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‘Anak Datu’ opens a rush of truth from ripples of trauma
A year after it premiered, Anak Datu is returning to the stage, opening the 37th season of Tanghalang Pilipino, the resident theater company of the Cultural Center of the Philippines. When it debuted, it immediately became a landmark production in several ways. It was one of the first plays to be mounted with a live audience after the lockdowns and restrictions of the coronavirus pandemic in 2020 and 2021. And it was the first play to be staged at the newly opened CCP Black Box Theater or Tanghalang Ignacio Gimenez. Anak Datu is one of the few plays on the Tausug and Moro people and cultures of Mindanao, portrayed with marked sensitivity and apparent diligence. It was lauded by critics and audiences, with former Vice President Maria Leonor “Leni” Robredo as one of the prominent people who trooped to CCP to watch the play on 1 October 2022. The play went on to win six awards at the 13th Gawad Buhay and five at the 35th Aliw Awards. [caption id="attachment_192618" align="aligncenter" width="2560"] the tausug pangalay dance is incorporated into the play.[/caption] Fine-tuned production Despite the accolades and being one of the most important theatrical events in 2022, the play was faulted by some for what was seen as its confusing storytelling, its shifts in timeline and milieus, and the cumbersome sets. The second staging afforded the creative team the opportunity to fine-tune these and other aspects of the production. According to director Chris Millado, former CCP vice president and artistic director, they were able to make the storytelling clearer and supply an elevated platform to make the designs of the light projections more visible. For Dennis N. Marasigan, current CCP vice president and artistic director, “[o]n its rerun, Tanghalang Pilipino's Anak Datu is tighter, its storytelling and technical aspects clearer and crisper, and its staging even more affecting, effectively overlaying story, myth and history.” The restaging marks another milestone in the journey of the play, which started in 2018 from talks that artist Toym Imao, son of the late National Artist for visual arts Abdulmari Asia Imao, had with Millado and veteran actor and TP artistic director Fernando “Nanding” Josef about making a stage adaptation of the elder Imao’s short story for children, written in 1968, the year Toym was born. The team recruited award-winning playwright Rody Vera to write the script. The plan became more concrete when Josef decided to make the project TP’s first original play after the pandemic lockdowns. By then, the play has evolved into something larger than the original story. Serving as Anak Datu’s set designer, Imao recalled the anxieties they felt during the first stages of production, especially the prospect of one of them getting sick and shutting down the show. “But we were able to tell an essential story that was important, especially for a nation that was coming out of the devastating election of May 2022 for a lot of people. It is something important for us na nakapagkuwento kami (we were able to tell a story),” he said. [caption id="attachment_192619" align="aligncenter" width="525"] Ramli Abdurahim as the pirate Jikiran.[/caption] Three stories Anak Datu tells three stories — Toym’s childhood with his father (Paul Jake Paule) and mother, Grace de Leon (Toni Go-Yadao); his father’s short story; and the recent history of his father’s people, the Muslim Tausug in Sulu Archipelago and the Moro, the collective Muslim ethnic groups, of Mindanao. The Imao family portion shows Toymie (Carlos Dala) growing up with Voltes V and other preoccupations of middle-class children in Metro Manila. Then there is the story of the disputed 1968 Jabidah Massacre, told through Jibin Arula (Gie Onida), the lone survivor — how young Tausug men, mostly illiterate, were recruited by the military, transferred to Corregidor and then massacred upon the discovery of a suspicious plot. Also dramatized is the 1974 Palimbang Massacre, in which the military allegedly murdered more a thousand Moro men inside the Malisbong masjid in the province of Sultan Kudarat, while 3,000 women and children were detained and about 300 homes were burned down. These incidents were said to have sparked the conflicts and armed struggle in Mindanao that would scar the region for decades. Along with the contemporary scenes is the retelling of the short story Anak Datu, set in a pre-colonial time and rendered in mythical mode, combining both the familial and the tragic. The Tausug village of datu Karim (Hassanain Magarang) and his wife Putli Loling (Tex Ordoñez-De Leon and Lhorvie Nuevo) is attacked by pirates, led by Jikiran (Ramli Abdurahim), who kidnaps the pregnant Putli Loling. She gives birth to Karim, who grows up knowing Jikiran as his father but later learns the truth. [caption id="attachment_192620" align="aligncenter" width="2560"] Artist Toym Imao taking a picture with the cast and creative team.