyle and brand preferences.\u00a0\u00a0
\nThis data helps build a sonic identity, which involves brand harmonization and audience tuning \u2014 fancy words that mean determining a brand\u2019s essence and tuning it with the tastes and preferences of the target market. After that, music psychology and even neuroscience come into play to determine the right fit.\u00a0\u00a0
\nThis is how Homonym landed on Ms.\u00a0Almalbis\u00a0as the ideal artist for the Nissan X-Trail campaign, which targeted females of a certain age group.\u00a0\u00a0
\n\u201cEvery human that was ever born, from 14 to 24 years old \u2014 that\u2019s when they develop their personality, their identity. And music is a big part of that,\u201d said Mr. Constantino.\u00a0\u00a0
\nMusic makes an indelible mark on females at age 11 to 13; for males, the age is 14 to 16. \u201cIt [music from that time period] will elicit physiological effects: you\u2019ll be sweating, you\u2019ll be tapping your feet.\u201d\u00a0\u00a0\u00a0
\nA \u2018music first\u2019 approach\u00a0makes production more efficient.\u00a0\u00a0
\n\u201cIn the Philippines, people consider music last,\u201d said Mr. Constantino. \u201cThey\u2019re going to do a storyboard, they have the talents and everything in place, and then they\u2019re going to give it to the scorers and say,\u00a0lagyan\u00a0mo\u00a0ng\u00a0music [put in the music].\u201d\u00a0\u00a0
\nThis is music curation, which Homonym can provide. But the agency wants more clients to consider sonic branding or putting music first.\u00a0
\nWith music setting the mood and tone, the\u00a0production\u00a0team can make quicker\u00a0creative\u00a0decisions.\u00a0
\n\u201cSometimes you have to hold their hand and take them through the journey because they\u2019re not used to it. But here\u2019s the thing \u2014 after they learn about the \u2018music first\u2019 approach, they never look back. They appreciate and incorporate it typically in the way they ideate moving forward,\u201d he said.\u00a0\u00a0
\n\u2018Music influencing is a thing\u2019\u00a0
\n\u201cPublishers \u2014 meaning rights owners or labels who own rights to songs \u2014 view us as an added ally to help them get their music out and get more projects, especially these days when it\u2019s hard to get licensing going,\u201d said Mr. Constantino.\u00a0\u00a0
\n\u201cMusic influencing is a thing,\u201d he added. \u201cIt\u2019s an entirely new community that a brand can tap.\u201d\u00a0
\nThis B-Side episode was recorded remotely on Aug. 19. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nYou are what you listen to. By analyzing the songs that are on heavy rotation on your playlist, music solutions agency Homonym can give brands a picture of who you are: from the shampoo that you use on your head to the shoes that you wear on your feet.\u00a0\u00a0\n\u201cTo us, sonic branding, or the sound part of your branding, is very important because that\u2019s the only way you can make [people] feel. … Audio makes you feel,\u201d said Mike L. Constantino, founder of Homonym.\u00a0\nIn this B-Side episode, he explains to\u00a0大象传媒\u00a0reporter Bront\u00eb H. Lacsamana how audio data can help brands reach their target market using as an example Nissan\u2019s 2020 X-Trail ad campaign.\u00a0\u00a0\nBased on Homonym\u2019s research, the marketing push for the X-Trail, described on the Nissan website as \u201can SUV with muscular styling,\u201d used \u201cMoney\u00a0for\u00a0Food\u201d by petite singer-songwriter Barbie\u00a0Almalbis\u00a0in its spots.\u00a0\u00a0\nHomonym was founded in 2016 as a one-stop shop for artists who need advice on monetizing their art, and agencies that want an endorser to sing or become a musical brand ambassador.\u00a0\u00a0\n\u201cThey call us,\u201d said Mr. Constantino.\u00a0\u00a0\nTAKEAWAYS\u00a0\n\u00a0Visuals make you think. Music makes you feel.\u00a0\u00a0\nAudio data can help brands, and agencies and event organizers connect to their target market.\u00a0\nHomonym commissions studies that provide insight into how the music habits of Filipino consumers relate to their age, gender, and lifestyle and brand preferences.\u00a0\u00a0\nThis data helps build a sonic identity, which involves brand harmonization and audience tuning \u2014 fancy words that mean determining a brand\u2019s essence and tuning it with the tastes and preferences of the target market. After that, music psychology and even neuroscience come into play to determine the right fit.\u00a0\u00a0\nThis is how Homonym landed on Ms.\u00a0Almalbis\u00a0as the ideal artist for the Nissan X-Trail campaign, which targeted females of a certain age group.\u00a0\u00a0\n\u201cEvery human that was ever born, from 14 to 24 years old \u2014 that\u2019s when they develop their personality, their identity. And music is a big part of that,\u201d said Mr. Constantino.\u00a0\u00a0\nMusic makes an indelible mark on females at age 11 to 13; for males, the age is 14 to 16. \u201cIt [music from that time period] will elicit physiological effects: you\u2019ll be sweating, you\u2019ll be tapping your feet.\u201d\u00a0\u00a0\u00a0\nA \u2018music first\u2019 approach\u00a0makes production more efficient.\u00a0\u00a0\n\u201cIn the Philippines, people consider music last,\u201d said Mr. Constantino. \u201cThey\u2019re going to do a storyboard, they have the talents and everything in place, and then they\u2019re going to give it to the scorers and say,\u00a0lagyan\u00a0mo\u00a0ng\u00a0music [put in the music].\u201d\u00a0\u00a0\nThis is music curation, which Homonym can provide. But the agency wants more clients to consider sonic branding or putting music first.\u00a0\nWith music setting the mood and tone, the\u00a0production\u00a0team can make quicker\u00a0creative\u00a0decisions.\u00a0\n\u201cSometimes you have to hold their hand and take them through the journey because they\u2019re not used to it. But here\u2019s the thing \u2014 after they learn about the \u2018music first\u2019 approach, they never look back. They appreciate and incorporate it typically in the way they ideate moving forward,\u201d he said.\u00a0\u00a0\n\u2018Music influencing is a thing\u2019\u00a0\n\u201cPublishers \u2014 meaning rights owners or labels who own rights to songs \u2014 view us as an added ally to help them get their music out and get more projects, especially these days when it\u2019s hard to get licensing going,\u201d said Mr. Constantino.\u00a0\u00a0\n\u201cMusic influencing is a thing,\u201d he added. \u201cIt\u2019s an entirely new community that a brand can tap.\u201d\u00a0\nThis B-Side episode was recorded remotely on Aug. 19. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2021-09-13T10:38:52+08:00", "date_modified": "2021-09-13T10:38:52+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2021/09/09.13.21-B-Side_Mconstantino-1400x1400-1.jpg", "tags": [ "Advertising", "B-Side", "branding", "Bront\u00eb H. Lacsamana", "Homonym", "Marketing", "Mike L. Constantino", "Paolo L. Lopez", "Podcast", "Sam L. Marcelo" ] }, { "id": "/?p=394324", "url": "/podcast/2021/09/06/394324/b-side-podcast-building-resilience-among-children/", "title": "[B-SIDE Podcast] Building resilience among children", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nChildren are getting ready for another round of virtual classes as the Department of Education (DepEd) announced Sept. 13 as the opening date for School Year 2021\u20132022.\u00a0
\nThe mental health of children has been discussed by experts, who are worried about the long-term effects of lockdowns.\u00a0
\nIn this B-Side episode, Jean L.\u00a0Goulbourn, founder of the Natasha\u00a0Goulbourn\u00a0Foundation (NGF\u00a0Mindstrong), talks to\u00a0大象传媒\u00a0reporter Patricia B. Mirasol about resilience among kids and\u00a0Ang\u00a0Katatagan, the foundation\u2019s program with DepEd aimed at giving teachers the tools to help their students cope with the stress of remote learning.\u00a0
\n\u201cThe pandemic has changed the whole world of a child. They\u2019re isolated. It\u2019s not healthy,\u201d said Ms.\u00a0Goulbourn, who established NGF\u00a0Mindstrong\u00a0in 2007 to help individuals battle depression.\u00a0
\nA child\u2019s resilience\u00a0is like a muscle\u00a0\u2014\u00a0 it\u00a0can be strengthened.\u00a0\u00a0
\n\u201cResilience is about bouncing back from unexpected situations that shock, surprise, or traumatize you,\u201d said Ms.\u00a0Goulbourn. “It\u2019s a mental decision, a survivor instinct, and an intuition from the soul. All three come into play in deciding how you react to a trauma, problem, or crisis.\u201d\u00a0\u00a0
