Flowers that range in size from tiny and delicate to lush, dinner plate-like dimensions bloom in an ongoing exhibit at ARTablado at Robinsons Antipolo. The exhibit features the works of members of Unified Artists Society (UAS) that was formed last May.
Rey “Ser Rey” Adolfo, Box Populi, Anne Margaret Villanueva, Minda Santa Maria, Jonna Fe Custodio-Adraque and Juvy Teope Mago banded together with the aim “to elevate the world of art to the highest level possible.” By providing an avenue for local artists to showcase their talent, the original group of five has since doubled and tripled in number.
In less than a year, they have gone on to stage four events and five group shows. “Indayog ng Kalikasan (Dances of Nature): An ode to nature in celebration of Women’s Month” is their sixth group show, which runs until March 15 at the upper ground floor of Robinsons Antipolo’s main mall.
UAS has attracted artists both young and established because of their openness. “We also do mentorship and share our knowledge with aspiring artists,” said Adolfo. “We believe art can be a powerful force for positive change and cultural celebration.”
The theme Dances of Nature was chosen to mark Women’s Month but it was also since many of the participating artists are women whose creations celebrate the country’s diverse flora and fauna. “[The exhibit] showcases the artists’ love for nature. UAS places value on the environment and on the image of women as enchanting and full of beauty,” Rey added.
“We also hope to spread awareness about the plight of our environment. We want to help people recognize the beauty in diversity, the strength in vulnerability, and the endless capacity for growth and renewal. [The aim of the exhibit is] too inspire people to a deeper reverence for all that is around us and give tribute to the spirit of beauty inherent in all of us.
The group chose ARTablado for their latest group exhibit because, as Adolfo pointed out, “the venue is well known among the artistic community and has enough space to showcase the works of a big group of artists. The name ‘ARTablado’ works like a magnet for artists who want to exhibit their works. It also helps that the people handling it are doing a great job.”
Adolfo then shared a few tips for young artists: “Do not be lazy when you are creating. As you create art, you learn more and become more attuned to the natural world. Avoid rushing through the creative process and turning in mediocre work. Lastly, if you plan to include your work in an exhibit, make sure it is presentable because the finished product speaks volumes about the person.
“Indayog ng Kalikasan (Dances of Nature): An ode to nature in celebration of Women’s Month” features the works of Abe Tejada, Abegail de Luna, Alexander Balmaceda, Ameer Catandihan, Angie Lazaro, Anne Margaret Villanueva, Benn Mar Pauig, Bernadette de Leon, Box Populi, Cristina Alsol, Christy Lagrada-Tabuldan, Edilberto Decillo, Elanor Oberio, Elias Pernecita Jr., Ferdinand Sanchez, Gary Montenegro, Jaime Agudos Tacuyan Jr., Jay Dy, Jem Garcia, Jessa Velonero, JL Timbreza-Siao, Joahna Bonifacio-Luna, Jonna Fe Custodio-Adraque, Julie Ann Tacapan, Juvy Teope Mago-Abne, Karla Maria Fabon, Konica Faustino, Leandro “Lenny” Gatapia, Marie Claire, Marie Criselda Basilio, Minda Sta. Maria, Nathaniel Umali, Ramon Sediego, Rein Jadie Gile, Ser Rey, Tina Aldana-Cabantog, Ton Munoz and Yana Orais.
It has been a while since I’ve seen an original Filipino production that really moved me in the magical way that a good theater show really does. That ones that do are usually revivals (so you know that these are new, creative restaging of tried and tested works) or they are new jukebox musicals, in which case, they are hampered down in terms of concept and narrative structure because of the parameters of the existing songs. While based on a film by Kip Oebanda, ‘Bar Boys: A New Musical’ has such vibrant energy that is rooted in its wonderful cast and an excellent book that any of its weaknesses are overshadowed by all the play’s strengths that I found myself laughing loud, crying in certain scenes, and leaving the theater energized and inspired.
Directed by Pat Valera and Mikko Angeles, with book by Pat Valera and all new songs and music by Myke Solomon, ‘Bar Boys: A New Musical’ is an exciting new production that manages to capture the idealism and verve of the youth while also navigating this revolutionary spirit through the harsh realities of the world.
The play is, afterall, about four young friends who enter law school. Erik, Chris, Torran, and Josh come from very different backgrounds, but they all have the best of intentions in becoming lawyers. In fact, right before they enter law school, they are part of rally for their presidential pick – and based on the colors and the sentiments that are ingrained in the song, you know who they are voting for – and we see their hopes and dreams in full view. And then we see it struck down by the realisation that their beliefs are not shared by the rest of the country and the other candidate wins instead. They are now more galvanized than ever to enter law school to change the world.
Bar Boys set | Photo by Kyle Venturillo
The play’s first act then goes through the highs and lows of the four law students as they face various challenges and harsh realities: demanding teachers, fraternities, the demands of law school, and their own interpersonal relationships begin to suffer. Each one is also defined by their own backstory. Erik comes from a humble background, with his single father working as a security guard for a factory. Torran is a legacy child, whose loving mom can be a bit overbearing in her hopes that her son can also become a lawyer and carry the family tradition. Josh is filled with the youthful enthusiasm to change the world – he’s an environmentalist with hopes of using his law degree to make significant changes to the injustice of the world. Chris is the wealthiest of the four, and the most hard-working with the most go-getter attitude of the bunch. But Chris and Torran have secrets that will add another layer of challenges for them to deal with as the play unfolds further.