[/caption] Graceful movements All throughout, the play shifts among these threads of stories, each one compelling and multi-layered. Counterbalancing the oral storytelling is the dramatization through graceful movements, choregraphed by Magarang using the pangalay or Tausug traditional dance, a shared art form with the Yakan (pamansak) and Sama (igal) peoples, thus rendering the stories more visual and adding allure and distinctive cultural flavor to the play. The dances are accompanied by a live kulintangan or gong ensemble. The stark interiors of the theater come alive and burst with colors courtesy of the lighting by Katsch Catoy and projection design of GA Fallarme, who uses Abdulmari Imao’s paintings and traditional Tausug and Meranaw motifs such as the okir as inspirations. Toym’s set pieces are highly movable to keep up with the constant shifts in storytelling, and the bigger ones are like art installations, contributing to the visual richness of the production. Harnessing memory, myth and history, Anak Datu is able to weave its stories into an enthralling whole, establishing interconnectedness and consolidating the story of a person, a family and a community into the very story of a nation, like three or more streams converging into a great river. Tanghalang Pilipino’s Anak Datu runs 29 September to 15 October at Tanghalang Ignacio Gimenez (CCP Black Box Theater). The post ‘Anak Datu’ opens a rush of truth from ripples of trauma appeared first on Daily Tribune......»»
‘Sinag’ and ‘Lupa’: Light that guides and land that nourishes
In late September 2019, the Cultural Center of the Philippines mounted the son et lumiere titled “Sinag: Festival of Radiance,” accompanied by a video projected on the façade of its iconic Brutalist Main Building, dancing fountain, performances and installations, as part of the celebration of the 50th anniversary of the establishment of one of the Philippines’ revered cultural institutions. The light show was staged again in the following years with different themes even during the imposed lockdowns in the first years of the coronavirus pandemic in 2020 and 2021, serving as beacon of hope during one of the most challenging times for the arts and culture sector. The “Sinag” light-and-sound show continued to be mounted this year, fast becoming a tradition for CCP, as it commemorated its 54th founding anniversary and signaled the sector’s embarking on the road to recovery. It also recognized the sector’s perseverance and determination to continue creating and healing with its theme, “Tuloy Ang Palabas”(The Show Continues).” This year, the Main Building has remained dark and silent as it closed down in January for a three-year rehabilitation and renovation, but it came alive again from 28 September to 1 October for “Sinag 2023: Tuloy Ang Palabas.” A short video was projected on the façade, showing snippets of productions, projects and performances in the past nine months, all held in different venues outside the Main Building. The main part was a spectacle of colors and moving patterns, conceptualized by CCP light designers Camille Balistoy, Danilo Villanueva, Louie Alcoran and Shantie De Roca. This was accompanied by music by Soundridemusic and Makai-symphony, spliced by Jerry Tria. Capping the show was a video showing CCP’s reach in the country, through a map created by Reily Villaruz, as well as glimpses of performances and projects in the planning, accompanied by Jed Balsamo’s “Rurok.” As the CCP Main Building highlighted art’s role as light giver, the park beside it, CCP Liwasang KaLIKHAsan, is venue for an exhibit of installations depicting popular creatures of Philippine folklore. [caption id="attachment_191675" align="aligncenter" width="525"] Kapre. | PhotoGRAPHS by Roel Hoang Manipon FOR THE DAILY TRIBUNE[/caption] The kapre, aswang and tikbalang often figure in horror stories told to children, but acclaimed artist Abdulmari “Toym” de Leon Imao, son of the late National Artist for visual arts Abdulmari Asia Imao, regarded them as nature guardians, thus the title “Tanod-Lupa.” “Tanod-Lupa” was first mounted in celebration of Earth Day on 22 April, but was brought back for the anniversary celebration, and it seems fitting for the Halloween and