\nThe NGF founder added that children are very clever and are made to survive.\u00a0\u201cThe decision to save themselves is instinctive,\u201d she said, \u201cResilience in children can be built.\u201d\u00a0
\nInstead of distracting a child from hurt, disappointment, and grief, parents should allow them to experience these emotions and express themselves.\u00a0
\nA sense of spirituality bolsters resilience.\u00a0
\nAng\u00a0Katatagan,\u00a0NGF\u2019s program with DepEd, trains teachers to develop resilience among Filipino school children through class activities and related projects.\u00a0\u00a0\u00a0
\nTeachers under this program are trained to self-reflect, communicate, and observe their actions and reactions. They are also trained to discipline children and foster in their students a sense of spirituality.\u00a0\u00a0
\n\u201cA child who grows up with a sense of spirituality can handle situations better than one who… believes in no one and nothing,\u201d Ms.\u00a0Goulbourn.\u00a0\u00a0\u00a0
\nThrough a grant from the Ramon Aboitiz Foundation,\u00a0Ang\u00a0Katatagan\u2019s\u00a0pilot batch in Cebu of 200 DepEd teachers will be deployed in schools in the said metropolis.\u00a0\u00a0
\nThe private sector should invest in mental health.\u00a0
\nAng\u00a0Katatagan, which took 5 \u00bd years to be approved, does not yet have a fixed funding\u00a0mechanism.\u00a0Companies and businesses need to invest more in mental health initiatives, said Ms.\u00a0Goulbourn.\u00a0\u00a0\u00a0
\n\u201cIt only takes P3,850 for one school teacher to understand where she is, who she is, and how she can strengthen her weak points so she\u2019s strong enough for the children,\u201d she said. \u201cThat\u2019s for twenty-five hours of training, plus three hours for a battery of psychological tests.\u201d\u00a0\u00a0\u00a0
\nSection 3F of the Mental Health\u00a0Act\u00a0(Republic Act No.\u00a011036)\u00a0calls\u00a0for the integration of strategies to promote mental health in educational institutions, the workplace, and in communities.\u00a0\u00a0
\nParents need to create an emotionally safe environment for their children.\u00a0\u00a0
\n\u201cInvest time, space, and focused attention within the family,\u201d said Ms.\u00a0Goulbourn.\u00a0\u00a0
\nHer foundation\u2019s crisis lines get calls from children of affluent families who have all the trappings of wealth but feel empty on the inside.\u00a0\u00a0
\nDepression is\u00a0a risk factor for suicide\u00a0according the Department of Health and the World Health Organization.\u00a0
\n\u201cI don\u2019t want to see any family ever go through what I went through as a mother, to lose a daughter due to self-harm,\u201d said Ms.\u00a0Goulbourn. \u201cThis\u00a0Ang\u00a0Katatagan\u00a0program is very important to our foundation and to our country.\u201d\u00a0\u00a0
\nThis B-Side episode was recorded remotely on Aug. 17. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n\u00a0
\nNGF\u00a0Mindstrong\u2019s\u00a0crisis hotline numbers are 8804-4673; 0918-8734673; and 0917-5584673. Individuals\u00a0can\u00a0donate\u00a0to the foundation through BPI Makati Atrium (peso savings: 3123-7249-59) and BDO SM Makati (peso savings: 000040491889).
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nChildren are getting ready for another round of virtual classes as the Department of Education (DepEd) announced Sept. 13 as the opening date for School Year 2021\u20132022.\u00a0\nThe mental health of children has been discussed by experts, who are worried about the long-term effects of lockdowns.\u00a0\nIn this B-Side episode, Jean L.\u00a0Goulbourn, founder of the Natasha\u00a0Goulbourn\u00a0Foundation (NGF\u00a0Mindstrong), talks to\u00a0大象传媒\u00a0reporter Patricia B. Mirasol about resilience among kids and\u00a0Ang\u00a0Katatagan, the foundation\u2019s program with DepEd aimed at giving teachers the tools to help their students cope with the stress of remote learning.\u00a0\n\u201cThe pandemic has changed the whole world of a child. They\u2019re isolated. It\u2019s not healthy,\u201d said Ms.\u00a0Goulbourn, who established NGF\u00a0Mindstrong\u00a0in 2007 to help individuals battle depression.\u00a0\nA child\u2019s resilience\u00a0is like a muscle\u00a0\u2014\u00a0 it\u00a0can be strengthened.\u00a0\u00a0\n\u201cResilience is about bouncing back from unexpected situations that shock, surprise, or traumatize you,\u201d said Ms.\u00a0Goulbourn. “It\u2019s a mental decision, a survivor instinct, and an intuition from the soul. All three come into play in deciding how you react to a trauma, problem, or crisis.\u201d\u00a0\u00a0\nThe NGF founder added that children are very clever and are made to survive.\u00a0\u201cThe decision to save themselves is instinctive,\u201d she said, \u201cResilience in children can be built.\u201d\u00a0\nInstead of distracting a child from hurt, disappointment, and grief, parents should allow them to experience these emotions and express themselves.\u00a0\nA sense of spirituality bolsters resilience.\u00a0\nAng\u00a0Katatagan,\u00a0NGF\u2019s program with DepEd, trains teachers to develop resilience among Filipino school children through class activities and related projects.\u00a0\u00a0\u00a0\nTeachers under this program are trained to self-reflect, communicate, and observe their actions and reactions. They are also trained to discipline children and foster in their students a sense of spirituality.\u00a0\u00a0\n\u201cA child who grows up with a sense of spirituality can handle situations better than one who… believes in no one and nothing,\u201d Ms.\u00a0Goulbourn.\u00a0\u00a0\u00a0\nThrough a grant from the Ramon Aboitiz Foundation,\u00a0Ang\u00a0Katatagan\u2019s\u00a0pilot batch in Cebu of 200 DepEd teachers will be deployed in schools in the said metropolis.\u00a0\u00a0\nThe private sector should invest in mental health.\u00a0\nAng\u00a0Katatagan, which took 5 \u00bd years to be approved, does not yet have a fixed funding\u00a0mechanism.\u00a0Companies and businesses need to invest more in mental health initiatives, said Ms.\u00a0Goulbourn.\u00a0\u00a0\u00a0\n\u201cIt only takes P3,850 for one school teacher to understand where she is, who she is, and how she can strengthen her weak points so she\u2019s strong enough for the children,\u201d she said. \u201cThat\u2019s for twenty-five hours of training, plus three hours for a battery of psychological tests.\u201d\u00a0\u00a0\u00a0\nSection 3F of the Mental Health\u00a0Act\u00a0(Republic Act No.\u00a011036)\u00a0calls\u00a0for the integration of strategies to promote mental health in educational institutions, the workplace, and in communities.\u00a0\u00a0\nParents need to create an emotionally safe environment for their children.\u00a0\u00a0\n\u201cInvest time, space, and focused attention within the family,\u201d said Ms.\u00a0Goulbourn.\u00a0\u00a0\nHer foundation\u2019s crisis lines get calls from children of affluent families who have all the trappings of wealth but feel empty on the inside.\u00a0\u00a0\nDepression is\u00a0a risk factor for suicide\u00a0according the Department of Health and the World Health Organization.\u00a0\n\u201cI don\u2019t want to see any family ever go through what I went through as a mother, to lose a daughter due to self-harm,\u201d said Ms.\u00a0Goulbourn. \u201cThis\u00a0Ang\u00a0Katatagan\u00a0program is very important to our foundation and to our country.\u201d\u00a0\u00a0\nThis B-Side episode was recorded remotely on Aug. 17. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side\n\u00a0\nNGF\u00a0Mindstrong\u2019s\u00a0crisis hotline numbers are 8804-4673; 0918-8734673; and 0917-5584673. Individuals\u00a0can\u00a0donate\u00a0to the foundation through BPI Makati Atrium (peso savings: 3123-7249-59) and BDO SM Makati (peso savings: 000040491889).", "date_published": "2021-09-06T10:13:26+08:00", "date_modified": "2021-09-06T10:15:14+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2021/09/09.06.21-B_Side_Goulbourn.jpg", "tags": [ "B-Side", "Jean L. Goulbourn", "Mental health", "Natasha Goulbourn Foundation", "Paolo L. Lopez", "Patricia B. Mirasol", "Podcast", "Sam L. Marcelo" ] }, { "id": "/?p=387899", "url": "/podcast/2021/08/09/387899/b-side-podcast-nfts-101-the-creator-economy-and-beyond/", "title": "[B-SIDE Podcast] NFTs 101: the creator economy and beyond", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nIn this B-Side episode,\u00a0Marissa Trew, marketing manager of TZ APAC, a Singapore-based blockchain consultancy firm speaks with\u00a0大象传媒 reporter Michelle Anne P. Soliman about the potential\u00a0of\u00a0non-fungible tokens\u00a0(NFTs)\u00a0as a tool for conducting business, an investment instrument, or a revenue stream.
