A magical story that generations of Filipinos love and know by heart is once again set to come alive in a completely different and enchanting way.
This October, Ballet Manila brings Gerardo Francisco Jr.’sIbong Adarnaback to the stage, transforming the beloved Filipino tale of an enchanted bird, royal brothers, forbidden love, and a quest for healing into a spectacle of music, movement, and dance.
One of the company’s most beloved and performed productions, Ibong Adarna will be staged at Hyundai Hall, Areté, Ateneo de Manila University in Quezon City on October 9 at 7:30 p.m. and October 10 at 5 p.m.
“Ibong Adarna is one of Ballet Manila’s most requested offsite performances. This year, it already had two shows at Jose Rizal Coliseum in Laguna, and now the production is bound to return to Areté in Ateneo before continuing its way to Iloilo,” shared Lisa Macuja Elizalde, Ballet Manila’s CEO and Artistic Director.
Ibong Adarna tells the story of a mythical bird whose magical song has the power to heal the sick. When King Fernando of the Kingdom of Berbanya falls ill with an incurable disease, his three sons — Don Pedro, Don Diego, and Don Juan — set out on a quest to find the legendary Adarna and bring it back to save their father. The prince who succeeds in capturing the bird will inherit the throne.
The Areté run will feature a new set of leads from Ballet Manila’s powerhouse lineup. Performing as Ibong Adarna is Shaira Comeros, alongside Mark Sumaylo as Don Pedro, Rafael Perez as Don Juan, and Romeo Peralta as Don Diego. The alternate cast is led by Jessica Pearl Dames as Ibong Adarna, with Juan Angelo De Leon as Don Juan, Ralp John Balagot as Don Pedro, and Sean Pelegrin as Don Diego.
Ibong Adarna is fast becoming a Filipino ballet classic. Although Ballet Manila has staged the production numerous times in various venues, each re-staging brings something new, shaped in large part by its evolving cast of dancers.
“Every time we bring Ibong Adarna to a new audience, we discover something new about the story and the characters. That is what makes it special. It remains familiar to many Filipinos, but ballet allows us to experience the story in a different way,” Macuja Elizalde said.
Staging Ibong Adarna at the Areté is part of Ballet Manila’s broader mission of bringing people to ballet and ballet to the people. By taking the production beyond the traditional theater setting and into communities or cities, the company opens more opportunities for audiences to experience live ballet and discover this art form through stories already part of Filipino culture.
For those who may have encountered the classic tale in school, books, or childhood, Ballet Manila offers an exciting way to see the story as it combines a well-loved narrative with music, movement, complex characters, and the artistry of its dancers.
Don’t miss Ibong Adarna at Hyundai Hall, Areté, Ateneo de Manila University on October 9 and 10 only. For tickets, visit Ticketworld at www.premier.ticketworld.com.ph. Keep up-to-date with Ballet Manila’s schedule of performances and celebration events by visiting www.balletmanila.com.ph.
Presented by the Manila Symphony Orchestra Foundation, Inc. and Standard Insurance, co-presented by EastWest Bank and DENZA Alabang by ACMobility Premium Dealership Inc., the Manila Symphony Orchestra continues its 100th Anniversary Season with a concert featuring internationally acclaimed Franco-Belgian cellist Camille Thomas and the World Premiere of Pasasalamat for choir and orchestra, music by National Artist for Music Ryan Cayabyab with text by National Artist for Literature Virgilio S. Almario, under the musical direction of MSO Principal Conductor Maestro Marlon Chen.
Commissioned by the MSO for its centennial, Pasasalamat reflects on the meaning of gratitude not only as a personal feeling, but as a responsibility to others and to the community. Almario’s text considers the values that shape a shared life, from compassion and respect for differences to freedom, justice, culture, knowledge, and the willingness to accept criticism and change. At its heart is the idea that being human is not simply a given, but something we become through our choices and actions.
For the MSO, the work is particularly fitting, offering an opportunity to reflect on the responsibilities that come with being the longest surviving institution that has been part of Philippine musical life and history for a century. The text will be brought to life by MSO’s featured choir, the Polytechnic University of the Philippines Bagong Himig Serenata.
The concert also features Camille Thomas, an internationally renowned Franco-Belgian cellist known for her expressive performances and technical artistry. An exclusive Deutsche Grammophon artist since 2017, Thomas has performed with major orchestras and conductors across Europe, Asia, and the Americas. Her recording Voice of Hope, released in partnership with UNICEF, reflects her belief in music as a means of creating connection and inspiring hope.
Thomas’ artistic advocacy resonates with the ideas at the heart of Pasasalamat. Both approach music as a way of connecting people and encouraging reflection and compassion. In the context of the MSO’s centennial, this shared perspective gives the program a contemporary dimension, inviting audiences to consider the role music can continue to play in bringing people together and strengthening the communities it serves.
Thomas joins the MSO for Pyotr Ilyich Tchaikovsky’s Variations on a Rococo Theme, Op. 33. Written in 1876, the work draws on the elegance of the Classical style while giving the soloist opportunities for expression and virtuosity.
The program concludes with Gabriel Fauré’s Requiem, Op. 48, performed with MSO and the award-winning PUP Bagong Himig Serenata. Fauré’s Requiem offers a gentler and more intimate take on the traditional music of remembrance. Its setting is lyrical and peaceful, focusing less on fear and judgment and more on comfort, hope, and rest. It brings the evening to a quiet and reflective close.Bringing together a new Filipino work by National Artists for Music and Literature, an internationally acclaimed cellist whose artistry is rooted in a sense of purpose, and music spanning different eras and musical worlds, Centennial Concert V finds common ground in music’s power to connect and inspire hope. MSO at 100 looks ahead with the belief that orchestral music can certainly build more harmonious communities around the world.
Tickets range from P1000-P5000 and are available on Ticketworld. Discount codes for students, seniors, and PWDs are available.
Sponsored by the Embassy of France to the Philippines, Grand Hyatt Manila, National Performing Arts Grantee, and SM Hotels and Conventions.
Special thanks to JTI ALL IN, The Laufey Foundation, Austrian Embassy Manila, HSTL Foundation, EON Group, 98.7 DZFE-FM | The Master’s Touch, and The Manila Times.
The Philippine Philharmonic Orchestra (PPO) proudly stages their highly anticipated 42nd Concert Season, titled MODULATIO, running from September 2026 through April 2027. The new season brings together world‑renowned soloists and exceptional Filipino talents for a series of breathtaking orchestral performances, with the anticipated return to the newly-rehabilitated Tanghalang Nicanor Abelardo (Main Theater) of the Cultural Center of the Philippines for its finale concert.