Christmas seasons. Imao was inspired by stories about these creatures, many of which most likely can be traced from pre-colonial times, during his childhood. “My mom is Kapampangan, and they have wonderful stories of mythology such as Apo Mallari god of Mount Pinatubo. My dad came from the South. He was a Tausug. Mindanao is also rich in stories. The Sarimanok itself is a mythical creature. My appreciation comes from a fascination from childhood and growing up with these stories and narratives from my parents,” he said. “I am very fascinated with tikbalang. There are some stories that tell that it is actually a friend. The tikbalang also has a masculine appearance, very heroic,” he added. Working together with lantern makers from San Fernando City, Pampanga, headed by Arvin Bondoc Quiwa, and using materials such welded steel, fiberglass, ropes and lanterns with LED lights, Imao reimagined the creatures to be cartoonish but still retaining some scary and mysterious qualities. [caption id="attachment_191676" align="aligncenter" width="525"] Manananggal.[/caption] [caption id="attachment_191674" align="aligncenter" width="525"] Duwende.[/caption] The bright installations of kapre, duwende, manananggal, aswang, nuno sa punso and tikbalang are scattered around the park — under a balete, in between coconut trees, among overgrown weeds and unkempt bushes — and accompanied by eerie sounds designed by TJ Ramos. The most prominent among Imao’s works is his large installation in the shape of the panolong, a decorative detail of the traditional house of the Meranaw people, and the sarimanok, a popular design motif of several Moro ethnic groups, frequently used by his father in his works. [caption id="attachment_191677" align="aligncenter" width="525"] Nuno sa punso.[/caption] “Tanod-Lupa” is a work in progress, and more installations are being planned to be added to the collection. “With themes like climate change and cultural promotion, it’s perfect for us to bring these creatures from folklore and mythologies to the forefront. We are not the only inhabitants of our environment. We share it with other beings and creatures. Our ancestors remind us that we take good care of our environment lest these ‘tanod-lupa’ come out to remind us of our shortcomings,” Imao said. The post ‘Sinag’ and ‘Lupa’: Light that guides and land that nourishes appeared first on Daily Tribune......»»
‘Ka-ja! Korea Through Films’: Korean Film Festival 2023 at SM Cinema
This year’s Korean Film Festival will take audiences on an extraordinary cinematic journey with Korea’s filmmaking excellence, rich and captivating narratives and breathtaking locations and vistas. “The ‘Ka-ja! (Let’s go!) Korea Through Films”: Korean Film Festival 2023 invites moviegoers to experience the heart and soul of Korea through its carefully curated selection featuring seven award-winning films. The festival runs from 23 to 26 September 2023 at five SM Cinema branches in Metro Manila, Cebu and Davao: SM Mall of Asia, SM Megamall, SM North Edsa, SM Seaside Cebu and SM Lanang Premier. Admission is free and on a first come, first served basis. The Korean Film Festival 2023 is presented by the Embassy of the Republic of Korea and the Korean Cultural Center in the Philippines in partnership with SM Cinema, the Korean Film Council, Film Development Council of the Philippines and the Korea Tourism Organization Manila Office. Korean Ambassador Lee Sang-hwa led the opening ceremony recently at the SM Cinema Mall of Asia. He was joined by National Commission for Culture and the Arts Chairperson Victorino Manalo, SM Supermalls senior assistant vice president Perkin So and Film Development Council of the Philippines’ Daniel David Morales. Flying in from Korea to join the opening were renowned K-film producers, The Lamp CEO Park Eunkyung and film production director Lee Yeonhwa — the creative geniuses behind the box-office sensation Life is Beautiful, which was the festival’s opening film. Both Park and Lee also topbilled the festival’s Meet the Mentor series held at the De La Salle-College of Saint Benilde. Audiences will get a unique opportunity to enjoy an award-winning selection of films that have captured audiences worldwide, including the joyful and uplifting musical Life is Beautiful; the stunning black and white drama The Book of Fish; the compelling independent film Bori; and must-see films Director’s Intention, Everglow, Gyeongju and Jukdo Surfing Diary. Visit www.facebook.com/KoreanCulturalCenterPH/ or www.facebook.com/SMCinema. The post ‘Ka-ja! Korea Through Films’: Korean Film Festival 2023 at SM Cinema appeared first on Daily Tribune......»»