\nTAKEAWAYS\u00a0
\nNFTs\u00a0have\u00a0business\u00a0applications beyond crypto art and blockchain games.\u00a0\u00a0
\nNFTs, which represent unique\u00a0assets on a blockchain,\u00a0went mainstream because of pieces of digital art that fetched millions at auction, and celebrities like\u00a0Paris Hilton,\u00a0Snoop\u00a0Dogg,\u00a0and Grimes\u00a0launching their own digital drops.\u00a0\u00a0
\nBut beyond these buzzworthy bits of news, NFTs\u00a0can also be used in business-to-business transactions such as licensing, supply chain management, and invoicing.\u00a0\u00a0\u00a0
\n“NFTs have utility far beyond being a digital asset. There’s a large enterprise use case that’s being developed,” said Ms. Trew. “There’s a lot of actual B2B use cases that NFTs are able to provide well beyond the creator economy in the digital space, in terms of music, art, and collectibles.”\u00a0
\nNFTs\u00a0give artists access\u00a0to an online network and market.\u00a0
\nIn the Asia Pacific region,\u00a0artists are using\u00a0NFTs\u00a0to sell their work\u00a0\u2014 not necessarily for $69 million as\u00a0Beeple\u00a0did at the Christie\u2019s sale, but at less stratospheric\u00a0prices\u00a0(Filipino artist Luis Buenaventura III\u00a0and Argentinian comic book artist Jose Delbo\u00a0sold\u00a0222 editions of\u00a0Satoshi The Creator \u2013 Genesis\u00a0for $1,999 each).\u00a0
\n\u201cDigital creators use it as a way to embrace technology to showcase their work,\u201d\u00a0said\u00a0Ms. Trew said.\u00a0\u201cWe saw artists making a little bit more money for their work being better able to generate sales, generate their audiences. And largely for digital artists who were traditionally making their money off commissions were now earning higher incomes just based on their original work.\u201d\u00a0\u00a0
\n\u2018Proof\u00a0of\u00a0Stake\u2019\u00a0blockchains\u00a0are\u00a0more energy-efficient\u00a0than their \u2018Proof of Work\u2019 counterparts.\u00a0
\nProof of Work blockchains, according to Ms. Trew,\u00a0are those that require a higher amount of energy consumption such as Bitcoin and Ethereum.\u00a0\u00a0
\n\u201cThey require are massive amounts of computing power because the way they process transactions are by validating and solving complex algorithmic puzzles, which requires a strong computer network,\u201d she said.\u00a0\u00a0\u00a0
\nMeanwhile Proof of Stake is considered a more energy-efficient option.\u00a0\u00a0
\n\u201cIt relies on the\u00a0amount\u00a0of value users stake to the network to do the same kind of transactions. For example,\u00a0Tezos\u00a0is based on the proof of stake consensus mechanism. And just by relative scale, it consumes some estimates put it at 2 million times less energy than Ethereum to conduct the same kinds of transactions,\u201d she said.\u00a0\u00a0
\nTZ Apac is a leading adoption entity supporting the Tezos ecosystem in Asia.
\nInvesting in\u00a0NFTs\u00a0is driven by sentiment.\u00a0
\n\u201cThe NFT discussion about whether it’s considered a future asset class is largely down to how much sentiment and how much you value people see in owning a digital asset over a physical asset,\u201d Ms. Trew said.\u00a0\u00a0\u00a0
\n\u201cPeople are having a new source of emotional experience\u2026there is a feeling that’s associated with owning something that’s unique, that’s one of a kind in a digital realm. And that’s very new to people,\u201d she said.\u00a0\u00a0\u00a0
\n\u201cTheir value comes from scarcity. So, it’s about generating demand over limited supply.\u201d\u00a0
\nRecorded remotely on July 14. Produced by\u00a0Paolo L. Lopez\u00a0and\u00a0Sam L. Marcelo.\u00a0\u00a0\u00a0\u00a0
\nFollow us on Spotify\u00a0大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nIn this B-Side episode,\u00a0Marissa Trew, marketing manager of TZ APAC, a Singapore-based blockchain consultancy firm speaks with\u00a0大象传媒 reporter Michelle Anne P. Soliman about the potential\u00a0of\u00a0non-fungible tokens\u00a0(NFTs)\u00a0as a tool for conducting business, an investment instrument, or a revenue stream.\nTAKEAWAYS\u00a0\nNFTs\u00a0have\u00a0business\u00a0applications beyond crypto art and blockchain games.\u00a0\u00a0\nNFTs, which represent unique\u00a0assets on a blockchain,\u00a0went mainstream because of pieces of digital art that fetched millions at auction, and celebrities like\u00a0Paris Hilton,\u00a0Snoop\u00a0Dogg,\u00a0and Grimes\u00a0launching their own digital drops.\u00a0\u00a0\nBut beyond these buzzworthy bits of news, NFTs\u00a0can also be used in business-to-business transactions such as licensing, supply chain management, and invoicing.\u00a0\u00a0\u00a0\n“NFTs have utility far beyond being a digital asset. There’s a large enterprise use case that’s being developed,” said Ms. Trew. “There’s a lot of actual B2B use cases that NFTs are able to provide well beyond the creator economy in the digital space, in terms of music, art, and collectibles.”\u00a0\nNFTs\u00a0give artists access\u00a0to an online network and market.\u00a0\nIn the Asia Pacific region,\u00a0artists are using\u00a0NFTs\u00a0to sell their work\u00a0\u2014 not necessarily for $69 million as\u00a0Beeple\u00a0did at the Christie\u2019s sale, but at less stratospheric\u00a0prices\u00a0(Filipino artist Luis Buenaventura III\u00a0and Argentinian comic book artist Jose Delbo\u00a0sold\u00a0222 editions of\u00a0Satoshi The Creator \u2013 Genesis\u00a0for $1,999 each).\u00a0\n\u201cDigital creators use it as a way to embrace technology to showcase their work,\u201d\u00a0said\u00a0Ms. Trew said.\u00a0\u201cWe saw artists making a little bit more money for their work being better able to generate sales, generate their audiences. And largely for digital artists who were traditionally making their money off commissions were now earning higher incomes just based on their original work.\u201d\u00a0\u00a0\n\u2018Proof\u00a0of\u00a0Stake\u2019\u00a0blockchains\u00a0are\u00a0more energy-efficient\u00a0than their \u2018Proof of Work\u2019 counterparts.\u00a0\nProof of Work blockchains, according to Ms. Trew,\u00a0are those that require a higher amount of energy consumption such as Bitcoin and Ethereum.\u00a0\u00a0\n\u201cThey require are massive amounts of computing power because the way they process transactions are by validating and solving complex algorithmic puzzles, which requires a strong computer network,\u201d she said.\u00a0\u00a0\u00a0\nMeanwhile Proof of Stake is considered a more energy-efficient option.\u00a0\u00a0\n\u201cIt relies on the\u00a0amount\u00a0of value users stake to the network to do the same kind of transactions. For example,\u00a0Tezos\u00a0is based on the proof of stake consensus mechanism. And just by relative scale, it consumes some estimates put it at 2 million times less energy than Ethereum to conduct the same kinds of transactions,\u201d she said.\u00a0\u00a0\nTZ Apac is a leading adoption entity supporting the Tezos ecosystem in Asia.\nInvesting in\u00a0NFTs\u00a0is driven by sentiment.\u00a0\n\u201cThe NFT discussion about whether it’s considered a future asset class is largely down to how much sentiment and how much you value people see in owning a digital asset over a physical asset,\u201d Ms. Trew said.