While celebrating the orchestra’s 53 years, Modulatio presents the PPO as a musical chameleon traversing through centuries. Led by Maestro Nowak, the PPO also cements its reputation of being the nation’s premier orchestra in its 42nd concert season.
The season kicks off on September 25, 2026 with CONCERT I – DA CAPO in a program blending beloved classics and sweeping orchestral masterpieces, setting a high‑energy tone for the months ahead. Featured works are Filipino composer Jeffrey Ching’s “What Happens in Every Classical Piece Explained in 15 Minutes” (Sinfoniettina on G-C for Mozart Orchestra) and the Asian premiere of Austrian composer Carl Czerny’s Symphony No. 6. Spanish virtuoso Martin Garcia Garcia showcases his dynamic artistry in performing German composer Ludwig van Beethoven’s Piano Concerto no.5, op. 73, E flat Major “Emperor.”
Come October 16, the next concert installment, billed as CONCERT II – ELEGANCE, will feature Filipino composer Redentor Romero’s Philippine Portraits and Polish composer Zygmunt Noskowski’s The Steppe. Filipino classical pedal harpist Vien Ignacio takes center stage, bringing refined Asian flair to British-German composer Georg Friedrich Händel’s Harp Concerto in B-flat Major.
CONCERT III – BOLERO on November 6 will feature French composer Claude Debussy’s Prelude a l’apres-midi d’un faune, and French composer Maurice Ravel’s Alborada del gracioso and Bolero. Filipino violinist Kaycee Galano returns to perform classical string selections, showcasing the richness and versatility of Filipino artistry alongside full orchestral accompaniment with French composer Camille Saint-Saens’ Violin Concerto no.3, op.61, B minor.
The PPO will perform German composer Ludwig van Beethoven’s Egmont Overture and Symphony no.3, op. 55, E flat Major “Eroica” in CONCERT IV – DESTINY on December 4. Acclaimed Italian concert pianist Mario Galeani delivers festive favorites and timeless concertos with German composer Ludwig van Beethoven’s Piano Concerto no. 4, op.58, G Major, wrapping the year in warmth and virtuosity.
Ushering the New Year on January 15, 2027, the PPO will premiere Filipino composer Jerry Dadap’s Symphony no. 5 in CONCERT V – GENESIS and Filipino composer Jeffrey Ching’s Journey to the Alps and Victor’s Meditation from the Opera Frankenstein. Internationally renowned Russian-American pianist Natasha Paremski graces Manila with her signature intensity and precision, performing Russian composer Sergei Rachmaninoff’s Piano Concerto no. 3, op.30, D minor.
The PPO will take on Russian composer Dmitri Shostakovich in CONCERT VI – RESILIENCE on February 12, featuring Festive Overture, op.96 and Symphony no. 5, op.47. Home-grown violin luminary Diomedes Saraza Jr. performs iconic violin concertos, bridging local pride with world-class excellence with Russian composer Dmitri Shostakovich’s Violin Concerto no. 1, op.99.
CONCERT VII – VISIONS on March 12 will present the Philippine premiere orchestra in a performance of German composer Robert Schumann’s Manfred Overture and French composer Cesar Franck’s Symphony in D minor. Korean violin sensation Ju-Young Baek brings lyrical depth and technical brilliance, presenting works from the Romantic and modern eras through Polish composer Karol Szymanowski’s Violin Concerto no. 1, op.35.
Capping the concert season, the PPO will come home to Tanghalang Nicanor Abelardo (CCP Main Theater), following the rehabilitation of the center’s Main Building. The grand finale, CONCERT VIII – AL FINE, on April 16, 2027 will feature soloists and chorus in Filipino composer Jeffrey Ching’s completion of the Lacrimosa, Sanctus, Benedictus and Osanna fragments from Mozart’s unfinished Requiem, K626 (Sussmayr version) and French composer Hector Berlioz’s Symphonie Fantastique, op.14. Ukrainian violinist Dmytro Udovychenko closes the season with electrifying virtuosity, promising a memorable conclusion to the concert season with English composer Edward Elgar’s Violin Concerto, op.61, B minor.
A Season of Unity and Excellence
“Our 42nd season is a celebration of Filipino talent, global artistry, and the power of music to connect us. Through the Philippine Philharmonic Orchestra, we bring the world to Manila and Filipino artistry to the forefront of the international stage,” said Kaye C. Tinga, the president of the Cultural Center of the Philippines.
The Philippine Philharmonic Orchestra, the country’s premier symphony orchestra under the Cultural Center of the Philippines, has been advancing orchestral music since 1973, performing locally and touring internationally to critical acclaim.
Concerts I, III, IV, and V will take place at the Samsung Performing Arts Theater in Makati, while Concerts II, VI and VII will be held at The Metropolitan Theater. The season finale, Concert VIII, will be staged at the Tanghalang Nicanor Abelardo (CCP Main Theater).
For more updates on PPO’s 42nd concert season, visit the CCP’s official website (culturalcenter.gov.ph) or follow the CCP’s social media pages (Facebook, Instagram, TikTok, and YouTube) for more information.
Two of the world’s most celebrated ballet artists will once again step onto the Philippine stage to give Filipino audiences a glimpse of their extraordinary and world-renowned artistry, passion and technical brilliance.
This August, Ballet Manila brings back ballet superstars Renata Shakirova and Kimin Kim, principal dancers of the Mariinsky Ballet, to breathe new life into the timeless classic, La Bayadère happening at the Aliw Theater on August 14 at 8 PM, and on August 15 and 16 at 5PM.
Notably, their return solidifies Ballet Manila’s long-standing mission of bringing world-class ballet closer to the Filipino audiences, giving local theatergoers a rare chance to witness internationally celebrated performers in the country.
“We are very excited to welcome Renata and Kimin back to Ballet Manila,” exclaimed Lisa Macuja Elizalde, Ballet Manila’s founder and artistic director. She recalls with pride last year’s successful run of Don Quixote which starred the formidable duo. “Their performances in Don Quixote were truly unforgettable, and the response from Filipino audiences was overwhelming. It was a delight to see our audiences embrace them so warmly, and I know many have been looking forward to seeing them perform here again.”
Kim and Shakirova bring exceptional credentials to the production. Shakirova, whose extraordinary talent was recognized early on, is already a recipient of the prestigious 2025 Benois de la Danse award – touted as the “Ballet Oscar.” The Tashkent, Uzbekistan-native is highly regarded for her musicality, dramatic depth, and commanding presence; thus, establishing herself as one of the Mariinsky’s top prima ballerinas.