The first act is both funny and harrowing – detailing the difficult life of law students and how much they have to sacrifice to be able to meet their dreams. The worst part is the cold hard reality of how unjust this world is starts to bear down on them while still in school. It’s just a taste for what’s to come for all these characters.
The four leads are all terrific actors. Omar Uddin is extremely charismatic as Josh. Uddin keeps Josh from becoming the typical probinsyano stereotype. He incredibly shifts from Bisaya to English to Filipino, code switching when needed, showing off his dynamic skill sets but when reality rears its ugly head, Uddin manages to show Josh’s fragility in such a manner that makes you care for him as well as invest in his sudden transformation. Jerom Canlas is solid as Torran. He’s not as flashy as a performer at the other leads but when Torran’s secret is discovered halfway through Act One, the added nuance to his character allows him to really show off his acting chops. Alex Diaz infuses Chris with so much earnestness that he propels the show forward. It’s Chris’ idealism that serves as the fulcrum that allows the play to really test the limits of justice. Diaz has an innocence that never gets cloying. He makes Chris believable without making him annoying or corny, an incredible feat on his own. But it’s Benedix Ramos who really steals the show. If Alex Diaz fuels the play, Ramos is the show’s beating heart. His Erik is not rich, but he manages to instill such dignity in the character that it becomes the play’s center. All this talk of justice and goodness and righteousness only means something because Ramos has made Erik so symbolic of this and every interaction, he has with Juliene Mendoza (who plays Erik’s dad ‘Paping’) or Shiela Francisco (who plays Justice Hernandez, one of their mentors) the soul of this production.
Alex Diaz plays Chris Carlson, Nor Domingo plays Atty. Maurice Carlson | Photo by Kyle VenturilloSheila Francisco plays Justice Hernandez | Photo by Kyle Venturillo
We see the struggles of these kids as they must grow up so quickly in front of our eyes. There’s a wonderful directorial and production design decision that the four years that transpires in act one is marked by the upgrading of the clothes that characters wear. It’s such a small, tiny thing but it helps create the feeling of the passage of time that adds depth to the play’s story.
The four leads are also very fortunate to have an incredible supporting cast to prop them up. Mendoza and Francisco are incredible (both their scenes near the end are the reason why you must bring tissue to this production) as well as Gimbey Dela Cruz, who plays several characters as well as Torran’s mother. Topper Fabregas is excellent as Victor Cruz, an attorney who also ends up teaching the boys in one class. Rounding up the cast are Nor Domingo, Kakki Teodoro, and Carlon Motabato.
Alex Diaz plays Chris Carlson, Jerom Canlas plays Torran Garcia | Photo by Kyle Venturillo
But I’d really like to take this opportunity to point out what an excellent ensemble this show has. Diego Aranda, Joshua Ade Valenzona, Edrei Tan, Jannah Baniasia, Anne Cortez, Uzziel Delamide, and Meg Ruiz form the world that this play exists in. They are a protean bunch who, in one moment are part of the crowd in the rally or help transition scenes from each other by becoming people riding the MRT but they also end up filling up the classrooms of the law school sequences were they play particular students who have their own personalities. For that one or two lines that they have, they take the spotlight and elicit their own reactions from the audience and then they quickly disappear and become part of the crowd all over again. They are singing, dancing, filling up the spaces, and helping this play feel big and believable. It’s one of the best ensembles I’ve seen in a long time.
The play, though, is not perfect. While a lot of the original songs of Myke Solomon are great, there are some songs that don’t end with any finality – so sometimes the audience doesn’t know how to react; do they clap? Is it over? – while others tend to come off a literal or may be better spoken rather than sung. My biggest gripe comes from the choreography which I find a strange mix of contemporary movements and urban, and street movements. The movements don’t feel natural to the play. The play is so bound in reality, and contemporary themes and language and the choreography feels so classical and old school. There’s also so much of it like in one song, early in Act One, Chris sings about what his dreams are – for a place he can call home – and suddenly, the ensemble comes in and starts dancing around them. It felt so intrusive because this was a tender moment for Chris and his friends. A full-on dance number wasn’t needed at this point in time. There are a lot of moments like this when there’s just too much choreography in the show.
Also, the PowerMac Spotlight doesn’t have the best acoustics or technical components when it comes to sound. So the voices of all the actors are distorted by the microphones and speakers of the venue. It’s such a shame because the play is so rooted in that human element.
But it’s a small gripe when you consider the fact that this show manages to tackle so many different important themes without sacrificing any of the fun of a theater show. It’s very funny but it is also very relevant. And when you talk about justice and youthful idealism, I feel that this play can be quite timeless because the issues that are brought out as case studies for the young lawyers-to-be are morality issues that will be discusses over and over again through time.
And as the play talks about the harsh realities of the world and the cracks and loopholes of the justice system, it still manages to keep the stories very human and relatable. This is best shown in a showstopping number when Josh narrates a big song number about waiting for the results of the bar exams. The fantastic ensemble is on stage and Uddin conducts their emotions and it’s such a powerful, stirring scene that even I got goosebumps in this moment. It was so relatable because the whole first act showed us how hard it was for these people to get to that point.
It’s the way that the book of ‘Bar Boys: A New Musical’ is structured that all the emotional payoffs hit all the right notes.
I would love to see this show again and bring more people onboard. I’m so happy it is doing well because this is a show that really is in synch with the Filipino sense of joy and hard work. It speaks about our hopes and dreams and while it does not shy away from the harsh realities of life, it manages to find an answer to the pervasive question of why we should keep fighting when injustice makes it so difficult for the good people to win.
There’s so much more I want to say but I’ll keep it as simple as this. This show needs a re-run. No objections.