\u00a0\u00a0\u00a0\n\u201cPeople are having a new source of emotional experience\u2026there is a feeling that’s associated with owning something that’s unique, that’s one of a kind in a digital realm. And that’s very new to people,\u201d she said.\u00a0\u00a0\u00a0\n\u201cTheir value comes from scarcity. So, it’s about generating demand over limited supply.\u201d\u00a0\nRecorded remotely on July 14. Produced by\u00a0Paolo L. Lopez\u00a0and\u00a0Sam L. Marcelo.\u00a0\u00a0\u00a0\u00a0\nFollow us on Spotify\u00a0大象传媒 B-Side", "date_published": "2021-08-09T13:31:38+08:00", "date_modified": "2021-08-10T14:25:07+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2021/08/08.05.21-B_Side_MTrew-1400x1400-1.jpg", "tags": [ "B-Side", "blockchain", "crypto art", "digital assets", "Marissa Trew", "Michelle Anne P. Soliman", "NFTs", "Paolo L. Lopez", "Podcast", "Sam L. Marcelo", "TZ APAC" ] }, { "id": "/?p=386344", "url": "/podcast/2021/08/02/386344/b-side-podcast-olympic-dreams-deferred-mary-joy-r-tabal/", "title": "[B-SIDE Podcast] Olympic dreams deferred:\u00a0Mary Joy R.\u00a0Tabal\u00a0 \u00a0", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nFor every athlete whose Olympic dreams came true in Tokyo \u2014 like weightlifter\u00a0Hidilyn\u00a0F. Diaz and boxer\u00a0Nesthy\u00a0A.\u00a0Petecio\u00a0\u2014 there are so many others whose dreams were either dashed or delayed because of the coronavirus disease 2019 (COVID-19) pandemic.\u00a0
\nTokyo 2020 was supposed to be part of the redemption arc of Mary Joy R.\u00a0Tabal, who was looking to make up for Rio 2016, where she crossed the finish line well off her personal best. But canceled race after canceled race forced her to adjust her goals.\u00a0\u00a0
\nMs.\u00a0Tabal, who made history in the 2016 Rio Games by becoming the first Filipino female marathoner to compete in the Olympics,\u00a0shares the lessons she learned with\u00a0大象传媒\u00a0senior reporter Michael Angelo S. Murillo\u00a0\u2014\u00a0lessons that we can apply to our own lives.\u00a0
\nTAKEAWAYS\u00a0
\nGoals can change mid-race.\u00a0
\nIn Rio, Ms.\u00a0Tabal\u00a0remembers that cramping early in the race\u00a0made her shift her mindset from bettering or matching her personal best to\u00a0just\u00a0finishing the 42-kilometer race\u00a0and earning the title \u201cOlympian.\u201d\u00a0\u00a0
\nShe did it and had to be transported out of the race area in a wheelchair.\u00a0
\nThis mental resilience\u00a0served her again when the pandemic threw a wrench into her plans for Tokyo 2020.\u00a0
\n\u201cI was really training and preparing to qualify for the Olympics but unfortunately so many races were canceled and I just had to deal with the reality that Tokyo was not for me.\u00a0Sayang\u00a0[too bad],\u201d said Ms.\u00a0Tabal.\u00a0
\n\u201cThe future is so uncertain; it keeps on changing. What\u2019s important is to live one day at a time. You just have to focus on bettering yourself today and focus on doing something today. … Life is like a marathon,\u201d\u00a0she added.\u00a0\u00a0
\nAfter disappointment, move on.\u00a0
\nDespite the disappointment and frustrations of not being allowed to at least vie for an Olympic\u00a0spot, athletes just have to move on and take on new challenges.\u00a0
\n\u201cAfter the disappointment, I had to focus my attention on other things, including the 2021 SEA Games in Vietnam (which has since been deferred to next year because of the pandemic). It is something to look forward to,\u201d said Ms.\u00a0Tabal.\u00a0
\n\u201cOne of the learnings here is to just be prepared. Things can change anytime. An opportunity can be taken anytime. Just take it a day at a time and focus on improving.\u201d\u00a0
\nKeep your eye on the prize.\u00a0
\nHaving experienced the Olympics, Ms.\u00a0Tabal\u00a0said\u00a0that focus is paramount if you\u00a0want\u00a0to excel in elite competitions.\u00a0\u201cBe an Olympian and give your 100% so there won\u2019t be any regrets after,\u201d\u00a0she said.\u00a0
\nWhile the Tokyo Games got away from her, the Olympic bid is still alive for Ms.\u00a0Tabal, 32,\u00a0who has heart set\u00a0on\u00a0competing in\u00a0Paris 2024,\u00a0finishing the six major marathons\u00a0(she\u2019s\u00a0done\u00a0Boston, which leaves Tokyo, London, Berlin, Chicago, and New York), and competing in the SEA Games and Asian Games.\u00a0\u00a0
\n\u201cAnd after maybe I\u2019ll be given the chance to give back and help nurture young athletes to realize their dreams as well,\u201d she said.\u00a0
\n\u00a0
\nRecorded remotely on July 16, 2021. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.\u00a0
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nFor every athlete whose Olympic dreams came true in Tokyo \u2014 like weightlifter\u00a0Hidilyn\u00a0F. Diaz and boxer\u00a0Nesthy\u00a0A.\u00a0Petecio\u00a0\u2014 there are so many others whose dreams were either dashed or delayed because of the coronavirus disease 2019 (COVID-19) pandemic.\u00a0\nTokyo 2020 was supposed to be part of the redemption arc of Mary Joy R.\u00a0Tabal, who was looking to make up for Rio 2016, where she crossed the finish line well off her personal best. But canceled race after canceled race forced her to adjust her goals.\u00a0\u00a0\nMs.\u00a0Tabal, who made history in the 2016 Rio Games by becoming the first Filipino female marathoner to compete in the Olympics,\u00a0shares the lessons she learned with\u00a0大象传媒\u00a0senior reporter Michael Angelo S. Murillo\u00a0\u2014\u00a0lessons that we can apply to our own lives.\u00a0\nTAKEAWAYS\u00a0\nGoals can change mid-race.\u00a0\nIn Rio, Ms.\u00a0Tabal\u00a0remembers that cramping early in the race\u00a0made her shift her mindset from bettering or matching her personal best to\u00a0just\u00a0finishing the 42-kilometer race\u00a0and earning the title \u201cOlympian.\u201d\u00a0\u00a0\nShe did it and had to be transported out of the race area in a wheelchair.\u00a0\nThis mental resilience\u00a0served her again when the pandemic threw a wrench into her plans for Tokyo 2020.\u00a0\n\u201cI was really training and preparing to qualify for the Olympics but unfortunately so many races were canceled and I just had to deal with the reality that Tokyo was not for me.\u00a0Sayang\u00a0[too bad],\u201d said Ms.\u00a0Tabal.\u00a0\n\u201cThe future is so uncertain; it keeps on changing. What\u2019s important is to live one day at a time. You just have to focus on bettering yourself today and focus on doing something today. … Life is like a marathon,\u201d\u00a0she added.\u00a0\u00a0\nAfter disappointment, move on.\u00a0\nDespite the disappointment and frustrations of not being allowed to at least vie for an Olympic\u00a0spot, athletes just have to move on and take on new challenges.\u00a0\n\u201cAfter the disappointment, I had to focus my attention on other things, including the 2021 SEA Games in Vietnam (which has since been deferred to next year because of the pandemic). It is something to look forward to,\u201d said Ms.\u00a0Tabal.\u00a0\n\u201cOne of the learnings here is to just be prepared. Things can change anytime. An opportunity can be taken anytime. Just take it a day at a time and focus on improving.