Conversely, Kim started ballet relatively late – at around 10 years old – but made his mark as the first foreign male principal dancer in the Mariinsky Ballet’s history. He is also highly acclaimed worldwide for his remarkable athleticism and precise technique. As a pair, they are just as impressive having won the Russia-Kultura TV’s Grand Ballet competition in 2016.
The couple are no strangers to La Bayadère, one of the celebrated masterpieces in ballet. Set in ancient India, the story follows the tragic love story of the temple dancer (bayadère) Nikiya and the warrior Solor. The High Brahmin (high priest), who is also in love with Nikiya, learns of her relationship with Solor and asks the Rajah to kill Solor. But his plan backfires when the Rajah orders Nikiya to be killed instead. The classic melodramatic love triangle spans both the mortal world and afterlife.
At the Mariinsky Theatre, Kim regularly performs the role of the noble warrior Solor, while Shakirova has portrayed both the Nikya and the regal Gamzatti, highlighting her versatility that has earned her international acclaim.
“Renata and Kim’s extensive experience with La Bayadère promises Filipinos audiences a moving and authentic interpretation of Marius Petipa’s enduring masterpiece. We hope that by the end of the show, the audience will have a renewed love for ballet,” concluded Lisa Macuja Elizalde.
Stay up-to-date with Ballet Manila’s schedule of performances and celebration events by visiting Ballet Manila’s website www.balletmanila.com.ph or Ticketworld page www.ticketworld.com.ph
When two distinct creative dimensions collide—not in competition, but in conversation and collaboration—there is always a profound sense of artistic electricity that occurs. In the case of geometric abstractionist Aaron Virata Mempin and premier jewelry designer Mitzi De Castro Parungao, this kind of convergence feels nothing like a clash, but more like alchemy. What emerges is beyond just a mere conventional exhibit, but an immersive dialogue. Between them exists a shared language, one that moves effortlessly from the wall to the body, and back again.
To begin with, their creative practices exist in entirely different spheres. Virata Mempin’s visual art occupies space, asks to be stood before, absorbed, and even viewed from a distance, as it is often layered with texture and narrative, making it the kind of art that unfolds slowly. Parungao’s pieces, on the other hand, are intimate. They are meant to be held, worn, and lived with. Virata Mempin’s work invites observation, while Parungao’s pieces encourage participation. Thus, together, their alliance feels both artistic and approachable. This shared sensibility was what made their collaboration feel inevitable.
These two creative souls proved this during their recently concluded joint exhibit held at Salcedo Auctions in Makati City. Presented by the Rotary Club of Makati, this exclusive one-day-only preview featured Virata Mempin’s geometric abstract masterpieces and Parungao’s fine jewelry, plus collab pieces which they ‘authored’ together. The shared exhibit brought together two strengths that rarely meet in equal measure, highlighting artistic depth and emotional accessibility. It showcased how Virata Mempin’s visual art carries a strong visual identity, which is expressive, layered, and rooted in storytelling, reflection, memory, and meaning. Meanwhile, it also highlighted Parungao’s sensibility that understands people, spaces, and audience connection, as she has an instinct for translating creativity into experiences that feel warm, relatable, and culturally resonant.
“My visual language adjusted from purely structural geometry on canvas to a more fluid dialogue with jewelry. I was drawn to Mitzi’s ability to translate complex emotions into wearable art, which mirrors my own pursuit of finding order within my pieces,” Virata Mempin shared, and further explained that he associates this collaboration with the concept of “Refined Intersections,” where the precision of geometry meets the organic elegance of fine jewelry craftsmanship. On the flipside, Parungao admitted to being immediately struck by the energy of Virata Mempin’s geometric abstract art and responded by creating pieces that sought to capture and reflect that same vibrancy. “I was most surprised by how naturally our two distinct mediums merged into a singular, cohesive narrative. Moving forward, my practice will likely embrace more cross-disciplinary influences to keep the creative process fresh and expansive,” she expressed.
Parungao is a designer driven by the desire to create timeless, soul-stirring jewelry that celebrates personal milestones and the heritage of fine craftsmanship. “My inspiration is drawn from the intersection of nature’s organic beauty and the structured elegance of modern architecture. In this exhibit, I was telling stories of connection and the invisible threads that bind different artistic disciplines together. Working with Aaron challenged me to think more abstractly about composition and how a piece of jewelry can function as a sculpture in motion,” she mused. “This first collaboration with a visual artist did not require an adjustment of my voice but rather amplified its resonance through a larger visual scale. The conversation is strongest in the pieces where the angularity of his lines perfectly cradles the curves of my jewelry designs,” Parungao added. To which, Virata Mempin responded: “Her focus on the intimacy of jewelry pushed me to continue the smaller, finer details of my work. Our exchange was a fluid flow of ideas.”
In today’s creative landscape, audiences are increasingly drawn not only to talent, but to authenticity because more and more people tend to respond to projects that feel personal, intentional, and emotionally honest. This recent partnership of Virata Mempin and Parungao carries that value, as there was a natural chemistry in the way art, storytelling, lifestyle, and human connection melded their works. What made this creative partnership compelling is contrast balanced by shared vision. Virata Mempin leans toward introspection and visual narrative, while Parungao contributes energy, lifestyle appeal, and a strong sense of audience engagement. Where he created emotional texture, she helped shape how that emotion was embraced and experienced.
It comes as no surprise, therefore, how beneath these differences lies a striking similarity. After all, both are—at their core—storytellers. Each of them approaches their craft with a sensitivity to detail that borders on the obsessive, in the best way. Nothing is random, whether it is a line, a curve, or a material choice; all their separate decisions are always made with intent. Their works do not simply exist; they communicate. Themes of identity, memory, and transformation surface not as declarations, but as quiet undercurrents, inviting the viewer (or in Parungao’s case, the wearer) to find their own meaning within them.
Central to the exhibit is a limited suite of three pioneering collaborative earrings that serve as the physical manifestation of Shared Authorship. Parungao’s dangling pieces feature meticulously set gems and Akoya pearls, nested within silver dipped in yellow gold. In these works, the rigid, structural ‘grid’ of Virata Mempin’s geometric world finds a new, fluid soul. The angularity of the silver-gold forms acts as a modern cradle for the organic luster of the pearls, transforming Virata Mempin’s two-dimensional ‘organized chaos’ into wearable, three-dimensional sculptures that move with the wearer.