As the premier arts and culture institution in the country, the Cultural Center of the Philippines advocates for an inclusive arts education and participation by providing intensified approaches in upskilling Filipino artists to make them sustainable and competitive in today’s contemporary setting.
This rationale sets in motion a series of workshops, dubbed the Upskilling in Performing Arts Program, aimed at equipping artists with additional skills in art and wellness, festival management, and performance curatorship for modern museums. First launched in 2022, the program was made possible through the congressional initiative of Pangasinan Fourth District Rep. Christopher de Venecia.
It has three major phases – the first phase focused on harnessing the power of the arts, particularly performing arts, in providing psycho-social interventions to individuals affected by natural disasters and other crises. The second phase looked into the artistic and logistic side of festival management. The last phase merged performing arts and visual arts curation.
From November 2023 to March 2024, selected cultural workers participated in the third phase and attended an intensive workshop facilitated by the CCP Visual Arts and Museum Division, with ideas and practice on curatorship, cultural appreciation tours, and artistic explorations.
Selected practitioners from art and cultural institutions, organizations, spaces, and communities from different parts of the Philippines learned various aspects of community-based and ethical curatorship in performance and visual arts, exposing them to different contexts, disciplines, and strategies pertinent to their duties on cultural education and awareness.
As a culminating activity, the project team curated an exhibition featuring documentations of ideas and conversations, exposure trips, presentations, and project plans developed during the workshop. The exhibit opens on May 3, 2024 and runs until June 3, 2024 at the Bulwagang Roberto Chabet (TIG Gallery), located at 3/F Tanghalang Ignacio Gimenez (CCP Black Box Theater).
Aside from the exhibition, the CCP launches the Upskilling Handbook: Workshop Proceedings and Guide to Developing Modes of Care in Curatorship, a product of the intensive workshop intended as a guide for future use. The handbook contains transcripts of the lectures and documentation of the upskilling activities, including discussion prompts, worksheets, and workshop instructions.
Documentation and key elements of the workshop experience have been curated as publication content, enabling readers to further their grasp of different processes involved in cultural work. The handbook is particularly aimed at cultural workers, who are invited to use the materials to inform their professional practice, towards more meaningful and empathetic cultural work.
Authors and contributors include Cecilia De La Paz, Roselle Pineda, and Mark Louie Lugue of the University of the Philippines-Diliman, performance artist and museum worker Nicolas “Nic” Aca, Alain Zedrick Camiling and Lara Acuin of the De la Salle-College of Saint Benilde, Greys Compuesto and Jay Nathan Jore of University of the Philippines-Cebu, Jason Dy, SJ and Pauline Bianca Ma-alat of the Ateneo de Manila University, Katherine Nuñez and Shara Francisco of 98B COLLABoratory, Siddharta Perez of the National University of Singapore Museum, and Adonis Reuel Enciso and Mercedes Marie Tolentino of the CCP Visual Arts and Museum Division.
To get the latest updates onthe Upskilling on Performance & Visual Arts Curation Exhibition, follow the official CCP and CCP Visual Arts and Museum Division (CCP VAMD) social media accounts on Facebook, X, Instagram, TikTok, and YouTube
Diverse cultures, perspectives and artistic styles are showcased in the Art Show Philippines exhibit “Cultural Kaleidoscope,” running at ARTablado Robinsons Antipolo until April 30.
ARTablado and Art Show Philippines are united by their common goal: to promote Filipino art and help Filipino artists. The two have been partnering since 2022.
ARTablado, a portmanteau of the words “art” and “entablado” (stage), is the initiative of Robinsons Land which has been giving artists the space and support they need so they can showcase their work to a bigger audience since 2020. Art Show Philippines is an artist-run community that aims to empower Filipino artists and make it possible for them to exhibit their work globally. It started during the pandemic and now has a network of over 2,000 exhibiting artists of all levels from all over the Philippines.
Art Show Philippines also holds fundraising exhibits for children with cancer and with special needs, art mentoring sessions, mental health programs for creative people, and gives grants to artists in need of art materials.
Artists get a chance to grow in Art Show Philippines, just like Jay Vincent Gatdula, who now helps organize and lead exhibitions. “I am happy to be a part of Art Show Philippines. With their help, I discovered my art style Sining Sawali [weaving of two different paintings together to make a single art piece] and have given me many opportunities like participating in local and international exhibits to represent our country.”
For many years now, artists have been using the internet to showcase their work but physical exhibits are still essential both for artists and the audience. Art Show Philippines founder Frederick Epistola talked about their importance. “Physical exhibits like the one at ARTablado can be incredibly important for Filipino artists for several reasons. First, they provide a platform for local artists to showcase their work to the public, allowing them to reach a wider audience and gain recognition for their talents. These exhibits also offer opportunities for artists to network with other creators and industry professionals, fostering collaboration and growth within the local art community. Additionally, physical exhibits can help Filipino artists connect with buyers and collectors, potentially leading to sales and further opportunities for their artistic careers to thrive. Overall, these exhibitions play a valuable role in promoting Filipino art and artists both locally and globally.”
And that’s exactly what ARTablado does. The art stages, which can be found in Robinsons Galleria, Robinsons Antipolo, Summit Ridge Tagaytay and Crowne Plaza Galleria Manila, have given the spotlight to both up-and-coming talents and established artists, allowing people to enjoy their creations up close.
Epistola added, “ARTablado, a gallery in malls and hotels, helps artists by increasing their visibility to a wider and more diverse audience, making art more accessible to the public, potentially boosting sales through impulse purchases, and fostering community engagement within the mall environment.”