Creative Industries Month to witness ‘the grandest battle of creativity’
The buzzwords this month and until November are "creativity" and "creative industries." September has been declared the "Creative Industries Month" by the Philippine government, and one reason for such declaration is the activation of the law known as Philippine Creative Industries Development Act, or Republic Act 11904. Pangasinan 4th District Representative Toff de Venecia is the principal author of the law, the chairman of the House Special Committee on Creative Industry and Performing Arts. De Venecia's clan on his mother's side used to be entrenched in film production. He is a son of Gina Vera-Perez De Venecia, daughter of Dr. Jose Vera Perez, the patriarch of pioneering film companies Sampaguita Pictures and Vera Perez Productions. Before he joined Pangasinan politics as son of former senator Jose De Venecia, Toff was active in theater, all the way back to his schooldays at the Ateneo de Manila. Sen. Loren Legarda, aside from being Senate President Pro-Tempore, is chair of the Senate committee on culture and the arts. For years a top broadcast journalist at ABS-CBN, Legarda is the principal author of Republic Act 11961, also known as the Cultural Mapping Law. [caption id="attachment_186378" align="aligncenter" width="511"] ODANG Putik Pottery held workshops on basic pottery. | PHOTOGRAPH COURTESY OF IG/ ODANGPUTIKPOTTERY[/caption] National competition DTI has announced that it will launch on 24 September a national competition, Young Creatives Challenge (YC2) "through the support of Sen. Imee Marcos." The competition -- described as "the grandest battle of creativity" in the country with a grand prize of P1 million per category -- "aspires to ignite, acknowledge, and spotlight the brilliance of creative minds... in the fields of Songwriting, Screenwriting, Playwriting, Graphic Novel, Animation, Game Development, and Online Content Creation." The semi-finals are set for October 2023, when the Top 30 creators and the Top 10 Grand Finalists will be revealed. At the grand finals on November 2023, cash prizes will be awarded along with millions’ worth of promotions, incentives, registration of intellectual property and possible production or commercialization of creative works. The competition has an Online Content Challenge with distinct mechanics and a separate prize pool. It offers a platform for content creators to showcase their talents and make a significant impact by raising awareness about the vibrant and dynamic Philippine creative industries. The special category will have TikTok as its main channel for entry submission. The DTI invites all natural-born Filipino citizens aged 18-35, regardless of their level of experience, to participate as either individuals or teams. Entrants are required to submit "entirely original creations." The competition theme is deliberately broad, embracing an "open" and "free subject" approach to allow the participants the creative freedom to delve into any topic or subject matter of their choosing. For more information about the competition, visit www.youngcreativeschallenge.com. Capsule workshops On 17 September, the NCCA launched the Creative Industries Month at the Rizal Park Open Air Auditorium in Manila with creative capsule workshops in the afternoon and a grand concert of songs, dances and puppetry in the evening. The festivities had the full support of the National Parks Development Committee and Concert at the Park. The workshops were anchored on various creative industries in the country. For instance, for the audiovisual media domain, the Knowledge Channel Foundation Inc. conducted an introductory workshop on Learning Filipino through Wikaharian. For the digital interactive media domain, Dr. Albert Mulles of METATOKYO tackled “How to Start Your Own Blockchain Game Project” while the Department of Science and Technology presented “Learning Through Minecraft Exhibit.” Under the Design domain, there were workshops on shoemaking, parol and jewelry-making