This joint exhibit diffused the gap between viewing and wearing. Where Virata Mempin dealt with visual narrative, Parungao translated this emotion into form. His canvas became a starting point, while her jewelry developed a continuation. It is in this intersection of narrative and embodiment that their collaboration found its most compelling expression because what began as image became an object; what was merely observed flattened into something worn. Art suddenly shed its usual constraints, became something far more personal, something anyone doesn’t just encounter, but really carries. It evolved into something wherein audiences encountered a certain story hanging on the wall, and then, almost without realizing it, they were invited to carry with them a piece of that story.
For Virata Mempin, this collaboration has allowed him to explore how two-dimensional geometric abstraction can find a physical, three-dimensional soul through jewelry. Parungao, meanwhile, admitted that the conversation is strongest in the pieces where the angularity of Virata Mempin’s lines perfectly cradles the curves of her jewelry designs. Because of this unique collaboration, Virata Mempin underscored how both of them learned that their individual creative voices were not diminished, but rather enriched. “This is what happens when we leave room for another artist’s vision,” he smiled.
What made this partnership particularly resonant was how it challenged the boundaries we often place between art and adornment. Jewelry, in Parungao’s hands, resists being reduced to a mere accessory. It becomes sculptural, conceptual, something closer to collectible art than ornament. Meanwhile, Virata Mempin’s work gains a new dimension through this translation, its narratives no longer fixed in place, but allowed to move, to shift, to be reimagined through the wearer.
This kind of cross-disciplinary creative dialogue feels not only relevant, but essential. It raises a compelling question about what happens when art refuses to remain static. True art lovers, collectors, and connoisseurs understand that art, at its most powerful, is not simply meant to be observed or admired—it is meant to be lived with, experienced, and shared. The collaborative exhibit of Mitzi Parungao and Aaron Virata Mempin stands as a vivid testament to that shared artistic vision.
For more information about this exclusive exhibit, contact the Rotary Club of Makati, Inc., MRCFI Building, 8001 Camia St., Guadalupe Viejo, Makati City, Philippines or call: (63 2) 899-7863 to 65. Follow or contact Filipino geometric abstract artist Aaron Virata Mempin via his Socials—IG: @aaron.virata.mempin / FB: Aaron Virata Mempin – Artist / Tiktok: @aaronviratamempin / YT: @aaron.virata.mempin / X: aaronviratamemp or email him at avmsartworks@gmail.com and Mitzi Parungao through https://www.instagram.com/_mitzijewels_/.
Conrad Manila unveils the 41st installment of its highly acclaimed Of Art and Wine series with Harbinger Metropolis by Ivan Co, now on exhibit at Gallery C until 25 July 2026. Featuring ten visually compelling and thought-provoking kinetic sculptures, expertly curated by resident curator Nestor Jardin, this latest exhibition offers a powerful meditation on the accelerating pace of progress, and the choices humanity faces on the threshold of an unpredictable future.
“Ivan Co’s works are a compelling centerpiece to the celebration of Conrad Manila’s 10th anniversary this June,” said Rupert Hallam, general manager of Conrad Manila. “Magnificent in form and profound in meaning, the collection invites guests to reflect on both the uncertainty and the boundless possibilities of what lies ahead. It seamlessly aligns with the hotel’s commitment to providing meaningful and enriching experiences.”
Harbinger Metropolis showcases ten meticulously crafted automaton, gravitram, and pendulum sculptures adorned with semi-precious gemstones. Through these dynamic works, Co depicts a world in constant motion, alluding to the transformative shifts already underway. Rather than offering definitive answers, the collection sparks curiosity and encourages viewers to contemplate the evolving landscape shaped by rapid technological advancement.
“The intricate gears of the automaton, the relentless journey of the gravitram, and the hypnotic swing of the pendulum all serve as harbingers, which are symbols of the accelerating change that will inevitably reshape our urban landscapes and our very existence,” featured artist Ivan Co shared. “Through this collection, I invite all viewers to confront the precipice of a new era, where the boundaries between utopia and dystopia blur into an uncertain horizon,” he added.
“The intricate gears of the automaton, the relentless journey of the gravitram, and the hypnotic swing of the pendulum serve as harbingers, symbols of accelerating change that will inevitably reshape our urban landscapes and our very existence,” shared featured artist Ivan Co. “Through this collection, I invite viewers to stand at the precipice of a new era, where the boundaries between utopia and dystopia dissolve into an uncertain horizon.”
The exhibit’s opening ceremony was attended by distinguished guests, including Elizabeth Sy, President of SM Hotels and Conventions Corporation; Peggy Angeles, Executive Vice President of SM Hotels and Conventions Corporation; Rupert Hallam, Conrad Manila’s General Manager, and featured artist Ivan Co.
All artworks on display at Gallery C are available for acquisition. For inquiries and more information, guests and art collectors may contact (63 2) 8833 9999 or email Conrad.Manila.info@conradhotels.com.
What does it take to trade a twenty-year corporate career for a canvas? For Filipino artist Aaron Virata Mempin, the transition from brand strategy to geometric abstractionist wasn’t a goodbye to his past, but a masterful evolution of his future.
In the traditional art world, we often imagine the creator as a solitary figure locked away in a studio. But walk into a gallery featuring Virata Mempin, and that myth quickly dissolves. For this abstractionist, art isn’t just a monologue; it is a high-energy conversation. Virata Mempin is building a “Collaborative DNA” that is shaking up the local scene by treating his practice as a platform for shared authorship, he’s proving that in the Manila art world, two (or three) heads are officially better than one.
Filipino Geometric Abstractionist Aaron Virata Mempin with one of his solo works, “Paglubog ng Araw”.
From Boardroom Strategy to Shared Canvases
Virata Mempin’s transition from marketing to full-time artist was an intentional evolution. He speaks the language of inventory and reach, running his studio like a professional enterprise.
“Marketing taught me that art is not just about the canvas, but also about sustainability and numbers,” he explains. “I treat my private space as my research and development phase, while exhibitions are the launch. I balance them by keeping a strict schedule that honors both the need for solitude and the necessity of public dialogue.”
This strategic foundation is bolstered by his partnership with his wife, Daianne Moreno-Mempin, whose social enterprise Katha Pilipinas fosters creative leadership and sustainable livelihoods.
The “Bridges” Exhibit: Mentorship in Motion
Currently housed in Navita’s Haus, a repurposed 1970s home in Poblacion turned creative hub, the Bridges, an exhibit (running until March 28, 2026) serves as the physical manifestation of Virata Mempin’s philosophy
“Ang Magtataho” A collab work by Nikolai Quiambao, Zaha Cruz, and Filipino geometric abstractionist Aaron Virata Mempin.
Founded by educator Elo Coronel-Quiambao, Navitas Haus provides a “home-like” backdrop where art and community naturally converge. Here, Virata Mempin’s meditative lines meet the raw energy of the next generation: budding artists Zaha Anatalia M. Cruz and Nikolai C. Quiambao.