This time, at ARTablado Robinsons Antipolo, mallgoers will get to enjoy “Cultural Kaleidoscope” which features the work of a new generation of Art Show Philippines artists, most of whom are exhibiting in ARTablado for the first time.
One of the first-timers said, “I’m participating in an exhibit organized and presented by ARTablado for the first time. I appreciate that Robinsons Land’s ARTablado provides a venue for artists, no matter their experience level, and a space to pursue their passion.”
Some of the art that can be viewed at “Cultural Kaleidoscope” are “Sampaguita Garland Maker” by Lei De Jesus, “Habing Katutubo” by Joanne Nidea, “Mga Laro” by Marjowyn Vito, “Baro’t Saya” by Cristel Ramos, and “Almusal” by Paula Santiago Clarito.
Epistola said, “Like a kaleidoscope that creates beautiful patterns through a combination of different colors and shapes, this exhibit may showcase a colorful array of artwork that celebrates various cultural influences and artistic expressions. It suggests a rich tapestry of creativity and diversity for visitors to explore and enjoy.”
The exhibiting artists are as diverse and colorful as their art. Here are just some of them: Gina Flores-Molina is a dentist-painter from Batangas with a passion for Impressionism. Nikolai M Flores is a software analyst at a bank who creates abstract art. Maria Cecilia Tacayon-Sarinas is a professional animator who has a newfound love for painting. Elise Capunitan is a visual artist and architect in the making. Solenart is an ex-OFW who considers art her safe space and emotional therapy. Pat Munar-Wigan is a wife and mom of two with a deep love for visual arts. Jobert U. Serrano, a son of a farmer and who grew up in a city at the foot of Mt. Banahaw, finds inspiration in nature and animals. Paola Santiago Clarito is a painter who has published two contemporary coloring books.
Why did they choose to exhibit at ARTablado? Epistola said, “Collaborating with Artablado can boost the credibility of emerging artists and assist in their establishment within the art community.”
The artists traveled from all over, with some coming from as far as Pangasinan, Zambales and Cavite, to attend the exhibit opening.
Epistola said, “I am incredibly proud of the new breed of artists of Art Show Philippines. Their innovative approaches, creativity, and fresh perspectives continue to inspire and drive us forward. Each artist brings a unique talent and passion for pushing boundaries and creating impactful art.”
Are you ready to witness another Filipino masterpiece unfold on stage?Barefoot Theatre Collaborative, known for its hit productions like Mula Sa Buwan, Pride Plays, and The Last Five Years is all set to premiere another original Filipino musical – Bar Boys: A New Musical. Based on the 2017 Pista ng Pelikulang Pilipino film by Kip F. Oebanda, this musical promises to captivate audiences with its heartwarming story and catchy tunes.
A Tale of Friendship and Justice
Bar Boys: A New Musical chronicles the lives of four friends as they navigate the challenges of law school and strive to become champions of justice in the Philippines. Set against the backdrop of Manila, the musical delves into the highs and lows of friendship, ambition, and the pursuit of truth.
Creative Minds Behind the Scenes
Driving the creative force of Bar Boys: A New Musical are Pat Valera and Mikko Angeles, who co-direct and bring the story to life with their vision. All songs are composed by the talented Myke Salomon, marking his debut as a musical director. With Jomelle Era’s choreography and the stunning designs by the rest of the team, including Ohm David for set design and Meliton Roxas Jr. for lighting, Tata Tuviera for costume design, Bene Manaois for video design, Julia Pacificador for property design, and D Cortezano for technical direction, audiences can expect a visually stunning and immersive experience.
Meet the Cast
Leading the cast are Alex Diaz as CHRIS, Benedix Ramos as ERIK, Jerom Canlas as TORRAN, and Omar Uddin as JOSH, who embody the titular “bar boys.” They are joined by a stellar lineup including Sheila Francisco as Justice Hernandez, Juliene Mendoza as “Paping,” Nor Domingo as Atty. Maurice Carlson, Topper Fabregas as Atty. Victor Cruz, Gimbey dela Cruz as “Boss Mama” and other roles, Kakki Teodoro as Female Professor and other roles, and Carlon Matabato as Male Professor and other roles. Completing the cast are Diego Aranda, Joshua Ade Valenzona, Edrei Tan, Jannah Baniasia, Anne Cortez, Uzziel Delamide, and Meg Ruiz each bringing their unique talents to the stage.
Limited Engagement: May 3 to 19
Don’t miss your chance to catch Bar Boys: A New Musical, staged exclusively at the Power Mac Center Spotlight Blackbox Theater in Circuit Makati. The production runs for three weeks only, from May 3 to 19, with no extensions planned. Secure your seats early as there will be only over 250 tickets available per show.
Tickets for Bar Boys: A New Musical are now on sale via Ticket2Me (bit.ly/barboystickets) and show buyers. Act fast to ensure you don’t miss out on this unforgettable theatrical experience!
Bar Boys: A New Musical marks the beginning of Barefoot Theatre Collaborative’s 2024 season, promising audiences a captivating journey filled with laughter, tears, and everything in between. Get ready to be swept away by the magic of live theater and join us for an unforgettable evening at the bar!
ABOUT BAREFOOT THEATRE COLLABORATIVE
Barefoot Theatre Collaborative is an innovative theatre company that creates, produces, and manages relevant and world-class theatrical content for live performances and the many intersections in the local and global industry.
Comprised of award-winningand in-demand creators and producers, Barefoot leads the industry with its recent works: the mega-hit musical “Mula sa Buwan”, the critically-acclaimed “Pride Plays: Unica Hijas & Laro”, and the successful local staging of Jason Robert Brown’s “The Last Five Years.”