\u201d\u00a0\nKeep your eye on the prize.\u00a0\nHaving experienced the Olympics, Ms.\u00a0Tabal\u00a0said\u00a0that focus is paramount if you\u00a0want\u00a0to excel in elite competitions.\u00a0\u201cBe an Olympian and give your 100% so there won\u2019t be any regrets after,\u201d\u00a0she said.\u00a0\nWhile the Tokyo Games got away from her, the Olympic bid is still alive for Ms.\u00a0Tabal, 32,\u00a0who has heart set\u00a0on\u00a0competing in\u00a0Paris 2024,\u00a0finishing the six major marathons\u00a0(she\u2019s\u00a0done\u00a0Boston, which leaves Tokyo, London, Berlin, Chicago, and New York), and competing in the SEA Games and Asian Games.\u00a0\u00a0\n\u201cAnd after maybe I\u2019ll be given the chance to give back and help nurture young athletes to realize their dreams as well,\u201d she said.\u00a0\n\u00a0\nRecorded remotely on July 16, 2021. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.\u00a0\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2021-08-02T11:00:28+08:00", "date_modified": "2021-08-02T11:02:06+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2021/08/07.30.21-B_Side_MJTabal_1400x1400.jpg", "tags": [ "Michael Angelo S. Murillo", "Paolo L. Lopez", "Sam L. Marcelo", "Podcast" ] }, { "id": "/?p=384778", "url": "/podcast/2021/07/26/384778/b-side-podcast-olympic-dreams-hidilyn-f-diaz/", "title": "[B-SIDE Podcast] Olympic dreams: Hidilyn F. Diaz", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nWeightlifter Hidilyn F. Diaz, 30, is one of 19 Filipinos competing in this year\u2019s Olympic Games in Tokyo after the event was canceled last year amid a coronavirus pandemic. In this episode of B-Side, Ms. Diaz speaks with 大象传媒 senior reporter Michael Angelo S. Murillo about going for gold, and training through a pandemic away from home, away from friends, and away from family.
\nBy the time you listen to this, she might be a two-time Olympic medalist, giving the Philippines its first-ever gold medal, adding to the silver that she won in Rio 2016. But as of this recording, we don\u2019t know. What we do know right now is that the hope of a nation rides on her strong and capable shoulders and that her Olympic dreams burn bright.
\nProduced by Paolo L. Lopez\u00a0and Sam L. Marcelo.
\n\n
Read the related story:\u00a0“Filipino athletes compete with coronavirus to strike gold at Tokyo Olympics”
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nWeightlifter Hidilyn F. Diaz, 30, is one of 19 Filipinos competing in this year\u2019s Olympic Games in Tokyo after the event was canceled last year amid a coronavirus pandemic. In this episode of B-Side, Ms. Diaz speaks with 大象传媒 senior reporter Michael Angelo S. Murillo about going for gold, and training through a pandemic away from home, away from friends, and away from family.\nBy the time you listen to this, she might be a two-time Olympic medalist, giving the Philippines its first-ever gold medal, adding to the silver that she won in Rio 2016. But as of this recording, we don\u2019t know. What we do know right now is that the hope of a nation rides on her strong and capable shoulders and that her Olympic dreams burn bright.\n Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.\n \nRead the related story:\u00a0“Filipino athletes compete with coronavirus to strike gold at Tokyo Olympics”\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2021-07-26T09:13:22+08:00", "date_modified": "2021-07-26T10:45:59+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2021/07/07.22.21-B_Side_Hidilyn-1400x1400-1.jpg", "tags": [ "Hidilyn F. Diaz", "Michael Angelo S. Murillo", "Paolo L. Lopez", "Sam L. Marcelo", "Podcast" ] }, { "id": "/?p=372729", "url": "/podcast/2021/06/02/372729/b-side-podcast-pinoy-pride-diversity-and-inclusion-in-the-philippines/", "title": "[B-SIDE Podcast] Pinoy Pride \u2014 diversity and inclusion in the Philippines\u00a0", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nThe Philippines, often hailed as one the most gender-equal countries in the world, placed 17th out of 156 countries in the World Economic Forum’s Global Gender Gap Report 2021. In the Asia-Pacific region, the Philippines came in second only to New Zealand, which ranked fourth globally.\u00a0\u00a0
\nThe report doesn\u2019t paint the whole picture, said Nathalie Africa-Verceles, director of the Center for Women and Gender Studies at the University of the Philippines.\u00a0In this B-Side episode, Ms. Africa-Verceles speaks with Gillian M. Cortez (who was a reporter for\u00a0大象传媒\u00a0at the time of the interview) about contradictions between Philippine culture and Philippine laws, in terms of gender equality.\u00a0
\nTAKEAWAYS\u00a0\u00a0
\nGENDER EQUALITY INCLUDES LGBTQ+ RIGHTS.\u00a0
\n\u201cThere are still many laws that need to be enacted and still many provisions of existing laws that need to be revised because there are provisions in existing laws that are discriminatory to women. But when we talk about gender, we don\u2019t only refer to women,\u201d\u00a0said\u00a0Ms. Africa-Verceles, emphasizing that gender equality includes the rights of the LGBTQ+ (Lesbian, Gay, Bisexual, Transgender, Queer and/or Questioning) community.\u00a0
\nCongress, she added, should prioritize passing the SOGIE (Sexual Orientation and Gender Identity and Expression) Equality Bill.\u00a0\u201cI\u2019m very disappointed it\u2019s taking so long.\u201d\u00a0
\nTHE WORKPLACE\u00a0SHOULD PROMOTE DIVERSITY AND INCLUSION.\u00a0
\nEmployers have seen the necessity to include measures that encourage diversity in the workplace, said Ms. Africa-Verceles. Weaving in measures that call for inclusivity with current worker-centered practices will ensure the security of employees from experiencing discrimination at work.\u00a0\u00a0
\n\u201cThere will\u00a0always\u00a0be women and gender-diverse\u00a0individuals\u00a0in your organizations so you\u00a0need\u00a0to\u00a0ensure that they do not experience discrimination, marginalization, or subordination… that is the mandate of any decent\u00a0organization,\u201d she said.\u00a0
\nENCOURAGE CRITICAL THINKING AT A YOUNG AGE.\u00a0
\nFamilies and schools are crucial to\u00a0the advancement of\u00a0gender equality.\u00a0Children who are encouraged to think critically\u00a0will be able to discern\u00a0unacceptable gender stereotypes and expectations\u00a0that\u00a0have been embedded in\u00a0literary and artistic\u00a0canons, pop culture, and media.\u00a0
\n\u201cWhat I would like to see us doing in our families and in our schools is raising the critical awareness of children and other individuals with respect to all these constructed notions of masculinity and femininity,\u201d she said.\u00a0\u00a0
\n\u201cWhat we want to do is to raise a generation that knows how to critique the gender norms and stereotypes\u00a0\u2026\u00a0because if you think critically, no matter what happens in your society, you\u2019re not going to accept it just like that because you\u2019re able to analyze.\u201d\u00a0
\n\u00a0