The artists beside their collab work “Ang Magtataho”. (From Left) Nikolai Quiambao, Zaha Cruz, and Filipino geometric abstractionist Aaron Virata Mempin. The Bridges exhibit is now showcased at the Navitas House in Poblacion, where Quiambao and Cruz are learners.
“Working with Nik was refreshing,” Mempin reflects. “Her take on the Creation of Adam brought a new energy that my geometric lines naturally flowed with. It feels like a perfect bridge between her classic inspiration and my modern abstract style.” He adds that adding his signature lines to Zaha’s colorful sari-sari store felt like bringing a modern touch to a classic Filipino scene.
The Power of “Organized Chaos”
In a creative space that often rewards visual drama, Mempin’s work stands for subtlety. He describes his trademark as “organized chaos,” using geometric lines to invite deeper, personal conversations.
The artists beside their collab work “Ang Magtataho”. (From Left) Nikolai Quiambao, Zaha Cruz, and Filipino geometric abstractionist Aaron Virata Mempin. The Bridges exhibit is now showcased at the Navitas House in Poblacion, where Quiambao and Cruz are learners.
For Virata Mempin, restraint is power. It is the art of knowing when to stop, allowing space for the viewer to breathe. By embracing his non-traditional background, he has found the confidence to treat the canvas as a communal space. “I’ve been surprised by how people sense the calmness they feel,” he notes. “It proves that geometric language is truly universal.”
Why “Shared Authorship” Matters
In a city defined by the constant competition for space, Virata Mempin’s “organized chaos” and minimalist horizons offer a quiet alternative. His work built on a singular realization: art is not a solo journey. By championing shared authorship, Virata Mempin transforms the canvas into a discourse, proving that the Filipino spirit of Bayanihan can thrive in the contemporary art world.
“Collaboration prevents my practice from becoming static,” Mempin explains. From past partnerships with legends like Dominic Rubio and Quiccs, to international projects with Huw Richards Evans, Mempin acts as an ambassador for connection.
“The Touch”, a shared work by Aaron Virata Mempin and Nikolai Quiambao.
2026 Collaboration Roadmap
This year, Mempin’s calendar underscores his commitment to cross-disciplinary alliance:
April: Art x Streetwear – A collaboration with Jeff Cordova of JAAM Customs to merge visual art with bespoke sneaker design at Easter Coffee Club, Antipolo.
May: Art x Craftsmanship – An intersection of fine art and jewelry with Mitzi Parungao (Mitzi Jewels), in partnership with the Rotary Club of Makati.
July: Mentorship – A return of the Bridges exhibit, extending his platform to a new group of young, aspiring artists.
Ongoing: Masters & Institutions – A joint exhibit with Ronna Manansala at Altro Mondo Creative Space, and the Lux in Altum show at Ateneo De Manila University featuring Ricky Francisco and Lala Tuazon.
Art Without Borders
Looking ahead, Mempin envisions his work evolving into large-scale public installations and global stages. Beyond sales, he measures success by his legacy of opening doors. “If my work facilitates meaningful exchanges between people, then I’ve succeeded,” he concludes.
“Pinwheel”, a solo work by Geometric abstractionist Aaron Virata Mempin, inspired by the Pililla Wind Farm and his childhood memories of blowing pinwheels with friends.
Catch the Magic Before it Moves
Ready to see how these “bridges” are built? The clock is ticking on his current show. Don’t miss the chance to see how a corporate-strategist-turned-artist is making the Philippine art scene a lot more inclusive, one line at a time. Visit “Bridges” at Navitas Haus, Poblacion, before March 28.
For audiences increasingly drawn to work that offers quiet space instead of sensory overload, Virata Mempin’s art provides a compelling alternative, one that reminds us that sometimes, the most resonant statements are made quietly… and together.
To know more about Filipino geometric abstract artist Aaron Virata Mempin, his masterpieces and future collaborations, follow or contact him via his Socials—IG: @aaron.virata.mempin / FB: Aaron Virata Mempin – Artist / Tiktok: @aaronviratamempin / YT: @aaron.virata.mempin / X: aaronviratamemp or email him at avmsartworks@gmail.com.
When it started in 2005, the CCP Pasinaya: The Open House Festival had only its resident companies on board, with an estimated 1000 audiences inside the CCP Main Building. Twenty years later, it has grown into the country’s largest multi-arts festival, fostering artistic exchange and genuine connections.
Its growth was not achieved overnight. It required sustained care, extensive connections and collaborations, and thoughtful planning and execution to become what it is today. With over 40,000 attendees last year alone, CCP Pasinaya’s success grows every year. Its commitment to engage audiences, nurture Filipino artists, and spark Philippine arts and culture appreciation in the next generation remains unwavering.
Much of this success can be attributed to performing groups and artists, like Komedya ng Don Galo (KDG) and Lipa Actors Company (LAC), who continue to volunteer and showcase their talents year after year.
A stage for performing groups’ stories
“Back in 2011, we were a young theater company still developing our voice, so joining such a distinguished festival [CCP Pasinaya] was both unexpected and deeply affirming,” recalled LAC artistic director Peregrine Santiago.
LAC began in 2008 when its pioneer members gathered for the Dulaang Viajero Filipinas Performance Lab, a project sponsored by the Lipa City Culture & the Arts Council. Luisito Nario, the group’s founder and former artistic director, formed the non-profit organization with the vision to advance theater arts in Batangas and the CALABARZON region.
Besides the financial pressure of sustaining a local theater group, LAC finds it challenging to keep its members together. “Funding is a constant uphill battle, but beyond that, balancing schedules while trying to move our productions forward is a tough act to pull off,” explained Santiago.
Two years after its birth, LAC became the first theater group from Lipa City, Batangas to perform at the CCP Pasinaya in 2010.
Meanwhile, KDG, a community-based theater organization composed of current and former students of Don Galo Elementary School in Parañaque City, found out about the festival when they mounted a production, with Malou Macatuggal at the helm, at the CCP Little Theater in 2005. They heard about the festival from CCP’s former artistic director Nanding Josef. The group joined CCP Pasinaya in 2005 and has been returning ever since.
When Jess Macatuggal became the director of KDG in 2017, he confessed that he had no idea about the CCP Pasinaya and its impact. “Doon ko mas nakita na kinikilala pala siya [CCP Pasinaya] sa buong Pilipinas.”
Acknowledging the financial strain in pursuing KDG’s goal to revitalize comedy-drama theater in the Philippines, Macatuggal lamented the lack of proper recognition from the local government to sustain theater organizations like the KDG.