and T-shirt printing Workshop. Under publishing and printed media, Rustico Limosinero offered a basic comics workshop, while the Barasoain Kalinangan Foundation, Inc. discussed book- selling and exhibits. Composer-singer Joey Ayala, meanwhile, held a Songwriting Workshop under the Performing Arts domain and later, at the concert, performed the finale solo vocal numbers. Nanding Josef, artistic director of the Cultural Center of the Philippines' Tanghalang Pilipino, conducted a capsule workshop on Theater Acting. Also within the Performing Arts domain were the dance and puppetry workshops facilitated by the Samahan ng mga Papetir ng Pilipinas. The other domains that presented workshops included the visual arts, traditional cultural expression and cultural sites. Aside from Ayala, the evening concert featured Noel Cabangon, the revived band Color It Red with Cookie Chua still its lead vocalist, Bayang Barrios and her band, the Sindaw Philippines dance troupe, Halili Cruz Dance Company, Teatro ni Juan and a puppetry group. [caption id="attachment_186377" align="aligncenter" width="1440"] HALILI Cruz Dance Company at the evening concert. | PHOTOGRAPH COURTESY OF FB.COM/ HALILI CRUZ DANCE COMPANY[/caption] In his remarks, De Venecia pointed out that there are more than 7 million people in the Philippines employed in the creative industries, and the industries' contribution to Gross Domestic Product in 2022 was 7.3 percent percent or P1. 6 trillion, representing an increase of 12.1 percent from P1. 43 trillion in 2021. "This is a sector that has managed to survive and even thrive on its own, but with institutionalized support from the state, it will really help the creative industry sector grow and accelerate to the point where we want it to be — which is by 2030, the Philippines will be the number one creative economy in all of Asia,” said De Venecia. May we be really number 1 just seven years from today! The post Creative Industries Month to witness ‘the grandest battle of creativity’ appeared first on Daily Tribune......»»
‘Rama, Hari’ gala is a cultural feast
Rama, Hari (Rama the King) returns to live stage, becoming one of the most anticipated cultural events of the year. Produced by the National Commission for Culture and the Arts, in partnership with the Cultural Center of the Philippines, the ballet and musical had its gala at the rehabilitated Manila Metropolitan Theater on 15 September. Aside from the show itself, there were a lecture and a small tiangge (bazaar), affording the audience a fuller experience and a deeper appreciation of the ballet, as well as the source material, the Sanskrit epic Ramayana. Also an initiative in line with the recently signed Philippines-Indonesia Memorandum of Understanding on Cultural Cooperation and the Philippines-India Cultural Exchange Program, the lecture, “Perspectives: Understanding Ramayana, The Great Epic of Asia,” was held in the early afternoon at the Metropolitan Theater Ballroom, tackling the impacts and different interpretations of Ramayana not only in India but also in Southeast Asia. Speakers were Agus Widjojo, ambassador of Indonesia to the Philippines; Shambu Kumaran, ambassador of India to the Philippines; and Dr. Marilyn Canta, retired professor from the University of the Philippines in Diliman. [caption id="attachment_185911" align="aligncenter" width="525"] Indian Ambassador Shambu Kumaran, Dr. Marilyn Canta, NCCA chairman Ino Manalo and Indonesian Ambassador Agus Widjojo. | Photograph by Roel Hoang Manipon[/caption] The Hindu epic, said to date back as early as the mid-eighth century BCE, is a much beloved work and has many versions in Southeast Asia. Its influence is very much evident in Indonesia, where the epic has a version written in old Javanese, called the Kakawin Ramayana. The Prambanan, the ninth-century Hindu temple compound, has bas-reliefs depicting scenes from the epic, and the Ramayana Ballet is regularly performed up to this day. In the Philippines, the Meranaw people of Mindanao has a folk