\nThis B-Side episode was recorded remotely on May 18. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nThe Philippines, often hailed as one the most gender-equal countries in the world, placed 17th out of 156 countries in the World Economic Forum’s Global Gender Gap Report 2021. In the Asia-Pacific region, the Philippines came in second only to New Zealand, which ranked fourth globally.\u00a0\u00a0\nThe report doesn\u2019t paint the whole picture, said Nathalie Africa-Verceles, director of the Center for Women and Gender Studies at the University of the Philippines.\u00a0In this B-Side episode, Ms. Africa-Verceles speaks with Gillian M. Cortez (who was a reporter for\u00a0大象传媒\u00a0at the time of the interview) about contradictions between Philippine culture and Philippine laws, in terms of gender equality.\u00a0\nTAKEAWAYS\u00a0\u00a0\nGENDER EQUALITY INCLUDES LGBTQ+ RIGHTS.\u00a0\n\u201cThere are still many laws that need to be enacted and still many provisions of existing laws that need to be revised because there are provisions in existing laws that are discriminatory to women. But when we talk about gender, we don\u2019t only refer to women,\u201d\u00a0said\u00a0Ms. Africa-Verceles, emphasizing that gender equality includes the rights of the LGBTQ+ (Lesbian, Gay, Bisexual, Transgender, Queer and/or Questioning) community.\u00a0\nCongress, she added, should prioritize passing the SOGIE (Sexual Orientation and Gender Identity and Expression) Equality Bill.\u00a0\u201cI\u2019m very disappointed it\u2019s taking so long.\u201d\u00a0\nTHE WORKPLACE\u00a0SHOULD PROMOTE DIVERSITY AND INCLUSION.\u00a0\nEmployers have seen the necessity to include measures that encourage diversity in the workplace, said Ms. Africa-Verceles. Weaving in measures that call for inclusivity with current worker-centered practices will ensure the security of employees from experiencing discrimination at work.\u00a0\u00a0\n\u201cThere will\u00a0always\u00a0be women and gender-diverse\u00a0individuals\u00a0in your organizations so you\u00a0need\u00a0to\u00a0ensure that they do not experience discrimination, marginalization, or subordination… that is the mandate of any decent\u00a0organization,\u201d she said.\u00a0\nENCOURAGE CRITICAL THINKING AT A YOUNG AGE.\u00a0\nFamilies and schools are crucial to\u00a0the advancement of\u00a0gender equality.\u00a0Children who are encouraged to think critically\u00a0will be able to discern\u00a0unacceptable gender stereotypes and expectations\u00a0that\u00a0have been embedded in\u00a0literary and artistic\u00a0canons, pop culture, and media.\u00a0\n\u201cWhat I would like to see us doing in our families and in our schools is raising the critical awareness of children and other individuals with respect to all these constructed notions of masculinity and femininity,\u201d she said.\u00a0\u00a0\n\u201cWhat we want to do is to raise a generation that knows how to critique the gender norms and stereotypes\u00a0\u2026\u00a0because if you think critically, no matter what happens in your society, you\u2019re not going to accept it just like that because you\u2019re able to analyze.\u201d\u00a0\n\u00a0\nThis B-Side episode was recorded remotely on May 18. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2021-06-02T10:12:25+08:00", "date_modified": "2021-06-02T10:13:55+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2021/06/05.31.21-B_Side_Natalie-Verceles-1400x1400-1.jpg", "tags": [ "B-Side", "diversity and inclusion", "gender equality", "Gillian M. Cortez", "LGBTQ", "Nathalie Africa-Verceles", "Paolo L. Lopez", "Podcast", "Sam L. Marcelo" ] }, { "id": "/?p=366203", "url": "/podcast/2021/05/05/366203/b-side-podcast-art-fair-philippines-out-of-the-car-park-and-into-the-world-of-nfts/", "title": "[B-SIDE Podcast] Art Fair Philippines: out of the car park and into the world of NFTs", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nArt Fair Philippines (AFP) is moving out of The Link car park in Makati City for its 2021 edition: it\u2019s going online and entering the world of crypto art and non-fungible tokens (NFTs).
\nAn NFT is a digital asset (a drawing, an image, a meme, an animated GIF, a video, even a tweet) and it uses the blockchain, the same technology behind bitcoin, to keep track of who owns the file. In March, a digital collage by an artist named Beeple fetched almost $70 million at a Christie\u2019s auction, making the JPG file the most expensive NFT thus far.\u00a0
\nIn this episode of B-Side, the three co-founders of Art Fair Philippines, Geraldine \u201cDindin\u201d B. Araneta, Trickie C. Lopa, and Lisa O. Periquet, tell 大象传媒 reporter Michelle Anne P. Soliman how they transported the art fair from the car park into the world of crypto art.
\nTAKEAWAYS
\nThe digital space is a platform unto itself.\u00a0
\nMses. Lopa, Periquet, and Araneta spent the early months of last year\u2019s lockdown immersing themselves in international art fairs that moved online.
\n\u201cWe had time to review the art fairs because there was a development in the way they turned out over the months.\u00a0 Everybody was trying out different formulas and ideas,\u201d Ms. Periquet said.\u00a0
\n\u201cFor example, we decided to embed a video in each exhibitor\u2019s page. Because with lack of the physical interaction between the viewer and the gallerist or the artist, this is a way to learn more about the art that was showing on the page. And then one of the methods that we decided to use to also break down that kind of lack of physical interaction is a messaging service,\u201d she added.
\nBeing online expands accessibility.\u00a0
\n\u201cBeing online, the barriers of time and space and distance fall apart. So, there\u2019s actually an easier way to connect because you don\u2019t have to travel over here with a plane, if you\u2019re from an international spot,\u201d Ms. Periquet said of gathering more audiences.\u00a0
\nThe digital format opened the opportunity for new programs, such as artist residencies.
\n\u201cWith everyone feeling a bit cooped up indoors, the idea is also to be able to see how else we can reach out to the public and take them elsewhere,\u201d Ms. Araneta.\u00a0
\nKeep updated and stay curious (that means trying to understand NFTs).
\nAFP, together with London-based international contemporary art magazine ArtReview, is presenting a talk on NFTs.
\n\u201cThey [ArtReview] will be talking about NFTs from the point of view of non crypto natives and its effect on the contemporary art scene,\u201d Ms. Lopa said. \u201cAt the same time, one of the NFT showcase talks will bring out alternative blockchain platforms that are said to be greener than the original blockchain platform.\u201d
\n\u201cWith all the publicity surrounding [NFTs], it is becoming very attractive and very much an option,\u201d Ms. Periquet said. \u201cSo, it tells me that this whole subject is really soaking in to a much wider audience than you would imagine. It\u2019s not just people in the crypto world. It\u2019s now people who are interested in both the art and in investing in it as a currency.\u201d\u00a0
\nThis B-Side episode was recorded remotely on April 22. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo. Art Fair Philippines runs from May 6 to May 15.