Leading a group of 60 members, Macatuggal encourages young artists to join auditions: “Mas maganda kasing makita ninyo ang sarili niyo sa entablado kaysa ‘yong nanonood kayo tapos puno kayo ng pagsisisi kasi hindi kayo nag-try.”
An inspiring space for tenacity and resilience
Much like LAC and KDG, CCP Pasinaya has braved difficulties in its 20 years. When the COVID-19 pandemic hit in 2020, CCP Pasinaya had to cancel its performances and workshops. With the scarcity of face-to-face gatherings, the multi-arts festival switched to online editions.
Macatuggal was especially worried for CCP Pasinaya’s future back then. When the festival returned in 2023, he and the KDG debuted their comedy-drama iteration of Francisco Balagtas’ “Florante at Laura.” The memorable showcase comforted and reminded them that the performing arts sector is alive and well.
“Nung buhay na ulit ‘yong Pasinaya, nakita namin siya bilang sign na buhay na ulit ang entablado. Makakapagkuwento na kami ulit,” Macatuggal shared with a smile.
Santiago, on the other hand, saw the CCP Pasinaya stage as a crucial contributor to LAC’s identity: “We have built a connection with the festival audience. In 2016, we premiered our musical adaptation of Rene O. Villanueva’s ‘Santa Butsiki, Ang Unang Baboy sa Langit’ [at CCP Pasinaya], and laughter just filled the venue.”
A home built from candid connections
An annual festival happening every first weekend of February, CCP Pasinaya continues to attract performing art groups from all over the country. It inevitably creates a community that views art and self-expression as a necessity while nurturing emerging talent.
“It’s a rare moment when artists from all over the country come together, and CCP Pasinaya gives us the chance to perform at the CCP. That just adds meaning and inspiration to every performance,” said Santiago, recognizing the great honor of representing Lipa City, Batangas on a nationally recognized cultural landmark.
Macatuggal echoed the same sentiment of looking forward to meeting fellow artists, as it fuels KDG’s drive to tell stories. He reiterated, “Sobrang festive ng feeling kaya uuwi at uuwi talaga kamisa CCP para sa Pasinaya.”
A cultural landscape for nation-building
This year’s CCP Pasinaya embodies the theme “Paglikha sa Kinabukasan.” Carrying the inspiration instilled by the festival, LAC and KDG perform on its stage once again with renewed dedication to celebrate and nurture Philippine arts and culture.
Through its staging of “Komedya Palanyag,” KDG encourages young audiences to participate in shaping the future of the Philippines’ artistic landscape: “Anong ginagawa mo para makamit ‘yong kinabukasan na ‘yon? Laging nand’yan ang pag-asa pero ‘di sapat na umaasa lang tayo.”
For its CCP Pasinaya performance in 2026, LAC will mount a theatrical reimagining of one of Batangas’ most cherished legends, “Ang Pag-ibig ni Kumintang.” “The future is always unknown, but I truly believe that if we look back at our history and learn from the past, the future becomes much clearer and more meaningful,” expressed Santiago.
Watch the performances of KDG at 1 p.m., at the CCP Tanghalang Ignacio Gimenez (TIG), and LAC at 4 p.m., at the Met Theater in Manila on February 8. Following the “pay-what-you-can, watch-all-you-can, and workshop-all-you-can” strategy, festival-goers can catch free shows during CCP Pasinaya 2026, along with other performances and activities.
Pre-registration is now open at https://bit.ly/pasinaya2026. For more updates on CCP Pasinaya’s festival components, follow the CCP’s official accounts on Facebook, Instagram, and TikTok. You may also visit its website (www.culturalcenter.gov.ph) to learn more about upcoming productions, workshops, and lectures.
This February, art steps beyond gallery walls and into the heart of the city as select Ayala Malls in Makati transform into living canvases for Art Walk by Ayala Land. Running from January 30 to February 8, the initiative brings works by leading Filipino and international artists into everyday spaces. Through this participation, Ayala Malls strengthens its role as the Filipinos’ third space – where shopping gives way to discovery, learning, and shared cultural experiences.
Created with RNI Films app. Profile ‘Agfa RSX II v.2’
Conceived as a complement to Art Fair Philippines, Art Walk reflects Ayala Land’s belief that art shapes communities and enriches city life. It extends the fair experience into the city’s everyday spaces – into places where people walk, gather, shop, and commute.
“Art Walk by Ayala Land is one of the most anticipated cultural events in the metro, and we’re proud to host it in Ayala Malls,” said Mae Dichupa, Ayala Malls’ Head of Marketing and Consumer Experience. “Bringing art closer to communities through our malls allows more people to discover and enjoy it in meaningful, everyday ways.”
Visitors can encounter Ronald Ventura’s Carousel at Ayala Malls Circuit, a large-scale public artwork that blends fantasy and movement. At the Greenbelt 5 Gallery, Mich Dulce’s Nagsasalitang Ulo and Joel Wijangco’s Art 2 Wear bring together fashion and storytelling through wearable art. At One Ayala, Greenbelt, and Glorietta, Isaiah Cacnio’s Between Thoughts appears on digital screens, offering brief moments of reflection within the rhythm of the city.
From January 26 to February 8, Greenbelt and Ayala Foundation host Mothering/Unmothering, a multidisciplinary exhibition by Triangulum and curated by Vanini Belarmino that reflects on women’s lives, care, and autonomy. Among the works on view in Greenbelt and Ayala Museum is Tekla Tamoria’s AlterBibo, 2026, a deeply personal installation that traces themes of care, mothering, and becoming. On February 7, Lilibeth Cuenca Rasmussen’s presentation The Mitochondrial Eve invites audiences into an intimate reflection on motherhood and identity. Earlier in the run, Lynn Lu’s performance Be Afraid Only of Standing Still moved through Ayala Museum, Greenbelt, and Ayala Triangle Gardens on January 29.
All installations hosted in Ayala Malls are free and open to the public. Art Fair Philippines ticketholders may also enjoy exclusive dining offers at Ayala Malls Circuit from February 6 to 8, with participating restaurants including Black Canyon, Buffalo Wings N’ Things, Etan Drew’s Gourmet Meat Pie, Mang Rudy’s, and Texas Roadhouse.
Through Art Walk by Ayala Land, Ayala Malls continues to transform its spaces into environments for pause, discovery, and connection, bringing art closer to everyday life.
The public is invited to experience the artworks across participating Ayala Malls locations. For schedules and updates, visit www.ayalamalls.com and follow Ayala Malls on social media.