story derived from Ramayana, “Maharadia Lawana,” which was adapted into an hours-long, modern theatrical showcase for the Budayaw: The BIMP-EAGA Festival of Cultures in 2017. On the other hand, the tiangge, at the Hardin ng Ekspresyon, the west courtyard of the theater, had booths offering Indian food, spices and home decors. Fashion brand Plains & Prints also set up a corner featuring their latest collection featuring heritage sites in collaboration with photographer Mark Nicdao. On the other hand, the tiangge, at the Hardin ng Ekspresyon, the west courtyard of the theater, had booths offering Indian food, spices and home decors. Fashion brand Plains & Prints also set up a corner featuring their latest collection featuring heritage sites in collaboration with photographer Mark Nicdao. Audience members started arriving at six. The first-timers to the theater explored and took photographs of the different corners. Illustrious guests were led by National Artists Virgilio S. Almario, Benedicto “BenCab” Cabrera, Ricky Lee and Agnes Locsin, as well as cultural agency heads, National Archives of the Philippines executive director and NCCA chairman Victorino Mapa Manalo, National Museum of the Philippines director Jeremy R. Barns and Komisyon sa Wikang Filipino chairman Arthur P. Casanova. Also in the audience were theater and cinema scholar Nicanor Tiongson, professor and researcher Galileo Zafra, actor and satirist Mae Paner, actor Menchu Lauchengco Yulo, talent manager Noel Ferrer, theater critic Amadis Maria Guerrero, Manila Vice Mayor Yul Servo, chef Gelo Guison and designer Barge Ramos. Aika Robredo, the eldest daughter of former Vice President Maria Leonor “Leni” Robredo, also enjoyed the show. [caption id="attachment_185913" align="aligncenter" width="525"] The wedding of Rama and Sita.[/caption] Her mother graced a rehearsal on 6 September, especially invited by Rama, Hari choreographer and director, National Artist Alice Reyes and composer, National Artist Ryan Cayabyab. On 7 September, Robredo enthused on Facebook: “Yesterday, we, together with some local artists from Naga, trooped to the Metropolitan Theater in Manila to watch their first full stage rehearsal and we were stunned. They were not in costumes yet and the stage design was not even mounted yet but the entire production left us breathless and speechless!! It is the best of Philippine Dance and Music.” She encouraged everyone not to miss “the only collaboration that features the masterful works of five National Artists.” Aside from Reyes and Cayabyab, the other National Artists involved in the production are the late Bienvenido Lumbera, who wrote the lyrics and libretto; Salvador Bernal, who designed the stage and costumes; and Rolando Tinio, who translated it to English. They were not yet declared National Artists when the production by Ballet Philippines premiered on 8 February 1980 at CCP’s Tanghalang Nicanor Abelardo. The original staging featured Nonoy Froilan, Basil Valdez, Kuh Ledesma, Leo Valdez and Edna Vida. Rama, Hari was not restaged until 2012, starring Christian Bautista, Karylle Tatlonghari, Richardson Yadao and Katherine Trofeo. It won 14 Philstage Gawad Buhay awards. An adaptation was mounted in 1999, called Rama, Hari, Rama at Sita, The Musical, featuring Ariel Rivera and Lani Misalucha as performers, directed by Leo Rialp and choreographed by Locsin. The music was composed by Cayabyab and Danny Tan, and the lyrics written by Roy Iglesias and Dodjie Simon, based on Lumbera’s book. Rama, Hari was planned to be the closing production of Ballet Philippines’ 50th season in March 2020, but was canceled when lockdowns were imposed because of the coronavirus pandemic. When Reyes established her own dance company in 2022, the Alice Reyes Dance Philippines, Rama, Hari became one of its cherished projects. [caption id="attachment_185909" align="aligncenter" width="525"] Energetic dancing by Alice Reyes Dance Philippines. | Photographs courtesy of Teddy Pelaez[/caption] Reyes put both dancers and