For its first offering this 2024 season, Barefoot is proud to debut an original Filipino musical, “Bar Boys: A New Musical” — adapted from the critically-acclaimed and well-loved film by Kip F. Oebanda.
Nowadays, our streets and public places are overwhelmed with fast fashion – low-priced stylish clothing based on current trends bought from retail stores. But with the emergence of the nostalgia trend in today’s generation, people are now embracing back slow fashion as consumers value sustainability and quality.
With the rise of slow fashion, traditional loom weavers can take advantage of changing consumer behavior.
Traditional loom-weaving methods, practiced for centuries by indigenous peoples (IPs), is a sustainable approach to fashion as it opts to use locally sourced materials. Made with utmost care and precision, woven pieces reflect the hard work of its weaver.
With close to 17 million indigenous peoples in the Philippines, we are rich with cultural expressions. But the United Nations Office for Project Services also point out that they are among the most disadvantage peoples. Protecting indigenous culture and promoting the handloom weaving industry need public, private, and civil society interventions.
In Barangay Capisaan in the upland town of Kasibu in Nueva Vizcaya, Alayan Pag-asa Abot-Palad Association of Women are trying to keep their Ifugao-Twali culture alive through weaving. They are among the pilot beneficiaries of the Loom Weaving Industry program of the Department of Trade Industry – Nueva Vizcaya (Region 2) in 2014.
Among the women weavers’ association’s products is the famous Ifugao shawl crafted in a chain rib weave with embroidered seams. These shawls are worn in various ways including as a skirt or as a scarf.
If you prefer a full attire, the Twali-Ifugao weavers also make skirts paying homage to ancestral woven patterns.
To increase their economic viability, Barangay Capisaan, Municipality of Kasibu, the Didipio Mine of OceanaGold (Philippines), Inc and DTI Region 2 have forged the Mun-Abol (Maximizing Network and Unveiling Natural Talents through Acceleration of Business Opportunities and Livelihood) Project to strengthen the industry through upskilling, training and capital equipment financed through the Didipio Mine’s IP Culture Revitalization Program. The project’s name, “Mun-Abol” is an Ifugao term meaning “to weave.”
Signing of Memorandum of Agreement for the Mun-Abol Project on August 25, 2023 represented by Kasibu Mayor Romeo C. Tayaban; Vice Mayor Alberto D. Bumolo Jr., represented by Sec. Manuel Binwag; DTI Provincial Director Marietta B. Salviejo; and Atty. Joan Adaci-Cattiling, General Manager of OGPI, represented by Ms. Desiree Baldevino, External Affairs and Communication Superintendent.
With an established front store named Mun-Abol Capisaan Weaving, the project supports 16 women weavers, most of whom are mothers, with an additional source of income.
Barangay Capisaan is among the 11 communities supported by the Didipio Mine’s social development and management program.
“The Mun-Abol Project is more than just a social enterprise; it’s a vibrant tapestry of culture, creativity, and community empowerment. Rooted in the rich traditions of Indigenous People, this project weaves together threads of heritage and innovation to support the orange economy and revitalize creative culture,” Vincent Flores, Didipio Mine Community Development Supervisor, said. Apart from its contribution in the Mun-Abol Project, OceanaGold (Philippines), Inc. also established a scholarship program for college students from various indigenous communities in Nueva Vizcaya and Quirino, and sponsors community trainings of indigenous dances for the youth keeping the culture alive.
“This project increases our livelihood sources while transferring our knowledge of weaving to the next generation,” Capisaan Barangay Captain Patrick Batulon said.
So, if you ever come visit Nueva Vizcaya, be sure to visit Mun-Abol Capisaan Weaving’s shop in Kasibu or you can just send them a message on Facebook.
Watercolor paintings are distinguishable by the brightness and luminosity of their hues. An artist with a deft yet light hand can coax layers of colors by taking the time to draw them out—one careful step at a time.
For all their innate breeziness, watercolors can be a challenge to create for beginners. The unpredictable nature of water and pigments, however, can lead to surprising and beautiful effects.
The Philippine Guild of Watercolorists (PGW) is a group established in 2016 whose aim is to enable its members to connect with the art community by showcasing their talent with watercolors. The guild currently has over 200 official members and 7.8 thousand followers on Facebook, and 27.6K reach on their page.
From April 16 to 30, the PWG is holding “Our Stories in Color,” a two-week exhibit of watercolors at ARTablado at Robinsons Galleria. Artworks to be featured include those created by some of its members as well as those by premier watercolor artists namely Erwin Mallari, Richard Romeo, JC Vargas, Dan Macapugay and Ton Ador.
Mallari has been painting watercolors for just over a decade but already has a catalog of realistic paintings honed by his years as a photographer. In 2012, he was a semi-finalist in the Metrobank Art & Design Excellency competition, and in 2014 he was awarded as one of the five grand prize winners of the Kulay sa Tubig watercolor competition.
An architect by profession, Romeo was one of five grand prize winners at Kulay sa Tubig in 2020 where his painting, “A National Treasure”, and “A Golden Hour in Basilan” in 2022, caught the eye of the jurors. Macapugay was also a grand prize winner at the same competition with his painting “Ina” that was based on a photo taken by a friend. He was drawn to the image because it reminded Macapugay of his grandmother.
Vargas is one who works quickly, as one does when working with watercolors. Earlier this year, he was one of the featured artists at a live watercolor painting session held in another mall. Ador bagged the grand prize at the first Sihag Cebu Watercolor competition held four years ago, and Metrobank Art and Design Excellence (MADE) in watermedia category in 2022.