Immerse yourself in a vibrant artistic journey of Manila and Pasay’s rich cultural landscape through Paseo Museo hop-on, hop-off museum tour at the CCP Pasinaya 2026, The Open House Festival: Paglikha ng Kinabukasan.
On February 7 and 8, visitors who register for CCP Pasinaya can take the free shuttle provided by the Museum Foundation of the Philippines at the Paseo Museo terminal along Vicente Sotto Street and explore 19 museums and galleries across the cities. The CCP Pasinaya follows the pay-what-you-can, watch-all-you-can scheme.
Beyond their permanent collections, these venues will also host special shows by volunteer artists and performing groups, offering visitors an extraordinary opportunity to experience live creativity and performance alongside visual treasures.
Don’t miss the curated tour component of the country’s largest multi-arts festival to celebrate Filipino artistry in all its forms, from paintings and installations to music, dance, and theatre – all in one sweeping cultural adventure in these venues:
ADAMSON UNIVERSITY – serves as a hub for art and photography exhibits, featuring works from both established and emerging artists since its inauguration in 2005. It also functions as a holding area for distinguished guests of the theater, further enhancing its role as a cultural and artistic venue.
Performances on February 7 include: “The Art of Choral Singing: Breath, Blend, and Balance” by Mr. Rufiel Aniceto, Conductor, Adamson University Chorale; “From Steps to Stories: Folk Dance Fundamentals” by Ms. Cecile Obusan-Domingo, Coach, Adamson University Dance Company – Folk & Dancesports; “Beat on the Streets: Dance Workshop” by Mr. Jasper Almario, Members of UPeepz and Coach, Adamson University Dance Company; “From Lens to Story: Visual Stoytelling Workshop” by Mr. Seymour Sanchez, FDCP Representative; and “From Concept to Creation: Sculpting Basics” by Mr. Sven Wilbur Lim, Exhibit Artist, “Living Pages” Exhibit.
Performances on February 8 include: Brass Band of Adamson University, Adamson Dance Company Dance Performance, Adamson University Chorale, Adamson University Acoustic Band, and a Rap Battle.
ASIAN INSTITUTE OF MARITIME HISTORY (MUSEO MARITIMO) – established in 2012 to promote and safeguard the Philippines’ maritime heritage, the museum proudly presents a curated collection of artifacts and exhibits that weave together the intricate narrative of the nation’s maritime legacy.
Performances on February 8 include: “Mga Tula ng Pag-asa” by Sining Maritimo; The Storytelling Project; “Hiraya X L.O.V.E. Track” by Layag Collective; and Pasay Writers.
BAHAY TSINOY – the premier cultural and lifestyle museum depicting the lives of the Chinese in the Philippines from pre-colonial to contemporary periods. Bahay Tsinoy documents, interprets, and communicates to a diverse audience about the evolution of the Tsinoy or Chinese Filipino, in order to propagate and perpetuate the imprint, impact and influence of the Tsinoy ethnic minority in mainstream Philippine society.
Performances on February 8 include: “Madre Tierra” by University of Santo Tomas Legazpi – Junior High School, Special Program for the Arts; “Tatlong Ministrong Pulpol” by Artist, Inc.; Angono Tres-Siete Poetry Society; “Ang Daigdig, Sa Kaniyang Dulang Astig” by UE Drama Company; and “Nahan, Rondo, Bagong Pasadoble, Raindrops, OPM Medley” by De La Salle Zobel Rondalla.
BALUARTE DE SAN DIEGO – the first stone fort in Manila turned into an archeological park. The garden area – which was once the site of a foundry and soldier’s barracks – is today rented out for private functions. The 16th century stone ruins provide a unique backdrop, while the fountain and pergola complete the perfect setting for special events and occasions.
Performances on February 8 include: Pasig City Symphonic Band, Banda Kawayan Pilipinas, and Quezon City Symphonic Band.
CALLE WRIGHT – a distinct art venue and cultural space in Malate, Manila. It is housed in a two-storey 1950s residence that was lovingly restored, maintaining original architectural features like jalousies, grills, and the layout of a lived-in home.
Performances on February 8 include: Philippine Board on Books for Young People with Teacher Portia; “Doon sa Sulok…In the Corner” by Dulaang Batangan; Mary Melody Remorca; and Mark Ghosn with Ampalaya Monologues.
CASA MANILA – a living museum that features the lifestyle of an affluent Filipino family during the late Spanish colonial period. The interior decor of the house reflects the turn of the late 19th century where furniture and furnishings were sourced from Europe and China. Painted walls, crystal chandeliers, carved traceries, Chinese ceramics and gilded furniture show the elegance and luxury of a 19th century Manila house.
CENTRO DE TURISMO – offers an immersive experience into the rich history, vibrant present, and sustainable future of Intramuros. Exhibits and historical artifacts will take visitors on a journey through the Walled City’s pre-colonial roots, its role as a Spanish colonial center, the devastation of World War II, its ongoing revitalization, and its future development.
Performances on February 7 include: Reflections on and Reframing of the Circular Economy Through Photojournalism by Photojournalists Center of the Philippines; Coaching Child-led Machinations by Kolaborador Co; Creative Storytelling by Ang Pinoy Storytellers; “POV: Ikaw ‘yung nasa mic (Gabay sa Mabisang Pagtatanghal ng Spoken Word)” by Titik Poetry; and Eksena ng Paglalaro by EksenaPH.
Performances on February 8 include: Linangan sa Imahen, Retorika, at Anyo (LIRA), Manila Symphony Junior Orchestra, KM 64, Eastern Chamber Singers, Koro Ilustrado, and UE Drama Company with Mark Norman Boquiren.
MUSEO DE INTRAMUROS – comprises two important reconstructions: the San Ignacio Church and the Mission House of the Society of Jesus. As the name denotes, the complex now houses the vast ecclesiastical collection of the Intramuros Administration.
Performances on February 7 include: “Isang Mahabang Latag Para sa Pasinaya” by Urban Sketchers Manila; “The Art of Graphic Design: An Overview” by Edward Nonay; “Basic Cartooning and Character Design” by Samahang Kartunista ng Pilipinas; “The Art of the Monologue” by Mark Ghosn of Ampalaya Monologues; and “Mga Kuwento at Kasanayan para sa Kabataan” by StoryArts with Melody Remorca and Company.
GSIS MUSEO NG SINING – established in 1996, the GSIS Museum showcases their rich art collection of National Artists for Visual Arts such as Fernando Amorsolo’s “History of Philippine Music” mural, as well as exhibitions from new and upcoming Philippine artists.