singers on the same stage, interpreting scenes and emotions in both words and movements. The cast is led by Arman Ferrer as Rama with alternate Vien King and dancer versions Ronelson Yadao and Ejay Arisola. Sita is portrayed by singers Karylle Tatlonghari, Shiela Valderrama-Martinez and neophyhte Nica Tupas and dancers Monica Gana and Katrene San Miguel. [caption id="attachment_185910" align="aligncenter" width="525"] Erl Sorilla as Lakshmana and Monica Gana as Sita. | Photograph courtesy of Teddy Pelaez[/caption] Singers Poppert Bernadas, Matthew San Jose and Jonel Mojica and dancers Richardson Yadao (also dancer for King Janaka) and Tim Cabrera take on the villain role, the demon king of Lanka, Ravana. Other performers are Audie Gemora (singer, King Dasaratha), Lester Reguindin and John Ababon (dancers, King Dasaratha); Miah Canton and Raflesia Bravo (singers, Kooni and Soorpanakha); Ma. Celina Dofitas and Sarah Alejandro (dancers, Soorpanakha); Michaella Carreon and Dofitas (dancers, Kooni); Katrine Sunga and Maron Rozelle Mabana (singers, Kaikeyi and the Golden Deer); Janine Arisola and Karla Santos (dancers, Kaikeyi); Erl Sorilla and Renzen Arboleda (dancers, Lakshmana and King Sagreeva); Paw Castillo and Jon Abella (singers, Hanuman and Lakshmana); and Dan Dayo and Ricmar Bayoneta (dancers, Hanuman); Alejandro and Krislynne Buri (Golden Deer); Dayo and James Galarpe (Bharata). Aside from ARDP and CCP’s Professional Artist Support Program, other performers come from Guang Ming College Artist Residency Program, Philippine High School for the Arts, De La Salle College of Saint Benilde and the Ryan Cayabyab Singers. Music is performed by Orchestra of the Filipino Youth with Antonio Maria P. Cayabyab as conductor. After the two-night gala on 15 and 16 September at the Manila Metropolitan Theater, the production moves to the Samsung Performing Arts Theater of Circuit Makati in Makati City on 22 and 23 September. The post ‘Rama, Hari’ gala is a cultural feast appeared first on Daily Tribune......»»
Tolentino: Our athletes are prepared
Team Philippines will be prepared and ready to win when it marches to the 19th Asian Games that will open on Saturday at the Hangzhou Olympic Sports Center Stadium in Hangzhou, China. No less than Philippine Olympic Committee president Abraham “Bambol” Tolentino declared their readiness, saying that they will deploy the best and most prepared athletes in the prestigious quadrennial meet that got delayed by a year due to Covid pandemic. Weightlifter Hidilyn Diaz, the first Filipino to win an Olympic gold medal, will be at the helm together with other standouts like pole vaulter EJ Obiena, swimmer Kayla Sanchez, and boxers Eumir Marcial, Nesthy Petecio and Carlo Paalam. Although expectations will be tempered on the chances of Diaz as she will compete in the heavier 59-kilogram category, she is still expected to make her presence felt as she had already warmed up in the World Weightlifting Championships in Riyadh, Saudi Arabia after finishing seventh. Even the boxers will be ready as they are coming off an intensive training in India and Australia in a bid to dominate the Asian Games that will also serve as a qualifying tourney for the Paris Olympics. Tolentino said he has high hopes for the 396-man national delegation. “We are very much prepared. Some of our athletes are coming off from their training abroad,” said Tolentino, who will join Philippine Sports Commission chairman Richard “Dickie” Bachmann in leading the send-off ceremony for Team Philippines on Monday at the Philippine International Convention Center. In the previous edition of the Asian Games in Jakarta in 2018, the Filipinos finished 19th after pocketing four gold, two silver and 15 bronze medals. It was the country’s best finish since grabbing five gold medals in 1951 in New Delhi, seven gold medals in 1962 in Jakarta, eight gold medals in 1958 in Tokyo and 14 gold medals in 1954 in Manila. The first batch of Filipino athletes had already left for Hangzhou. First to leave were