The works of these five awarded artists will be showcased alongside pieces by 15 members of the PGW. Of the 37 members who submitted watercolor paintings on full sheets for consideration, theirs were the ones chosen by the jurors.
The ongoing ARTablado exhibit is noteworthy as it is only the first where all the pieces on display are watercolors. Visitors to the exhibit will find that the PGW is a home for watercolor artists where everyone is welcome no matter what their skill level may be.
The founding members headed by Karen Sioson have cemented PGW’s aim and the succeeding officers continue to stand strong by these: “We aim to build awareness, interest, and appreciation for the watercolor art and discover, hone, and support local talent through art-related 4Es: education, events, exposure, and experiences,” “One of our promises is to provide the network and platform for artistic exchange and collaboration.”
Education comes in the form of opportunities for its members to learn and master their craft via workshops, demos and other activities. Through events, live or digital, members will get to celebrate and express love for watercolors and the arts. Exposure will build awareness by promoting the exceptional talent of Filipino watercolorists through shows and other activities. Experiences in the form of plein air sessions and on-the-spot challenges will further challenge and improve the skills of its members.
There have only been a few juried exhibitions since PGW was established so “Our Stories in Watercolor” is one that is certainly worth viewing. The list of participating artists include Joseph Balderas, Aileen Barreiro, Aileen Cura, Dinna delos Reyes, Rigie Fernandez, Joanne Cariaso-Gacayan, Alice Atienza-Lee, Kyle Fortu-Legaspi, Judy Liuson, Sarah Liuson-Ongsun, Bids Llorin-Luna, Cher Cabula-Mendoza, Drake Pagulayan, Lorraine Panelo and Eduardo Solana Jr.
The jurors included John Cogley, president of Daniel Smith Artists Materials; Dino Pajao, an honorary member of PGW, a multi-awarded watercolor artist and one of the few Filipino members of the the Singapore Watercolor Society; and Iris Babao-Uy who is also an honorary member of PGW, one of the most sought after multi-media workshop instructors in Manila.
Joanne Cariaso-Gacayan, the current President of PGW, expressed, “We partnered with ARTablado for this exhibition because, in addition to their professionalism, we believe that with the gallery’s support, we can make watercolor painting more accessible to beginners and artists of all levels.”
Walk-ins and prospective buyers can look forward to a showcase of watercolor works not just by the members but by guest artists as well. Auxiliary activities include live painting sessions during the exhibit period to further show the public how members of the guild paint in various watercolor styles.
An opera brings its audience to a world created through an interesting collaboration between a librettist and composer. Opera is brought to life by vocal pieces and arias performed by singers, with live instrumental accompaniment from an orchestra.
This May 7, the CCP’s The Met: Live in HD presents its second installment for its ninth season – French composer Georges Bizet’s Carmen, a tragic opera about a gypsy woman named Carmen who seduces an army corporal guarding her prison cell. Their tumultuous love affair ends when Carmen turns her attention to a bullfighter. The corporal’s love turns to jealousy and violence.
Through this program, the Cultural Center of the Philippines aims to reintroduce to Filipino audiences, especially to the younger generations, classical opera masterpieces whose stories transcend boundaries and cultural backgrounds, while remaining relevant to the time.
Before you head to Greenbelt 3 Cinema 1 in Makati City for the special opera screening, here are some interesting facts you probably should know about Carmen:
The plot of Carmen was based on the novella of the same title by Prosper Merimee, which was published in October 1845 in Revue des Deux Mondes. It was said that Merimee was inspired by a poem written by Russian poet Alexander Pushkin. French librettists Henri Meilhac and Ludovic Halevy wrote the libretto for the opera, with music by Bizet.
Bizet never saw Carmen rise to fame. He died from a heart condition at age 36, three months after the opera premiered in 1875. When it was first staged, the members of the ton rejected the opera. Bizet died believing Carmen, considered his last opera, was a failure. He had never known that the “scandalous” opera would go on to become one of the best-loved and most-performed operas of all time.
Its hummable arias Habanera and Toreador have been featured in various commercials like the Doritos ad, dubbed Mouse Trap, in 2008. The Pepsi commercial in 2002 featured Beyonce singing to the tune of the Habanera aria, just with different lyrics.
During the 1988 Winter Olympics, champion skaters Debi Thomas and Katerina Witt performed in the figure skating programs with Habanera.
Carmen in pop culture: Disney’s Pixar used Habanera in an emotional scene in the film Up (2009). Sesame Street, the defunct children’s show, featured Habanera several times, including a scene with an orange singing the aria and as a lullaby for Elmo (both performed by opera singer Denyce Graves). In one of its episodes of The Simpsons, Bart, Homer, Lisa, and Marge are seen going to the opera house to watch Carmen, with Toreador playing in the background. The Swedish Chef and Beaker of The Muppets croon Carmen’s Habanera.
Carmen has been adapted into films, ballet, and Broadway. In 1943, the musical “Carmen Jones” hit Broadway and later became a movie with the same title in 1954. Both featured music by Oscar Hammerstein. In the 1960s, director Wang Tian-lin adapted it into “The Wild Wild Rose,” starring Grace Chang, and set in Hong Kong and with songs sung in Mandarin.
Beyonce made her acting debut through the recent adaptation of Carmen, titled “Carmen: A Hip Hopera.” Directed by Rober Townsend, the 2001 film is a contemporary retelling of the classic tale, following a police sergeant (Mekhi Phifer) whose life is turned upside down when an irresistible woman (Beyonce) enters his life.