\nFollow us on Spotify 大象传媒 B-Side
\nRelated B-Side episode: Art fair affairs
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nArt Fair Philippines (AFP) is moving out of The Link car park in Makati City for its 2021 edition: it\u2019s going online and entering the world of crypto art and non-fungible tokens (NFTs).\nAn NFT is a digital asset (a drawing, an image, a meme, an animated GIF, a video, even a tweet) and it uses the blockchain, the same technology behind bitcoin, to keep track of who owns the file. In March, a digital collage by an artist named Beeple fetched almost $70 million at a Christie\u2019s auction, making the JPG file the most expensive NFT thus far.\u00a0\nIn this episode of B-Side, the three co-founders of Art Fair Philippines, Geraldine \u201cDindin\u201d B. Araneta, Trickie C. Lopa, and Lisa O. Periquet, tell 大象传媒 reporter Michelle Anne P. Soliman how they transported the art fair from the car park into the world of crypto art.\nTAKEAWAYS\nThe digital space is a platform unto itself.\u00a0\nMses. Lopa, Periquet, and Araneta spent the early months of last year\u2019s lockdown immersing themselves in international art fairs that moved online.\n\u201cWe had time to review the art fairs because there was a development in the way they turned out over the months.\u00a0 Everybody was trying out different formulas and ideas,\u201d Ms. Periquet said.\u00a0\n\u201cFor example, we decided to embed a video in each exhibitor\u2019s page. Because with lack of the physical interaction between the viewer and the gallerist or the artist, this is a way to learn more about the art that was showing on the page. And then one of the methods that we decided to use to also break down that kind of lack of physical interaction is a messaging service,\u201d she added.\nBeing online expands accessibility.\u00a0\n\u201cBeing online, the barriers of time and space and distance fall apart. So, there\u2019s actually an easier way to connect because you don\u2019t have to travel over here with a plane, if you\u2019re from an international spot,\u201d Ms. Periquet said of gathering more audiences.\u00a0\nThe digital format opened the opportunity for new programs, such as artist residencies.\n\u201cWith everyone feeling a bit cooped up indoors, the idea is also to be able to see how else we can reach out to the public and take them elsewhere,\u201d Ms. Araneta.\u00a0\nKeep updated and stay curious (that means trying to understand NFTs).\nAFP, together with London-based international contemporary art magazine ArtReview, is presenting a talk on NFTs.\n\u201cThey [ArtReview] will be talking about NFTs from the point of view of non crypto natives and its effect on the contemporary art scene,\u201d Ms. Lopa said. \u201cAt the same time, one of the NFT showcase talks will bring out alternative blockchain platforms that are said to be greener than the original blockchain platform.\u201d\n\u201cWith all the publicity surrounding [NFTs], it is becoming very attractive and very much an option,\u201d Ms. Periquet said. \u201cSo, it tells me that this whole subject is really soaking in to a much wider audience than you would imagine. It\u2019s not just people in the crypto world. It\u2019s now people who are interested in both the art and in investing in it as a currency.\u201d\u00a0\nThis B-Side episode was recorded remotely on April 22. Produced by Paolo L. Lopez\u00a0and Sam L. Marcelo. Art Fair Philippines runs from May 6 to May 15.\nFollow us on Spotify 大象传媒 B-Side\nRelated B-Side episode: Art fair affairs", "date_published": "2021-05-05T16:34:32+08:00", "date_modified": "2021-09-13T10:39:44+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2021/05/05.04.21-B_Side_ArtFair_1400x1400.jpg", "tags": [ "art fair philippines", "B-Side", "Dindin Araneta", "Lisa Periquet", "Michelle Anne P. Soliman", "NFTs", "Paolo L. Lopez", "Podcast", "Sam L. Marcelo", "Trickie Lopa" ] }, { "id": "/?p=363510", "url": "/podcast/2021/04/26/363510/b-side-podcast-intentional-communication-career-progression/", "title": "[B-SIDE Podcast] Intentional communication, career progression", "content_html": "\nFollow us on Spotify 大象传媒 B-Side
\nAlorica, a provider of customer management outsourcing solutions, has a young workforce: 30% are from Gen Z, and around 61% are millennials. \u201cFreedom of thought is very important for them,\u201d said Irene L. Tan, vice-president for learning and development at Alorica Philippines, Inc., who added that the company has benefited from the \u201cbrilliant ideas\u201d originating from these generational cohorts. In this episode of B-Side, she tells 大象传媒 reporter Patricia B. Mirasol how intentional communication and creating a culture of care are key to retaining young talent when most of them are working from home because of the pandemic.
\nTAKEAWAYS
\nTo keep young employees engaged, have a clear message. Embrace social.
\nIntentional communication \u2014 clear and purposeful messaging that accounts for the feelings of the receiver \u2014 is vital since 60% of Alorica\u2019s Philippine workforce have been working from home since the pandemic struck.
\n\u201cWe repackaged our whole training program so it fits the virtual setting. We focused on how [frontline leaders] coach or problem solve virtually.\u201d
\nAlorica produces videos, infographics, and micro-learning content to keep its young employees engaged. Its learning academy offers courses that support career pathing, leadership development, and life skills. Among these are \u201cTil Debt Do Us Part\u201d (a personal finance course) and \u201cBefore You Click Send\u201d (a digital communications course). Self-paced materials have proven popular in the academy because of the greater control it allows.\u00a0
\n\u201cIt\u2019s very important for our young workforce to make sure we have the social media aspect with features they enjoy that we can bring in a controlled environment,\u201d she said, adding that both Gen Zs and millennials have a learning orientation that is very digital and process information in bite-sized pieces.\u00a0
\nPersonal attitude dictates the pace of career growth…\u00a0
\nSelf-motivation and the willingness to learn will allow employees to advance. \u201cThe opportunities are there,\u201d she said. \u201cIt\u2019s up to you how you will grab and learn from every opportunity. It all begins with how you challenge yourself.\u201d\u00a0
\nAdded Ms. Tan: \u201cWe promote 80\u201390% of folks from within so we need to have a very strong bench training for leaders.\u201d\u00a0
\n…and so does adaptability.
\nOne\u2019s degree should not limit one\u2019s career path, as the skills and knowledge learned can be adapted to other fields and functions. \u201cYou can grow laterally in an organization,\u201d said Ms. Tan. \u201cAdaptability is one of the special traits we look for.\u201d\u00a0
\nRecorded remotely on May 14. Produced by Paolo L. Lopez, and Sam L. Marcelo.
\nFollow us on Spotify 大象传媒 B-Side
\n", "content_text": "Follow us on Spotify 大象传媒 B-Side\nAlorica, a provider of customer management outsourcing solutions, has a young workforce: 30% are from Gen Z, and around 61% are millennials. \u201cFreedom of thought is very important for them,\u201d said Irene L. Tan, vice-president for learning and development at Alorica Philippines, Inc., who added that the company has benefited from the \u201cbrilliant ideas\u201d originating from these generational cohorts. In this episode of B-Side, she tells 大象传媒 reporter Patricia B. Mirasol how intentional communication and creating a culture of care are key to retaining young talent when most of them are working from home because of the pandemic.\nTAKEAWAYS\nTo keep young employees engaged, have a clear message. Embrace social.\nIntentional communication \u2014 clear and purposeful messaging that accounts for the feelings of the receiver \u2014 is vital since 60% of Alorica\u2019s Philippine workforce have been working from home since the pandemic struck.\n\u201cWe repackaged our whole training program so it fits the virtual setting. We focused on how [frontline leaders] coach or problem solve virtually.\u201d\nAlorica produces videos, infographics, and micro-learning content to keep its young employees engaged. Its learning academy offers courses that support career pathing, leadership development, and life skills. Among these are \u201cTil Debt Do Us Part\u201d (a personal finance course) and \u201cBefore You Click Send\u201d (a digital communications course). Self-paced materials have proven popular in the academy because of the greater control it allows.\u00a0\n\u201cIt\u2019s very important for our young workforce to make sure we have the social media aspect with features they enjoy that we can bring in a controlled environment,\u201d she said, adding that both Gen Zs and millennials have a learning orientation that is very digital and process information in bite-sized pieces.\u00a0\nPersonal attitude dictates the pace of career growth…\u00a0\nSelf-motivation and the willingness to learn will allow employees to advance. \u201cThe opportunities are there,\u201d she said. \u201cIt\u2019s up to you how you will grab and learn from every opportunity. It all begins with how you challenge yourself.\u201d\u00a0\nAdded Ms. Tan: \u201cWe promote 80\u201390% of folks from within so we need to have a very strong bench training for leaders.\u201d\u00a0\n…and so does adaptability.\nOne\u2019s degree should not limit one\u2019s career path, as the skills and knowledge learned can be adapted to other fields and functions. \u201cYou can grow laterally in an organization,\u201d said Ms. Tan. \u201cAdaptability is one of the special traits we look for.\u201d\u00a0\nRecorded remotely on May 14. Produced by Paolo L. Lopez, and Sam L. Marcelo.\nFollow us on Spotify 大象传媒 B-Side", "date_published": "2021-04-26T11:13:15+08:00", "date_modified": "2021-05-04T18:35:11+08:00", "authors": [ { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/winseciontainkes/", "avatar": "https://secure.gravatar.com/avatar/5aebc87a76b327f90fc9671dea4220c74092c328c9b13ee03e93a20601e350d3?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2021/04/b-side.jpg", "tags": [ "Paolo L. Lopez", "Patricia B. Mirasol", "Sam L. Marcelo", "Podcast" ] }, { "id": "/?p=359829", "url": "/podcast/2021/04/12/359829/b-side-podcast-reits-101-understanding-real-estate-investment-trusts/", "title": "[B-SIDE Podcast] REITs 101: Understanding real estate investment trusts", "content_html": "\nFollow us on Spotify\u00a0大象传媒 B-Side
\nReal estate investment trusts (REITs) have been called democratizers of wealth, allowing small investors to invest in big real estate projects.