Performances on February 7 include: “Papet Palihan Basic Puppetry Workshop” by Puppet Pilipinas’ Ernie Sarangaya; “Giri sa Subli” by Manunubli ng Sinala; “From Document to Performance: Whose Story Is It?
(An Introduction to Documentary Theatre)” by Joseph Victor Deseo; and “(I-)Record Natin: Pakikisalamuha sa Buhay at Kasaysayan ng Musika” by UP Center for Ethnomusicology with Lisa Decenteceo and Grace Buenaventura.
Performances on February 8 include: Philippine Normal University’s Kapisanang Diwa at Panitik (PNU KADIPAN). Makabayang Musikero Laban sa Tiwali (MAMULAT-PNU), Philippine High School for the Arts’ Sanghiyas Pangkat Mananayaw; “Dito sa Atin” by Olongapo City National High School Special Program in the Arts; and “Sanlahi” by Bungkos Palay Dance Company.
MANILA CLOCK TOWER MUSEUM – designed by Architect Antonio Toledo in the 1930s, the iconic clock tower is accessible through Manila City Hall and stands at 100 feet high. Transformed into a museum in 2022, the Manila Clocktower Museum features an immersive and multi-sensory experience about the history of Manila, and also features changing exhibitions in the visual arts, design and fashion.
MUSEO DE INTRAMUROS – a major cultural and heritage museum located in the historic Walled City of Intramuros, Manila. Managed by the Intramuros Administration, it serves as a centerpiece for understanding the Philippines’ religious and colonial history through art and artifacts.
MUSEO PAMBATA – Museo Pambata is a children’s interactive museum, the first of its kind in the Philippines. It aims to provide an alternative to the formal classroom environment, engaging the minds of the young, inspiring them to learn more, and revitalizing what child education should be – fun and exciting!
Performances on February 8 include: Makati City Youth Orchestra, Ligao National High School Rondalla, Kuwentistang Laybraryan, 8 Letters, and Cavite Writers Association.
MUSEUM OF CONTEMPORARY ART AND DESIGN (MCAD) – a non-collecting art institution under the De La Salle-College of Saint Benilde that considers the larger ecosystem of the Philippine art scene, the Museum of Contemporary Art and Design (MCAD) Manila presents exhibitions, learning, and publications programs; as well as other cultural and art-inspired undertakings in collaboration with local and international artists and institutions.
NATIONAL MUSEUM – ANTHROPOLOGY – stages the Philippine ethnographic and terrestrial and underwater archaeological collections narrating the story of the Philippines from the past, as presented through artifacts as evidence of its pre-history.
Performances on February 8 include: “Buhay sa Bukid” by Villamor Banhaw Dance Troupe; “Pagtampil” by Sildab Marcial Performing Group; “Babae: Mukha ng Kultura” by Indak Kustura Dance Co.; “Sayaw Marikit-Na” by Simeona F. Chanyungco Lahing Kayumanggi Mananayaw ng Marikina Inc.; and “Traditional Dances from Bulacan” by Sapang Palay Folkloric Group and Rondalla.
NATIONAL MUSEUM – FINE ARTS – home to 29 galleries and hallway exhibitions of 19th century Filipino masters, National Artists, leading modern painters, sculptors, and printmakers. Also on view are art loans from other government institutions, organizations, and individuals.
Performances on February 8 include: “Pinoy Ako!” by Teatro Assumptionista; “Pluma’t Itak” by Student Theater Artists Repertory; “Batang Rizal Muzikal” by Dulaang Filipino; “She” by Guang Ming Theatre Ensemble; and “Articulo Mortis” by Teatro Dalubaral.
NATIONAL MUSEUM – NATURAL HISTORY – houses 12 permanent galleries that exhibit the rich biological and geological diversity of the Philippines. It includes creatively curated displays of botanical, zoological, and geological specimens that represent our unique natural history.
Performances on February 8 include: “Los Sueños del Estranghero” by University of Santo Tomas (UST) Salinggawi Dance Troupe; Lyceum of the Philippines University (LPU) Concert Singers; “Kapusokan, Kalikasan, Katiwalian” by Saliwindakan Shrine of Jesus Children and Youth Choir; and “Madya! Mag-ogma! Kulturang Bikolano, i-selebrar ta!” by University of Santo Tomas (UST) Legazpi Dance Troupe.
NATIONAL COMMISSION FOR THE CULTURE AND THE ARTS (NCCA) GALLERY – the exhibition space of the NCCA in Intramuros, Manila. It is a public contemporary art venue dedicated to showcasing Philippine art and cultural expression.
PWU-SFAD JOSE CONRADO BENITEZ GALLERY – located inside the Philippine Women’s University, the School of Fine Arts and Design Studio Gallery holds numerous exhibitions that showcased works of PWU alumni, students, faculty and organizations. It is designated as a studio gallery by setting itself as a laboratory for academic study, artistic exploration and inquiry.
UNIVERSITY OF THE PHILIPPINES (UP) MANILAMUSEUM OF A HISTORY OF IDEAS – a university museum that is designed to explore and interpret intellectual history, particularly the history of ideas that shaped the university and, by extension, aspects of Philippine society.
Performances on February 7 include: “Basic Cartooning and Character Design” by Samahang Kartunista ng Pilipinas; “Nilala: Cultural Revival and Sustainable Impact of Mauban’s Buri Weaving” by Anabelle Calleja; “Zine Workshop” by Ang Ilustrador ng Kabataan; “Kumpas at Kasangkapan: An Exploration on a Philippine Dramaturgy” by Jonas Garcia; and “Explorations in Relief Printmaking using Sintra Board as a Matrix” by Association of PinoyPrintmakers.
Performances on February 8 include: LIMUYAT: Limbagan ng mga Manunulat sa Unyon ng Yugmang Adhika at Tanghalan mula sa Lucena; “Dalaga na ba ako” by Pink Team; Rizal Technological University (RTU) Himig Rizalia; “Pagtan-aw” by Sta. Teresa College Children’s Choir; and “Klasikal” by Tribu.
The CCP Pasinaya: Paseo Museo tours start at 9am, with the last trip at 4pm on February 7 and 8, 2026. The multi-arts festival is simultaneously held at CCP Complex, Circuit Performing Arts Theater, various partner museums and galleries in Metro Manila, and Roxas City. It also makes a highly anticipated return to Iloilo City headed by the Iloilo Museum of Contemporary Art (ILOMOCA) and Tagum City (Davao del Norte) with the Musikahan sa Tagum Foundation, Inc. This is in partnership with the networks of the CCP Kaisa sa Sining.
Follow the official CCP social media accounts on Facebook, Instagram, X, and TikTok for the latest updates.