Although Carmen was written in French, Spanish culture strongly inspired the opera. This is quite evident in Carmen’s Seguidilla, Don José’s Flower aria, and Escamillo’s famous Toreador’s Song. While you can see the Spanish influence, Bizet never actually set foot in Spain.
The first Carmen, French mezzo-soprano Célestine Galli-Marié, forced Bizet to rewrite Habanera – 13 times! – until she was satisfied.
Carmen can be found in your kitchen or your favorite restaurant. Famous French chef Auguste Escoffier, known as “the king of chefs and the chef of kings,” loved the opera so much that he created and dedicated two dishes – the Carmen chops and Carmen salad.
Catch the CCP The Met: Live in HD – Carmen on May 7, 5:30 pm, at Greenbelt 3 Cinema 1, Makati City. This program is presented in partnership with the Metropolitan Opera of New York, the Filipinas Opera Society Foundation, Inc., and Ayala Malls Cinemas.
Ticket prices are Php 100.00 for students and Php 350.00 for regular audiences. You may visit the ticket booth or book via www.sureseats.com.
For updates on future productions and showings from the Metropolitan Opera of New York and other partners and programs of the CCP, you may follow the official CCP and CCP FBNMD social media accounts on Facebook, X, Instagram, TikTok, and YouTube.
The last time I saw ‘Miss Saigon’ was at the CCP sometime in the early 2000s when Lea Salonga had just returned from a triumphant run both in Broadway and the West End and won the Laurence Olivier award in London and the Tony in New York. She performed alongside Leo Valdez (as the Engineer), and it was the first time (as I recall) that the revolving stage was constructed and used in the CCP Main Theater.
Ever since, the music of ‘Miss Saigon’ by Claude-Michel Schonberg has always been anthemic. The songs (with lyrics by Richard Maltby Jr and Alan Boublil) are catchy. They have a gorgeous melody that really flows from song to song. It’s also a spectacle, demanding that the stage transform into a seedy, girly bar in Vietnam, and then later on to transform into the gates of the American embassy in Saigon where a helicopter takes away the soldiers as they flee the war – it’s an iconic moment in the play and grand spectacle that makes the play truly unforgettable.
Miss Saigon AU – Abigail Adriano | Photo by Daniel Boud
This would be my first time to revisit the musical since I saw it almost 25 years ago and time has changed both the play and me, as I’m watching it with more grown-up, more world-weary eyes.
This new 2024 touring cast production, first and foremost, with the orchestrations of William David Brohn really sell how gorgeous Schonberg’s compositions are. They are stirring and with the live orchestra just hitting every note wonderfully, showcases the great hooks of ‘Miss Saigon.’ On the other hand, the direction by Laurence Conner (with musical staging by Bob Avian and Asian tour production is directed by Jean-Pierre Van Der Spuy) leaves no space for subtlety. Everything is big and loud and frenetic. There seems to even be a direction that every should sing big and loud and at the strongest volume. The performances, at times, can feel more like they are singing for a concert rather than a play. This overall feel has advantages and disadvantages depending on the number or the character.
Miss Saigon AU – Abigail Adriano & Nigel Huckle | Photo by Daniel Boud
The popular love duet ‘Sun and Moon’ has an unnecessary tension because the direction has both Kim (Abigail Adriano) and Chris (Nigel Huckle), the star struck lovers who have spent a night together, wrapped in each other’s arms by the stairs of their little room. It is intimate and personal, but they are singing so loudly at each other when, visually, they are right in front of each other. The moment is transformed from one of tender recognition of each other as a place of safety into a concert-level performance. Singing loudly here, would have benefitted from being on the opposite ends of stage and filling that gap with their voices. Huddled so closely demanded a softer delivery of the popular song.
Miss Saigon AU – Photo by Daniel Boud
But while this direction distorts a lot of songs like ‘Sun and Moon,’ it does great wonders for Seann Miley Moore, who plays the Engineer. A lot of his songs are flashy and showy and this big, non-nuanced direction allows him to treat each of his songs – “If You Want to Die in Bed,” “What a Waste,” and “The American Dream” – as big showstopping numbers. He gets to infuse each number with so much verve and personality (of which Moore has a lot of) that he easily steals this entire production. It’s great to see such a dynamic performance of The Engineer.
Moore’s Engineer is coy and flirty and then he’d burst into an act of cruelty out of the blue. It keeps his Engineer so unpredictable that he adds his own danger to the role that truly makes it take center stage. You’re always waiting to see what he will do next.
Kiara Dario, who plays Gigi, is the only one I noticed who was able to find a space between the loud, extravagant performance and the drama of her character as she sings ‘The Movie in My Mind.’ Her solo is full of heartbreak that feels both authentic and powerful at the same time.
Photo by Andrew Beveridge
To match all that on-stage energy, the stagecraft of the whole production is a well-executed dance of moving sets, projections, and lighting. The stage design by Totie Driver and Matt Kinley is dynamic and mercurial, turning in one moment into the seedy girly bar Dreamland and then, in less than 5 seconds, becomes a bustling street in Saigon, and then in another moment turns into the gates of the American Embassy in Vietnam for the famous helicopter scene. Despite the size of it all, Driver and Kinley keep everything busy, cluttered, claustrophobic that gives the feeling that the collision of these diverse worlds – the US and the Vietnamese – was inevitable in this situation and forced upon by these circumstances. Everyone here is just a victim. The lighting design of Bruno Poet never fully illuminates the stage, turning everything into a spotlight that matches with the performative direction of the cast. It’s dark at the fringes, it is always about to be covered in darkness and highlights the plays refusal to ever just be a love story. This is a war story, and you can tell from the lighting.