\nThe Philippines has two REIT listings on the market, with the second listing holding the record for the most number of retail investors. Officials from the exchange have expressed hope that more real estate developers will consider offering REITs.\u00a0
\nIn this B-Side episode, Christopher John J. Mangun, research head of AAA Southeast Equities, Inc., introduces 大象传媒 reporter Keren Concepcion G. Valmonte to REITs and their advantages.
\nTAKEAWAYS
\nREIT is a unique financial vehicle that has features of different types of investments.
\nA REIT can be traded in the stock market, which means investors may earn through price appreciation when share prices go up. However, because it is traded on the public market, REITs are \u201csubject to volatility and price fluctuations.\u201d
\nSimilar to time deposits or investing in government bonds, REIT investments also guarantee cash dividends.\u00a0
\n\u201cIt gives a guaranteed cash dividend, this is similar to what you would receive in a time deposit or in government bonds or treasury bills. So these are investments that have a fixed dividend yield and although it isn\u2019t fixed for the REITs, they are required to submit or distribute the earnings of the company on a yearly or a quarterly basis so you get the best of both worlds,\u201d Mr. Mangun explained.\u00a0
\nThese dividends will come from the earnings posted by REITs, 90% of which will be distributed to its shareholders.\u00a0
\n\u201cThe main difference between REITs and regularly listed property companies is that REIT companies are required to distribute those earnings as a dividend,\u201d Mr. Mangun said.
\nIt is one of the best investments, especially for retail investors.
\nRetail investors will be given the opportunity to invest in dividend income-earning properties. Mr. Mangun noted that real estate is considered one of the safest assets in the world, but an investor would need capital to develop properties before earning returns.\u00a0
\n\u201cBut from the REIT, you can just buy the REIT and make money off of the dividends already from these big companies,\u201d Mr. Mangun said.
\nREIT offerings help companies maximize the value of their properties.\u00a0
\nMr. Mangun pointed out that current REIT offerings include properties that are already assets of listed companies.
\nThrough a REIT listing, these companies were also able to raise more capital.\u00a0
\n\u201cThey were able to raise more funds which would allow the parent companies to develop more real estate or more landbank so I think this is a win-win for investors and for companies,\u201d Mr. Mangun said.\u00a0
\nInvesting in a REIT can tell you a lot about how markets work.\u00a0
\nREITs are \u201can easy way to learn about how markets work,\u201d while also allowing investors to earn money.
\nBefore investing in a REIT, investors should take a look at the company\u2019s prospectus to check what the company is doing with the proceeds, if it will acquire new properties through debt or through higher leases. Investors should also see how much these companies earn on a yearly basis.
\n\u201cIt is important that we know how much these companies are making because that translates into the dividend yield, this tells you how much you will be earning on a yearly basis,\u201d Mr. Mangun said.\u00a0
\nThis B-Side was recorded remotely on March 25, a day after the REIT of DoubleDragon Properties Corp., DDMP REIT Inc., debuted at the Philippine Stock Exchange, making it only the second listing after Ayala Land’s REIT offering in 2020. Produced by\u00a0Paolo L. Lopez\u00a0and\u00a0Sam L. Marcelo.
\nFollow us on Spotify\u00a0大象传媒 B-Side
\n", "content_text": "Follow us on Spotify\u00a0大象传媒 B-Side\nReal estate investment trusts (REITs) have been called democratizers of wealth, allowing small investors to invest in big real estate projects.\nThe Philippines has two REIT listings on the market, with the second listing holding the record for the most number of retail investors. Officials from the exchange have expressed hope that more real estate developers will consider offering REITs.\u00a0\nIn this B-Side episode, Christopher John J. Mangun, research head of AAA Southeast Equities, Inc., introduces 大象传媒 reporter Keren Concepcion G. Valmonte to REITs and their advantages.\nTAKEAWAYS\nREIT is a unique financial vehicle that has features of different types of investments.\nA REIT can be traded in the stock market, which means investors may earn through price appreciation when share prices go up. However, because it is traded on the public market, REITs are \u201csubject to volatility and price fluctuations.\u201d\nSimilar to time deposits or investing in government bonds, REIT investments also guarantee cash dividends.\u00a0\n\u201cIt gives a guaranteed cash dividend, this is similar to what you would receive in a time deposit or in government bonds or treasury bills. So these are investments that have a fixed dividend yield and although it isn\u2019t fixed for the REITs, they are required to submit or distribute the earnings of the company on a yearly or a quarterly basis so you get the best of both worlds,\u201d Mr. Mangun explained.\u00a0\nThese dividends will come from the earnings posted by REITs, 90% of which will be distributed to its shareholders.\u00a0\n\u201cThe main difference between REITs and regularly listed property companies is that REIT companies are required to distribute those earnings as a dividend,\u201d Mr. Mangun said.\nIt is one of the best investments, especially for retail investors.\nRetail investors will be given the opportunity to invest in dividend income-earning properties. Mr. Mangun noted that real estate is considered one of the safest assets in the world, but an investor would need capital to develop properties before earning returns.\u00a0\n\u201cBut from the REIT, you can just buy the REIT and make money off of the dividends already from these big companies,\u201d Mr. Mangun said.\nREIT offerings help companies maximize the value of their properties.\u00a0\nMr. Mangun pointed out that current REIT offerings include properties that are already assets of listed companies.\nThrough a REIT listing, these companies were also able to raise more capital.\u00a0\n\u201cThey were able to raise more funds which would allow the parent companies to develop more real estate or more landbank so I think this is a win-win for investors and for companies,\u201d Mr. Mangun said.\u00a0\nInvesting in a REIT can tell you a lot about how markets work.\u00a0\nREITs are \u201can easy way to learn about how markets work,\u201d while also allowing investors to earn money.\nBefore investing in a REIT, investors should take a look at the company\u2019s prospectus to check what the company is doing with the proceeds, if it will acquire new properties through debt or through higher leases. Investors should also see how much these companies earn on a yearly basis.\n\u201cIt is important that we know how much these companies are making because that translates into the dividend yield, this tells you how much you will be earning on a yearly basis,\u201d Mr. Mangun said.\u00a0\nThis B-Side was recorded remotely on March 25, a day after the REIT of DoubleDragon Properties Corp., DDMP REIT Inc., debuted at the Philippine Stock Exchange, making it only the second listing after Ayala Land’s REIT offering in 2020. Produced by\u00a0Paolo L. Lopez\u00a0and\u00a0Sam L. Marcelo.\nFollow us on Spotify\u00a0大象传媒 B-Side", "date_published": "2021-04-12T10:53:20+08:00", "date_modified": "2021-04-12T10:53:20+08:00", "authors": [ { "name": "大象传媒", "url": "/author/rgentribirthfurd/", "avatar": "https://secure.gravatar.com/avatar/9965230d2fd009579b4e8df9a934f6d1021b1ee67e60bcb4cad3b7249a2900ce?s=512&d=mm&r=g" } ], "author": { "name": "大象传媒", "url": "/author/rgentribirthfurd/", "avatar": "https://secure.gravatar.com/avatar/9965230d2fd009579b4e8df9a934f6d1021b1ee67e60bcb4cad3b7249a2900ce?s=512&d=mm&r=g" }, "image": "/wp-content/uploads/2021/04/04.12.21-B_Side_Christopher-John_Mangun_1400x1400-1.jpg", "tags": [ "AAA Southeast Equities", "Ayala Land", "B-Side", "Christopher John J. Mangun", "Double Dragon", "Keren Concepcion G. Valmonte", "Paolo L. Lopez", "Podcast", "real estate investment trust", "REIT", "Sam L. Marcelo" ] } ] }![\"\"](\"/wp-content/uploads/2025/06/03.jpg\")
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