Photo by Daniel Boud
I don’t know if it’s my age or my own experiences but watching this version of ‘Miss Saigon,’ I do not see any sort of American propaganda in the subtext of this story. There’s no whitewashing in this production of the fact that America’s presence in Saigon at this time was both unwelcomed and unwarranted. The way by which the Engineer sings about America highlights America’s capitalist tendencies and manages to not paint it in the good light; and when the suffering that is left behind by the Americans come to the fore – like in the way that Kim’s life is turned upside down by Chris’ affections – it becomes really ironic when Huckle, as Chris, sings out “I’m an American how can I fail to do good?” The irony falls hard when the play, in this version, shows Chris to be either ignorant or oblivious to the hurt the has caused.
Photo by Daniel Boud
It’s a very different from the play that I saw in the early 2000s that had a more heroic positioning of America and I appreciate it a lot more for it. This production does not treat the Americans as heroes, nor does it treat Thuy (Laurence Mossman) and the communist party as the bad guys – they are just agents in a war that is happening in Vietnam (of which the Americans had inserted themselves in).
Photo by Daniel BoudMiss Saigon AU – Laurence Mossman | Photo by Daniel Boud
I was looking for a fight, coming into this show but instead was once again charmed and wowed by the sheer spectacle of the material and the timelessness of the music of the play. Adriano, Huckle, Moore, Dario, and the rest of the cast are such great singers and really pull out all the stops to make ‘Miss Saigon’ the theater event that it is. It was not meant to be subtle and that may not be such a bad thing.
30 young artists from La Salle College of Antipolo showcase their work at ARTablado Robinsons Antipolo from April 3 to 15
Last year, senior high school students from La Salle College of Antipolo (LSCA) got the chance to exhibit their work in ARTablado at Robinsons Antipolo. The show, called “Kaleidscope,” was a great opportunity for the young artists to be able to bring their art to a wider audience.
“Last year’s exhibit was a tremendous success, and it owes much of its success to ARTablado. To me, Artablado is like a welcoming home that always keeps its doors open for young, budding artists,” said LSCA teacher Jade Arabelle A. Cabauatan.
That’s really what ARTablado is all about. This Robinsons Land initiative, launched in 2020, has been supporting Filipino artists by giving them a venue where they can put their prowess on display. ARTablado, which can be found in Robinsons Galleria and Robinsons Antipolo has featured both up-and-coming talents and established Filipino artists.
On April 3 to 15, another batch of Grade 12 students from LSCA will be showcasing their work in ARTablado Robinsons Antipolo in an exhibit called “Kaleidoscope 2: Mirrored Realities.”
Cabauatan said, “LSCA chose to keep the title ‘Kaleidoscope’ because it perfectly encapsulates the vibrant diversity and dynamic creativity thriving within our school’s art community. This title not only symbolizes the kaleidoscopic range of artistic expressions and perspectives showcased in the exhibit but also carries forward the legacy of last year’s students.”
She and fellow teacher John Paul Diciembre have been guiding the students through the entire process. “As educators in the Arts and Design, our primary objective is to provide students with real-world experiences in the industry. This encompasses everything from conceptualization to execution, culminating in the actual exhibition. Our students have invested considerable time and effort into brainstorming and crafting their pieces, with some starting their work months in advance in anticipation of this event,” Cabauatan said.
Thirty students from LSCA’s Arts and Design Strand and Special Program in the Arts—John Michael Carlos, Nicholas Cawicaan, Emman Cervantes, Adrian Dominguez, Brad Fernando, Aaron Legaspi, Victor Mojica, Josh Mondragon, Nathan Soriano, Gino Tolentino, Ben Zamora, Ayen Bonifacio, Sophia Bravo, Neyen Cinco, Rain Dungca, Aleksandra Escala, Daphne Jumawan, Raissa Liban, Ma. Franchesca Libio, Xiomara Ludovice, Kyleigh Christen Materum, Krystle Miguel, Lovely Pili, Maria Antoinette Querijero, Justine Saguid, Czarah Santos, Ma. Eliza Isabel Santos, Dana Tonogbanua, Chloe Wong, and Alegra Samson—will be participating in the exhibit.
“Having a chance to showcase my artworks in ARTablado is a great opportunity for a student like me to express my creativity in art and share it with others,” said student artist Sabel Santos.
Brad Fernando, another one of the students, shared, “As a young, evolving artist, ARTablado has opened a lot of doors for me to showcase what it means to be an artist.”
“Kaleidoscope 2: Mirrored Realities” is an invitation to a transformative journey that will allow viewers to navigate the labyrinth of mirrored realities, where truth and illusion intertwine, and the ordinary becomes extraordinary. Through different mediums, the exhibit captures the profound essence and inherent beauty of life itself, transforming experiences and emotions into tangible expressions of art. The students’ diverse perspectives on everyday life will be on display, creating moments for deep reflection, contemplation, understanding and connection.
The works will include paintings, digital art and even fashion design. The centerpiece of the exhibit: 27 artworks by 27 artists who will express their individuality through butterflies.
Diciembre said, “Partnering with ARTablado offers a unique opportunity to expose students to a broader audience and foster a deeper appreciation for art. It’s priceless and rewarding to see another batch of students have the chance to shine and share their art with a wider market, further enriching the school’s artistic legacy.”“Kaleidoscope 2: Mirrored Realities” will run from April 3 to 15 in ARTablado Robinsons Antipolo.