Olympian Cris Nievarez and the national rowing team composed of Joanie Delgaco, Tammy Sha, Feiza Lenton, Edgar Ilas, and Zuriel Sumintac with coaches Shukhrat Ganiev, Ed Maerina, Nic Jasmin and Con Fornea. The rowers will kick off their campaign in the men’s single sculls, lightweight men’s double sculls, women’s single sculls, and lightweight women’s double sculls on Wednesday at the Olympic Sports Expo Center. Also first to arrive in the bustling city in Hangzhou, the capital and most populous city in Zhejiang Province, are the staff of the national women’s football team, windsurfers and indoor and beach volleyball players. The national booters, popularly known as the Filipinas, are expected to arrive in the coming days in batches as they kick off their campaign on Tuesday. Tolentino said exceeding their performance in the previous Asian Games will already be considered as a success. “This will be the best of the team. We hope to exceed our performance for the last four years,” said Tolentino, who is pinning his hopes on Diaz as well as Asia’s best vaulter Obiena, Olympic medalists Marcial, Petecio and Paalam, and two-time Olympic medalist Sanchez. “We have high hopes for medals in weightlifting, boxing, swimming, and e-sports, with potential surprises in martial arts as well.” The post Tolentino: Our athletes are prepared appeared first on Daily Tribune......»»
Rediscovered art gem’s curious past
A fascinating tale forms the backdrop of the “Bust of Juan Luna y Novicio,” withdrawn from a public auction yesterday that may be a prelude to a possibly long process to establish a claim. The National Museum of the Philippines, or NMP, as custodian of the country’s heritage works, is considering the recovery of the Filipino treasure. Salcedo Auctions announced on Saturday the withdrawal of the sculpture from “The Well-Appointed Life” sale. It said the bust’s owner agreed to withhold the bust from the bidding as a gesture of “goodwill.” A spokesperson, however, lamented that the NMP had never filed a claim on the bust despite its existence being public knowledge for a long time. An in-depth article in a broadsheet was even written about it. Only after the auctioneer was able to authenticate the piece of art did the NMP stake its claim to it, according to the auction house. The Fundación Mariano Benlliure assisted Salcedo Auctions in authenticating the Luna bust. The artwork has a deep history. Its creator, Mariano Benlliure y Gil, was a Spanish sculptor noted for his many public monuments celebrating notable Spanish figures, such as the ones of King Alfonso XII in Madrid and Queen Isabel la Católica in Granada. Benlliure, a friend of the Filipino patriot, was known as the last master of 19th-century realism; careful executions of everyday events and persons characterized his sculptures. In the pursuit of his dream to become a painter, Luna sailed for Europe in 1877. A year later, he accompanied his mentor, Alejo Vera, to Rome as his assistant. There, Luna made the acquaintance and friendship of Benlliure and his brother, Juan Antonio, and Spanish pensionados who were in Rome at the time for their studies. When Vera departed for home, Luna stayed behind and joined the Benlliures in an apartment on Via Marguita, where many other struggling artists lived. Theirs would be a lifelong and loyal friendship, with Luna painting a portrait of Lucrecia Arana, the sculptor’s wife, one of the most famous zarzuela singers of the time. Records show that a bronze bust of Juan Luna by Mariano, together with a copy of the Spoliarium painted by Juan Antonio, was commissioned by Don Vicente Palmori, Consul General of Spain. Palmori was a personal friend of Luna’s back in Rome in 1883, and it was written that these works were presented to the then-Philippine Governor General Leonard Wood on 21 October 1922 at the Marble Hall of the Ayuntamiento Building in Intramuros. Wood created a Committee on Arrangements through Executive Order 54 of 1922 for the ceremony of delivery of these artworks. The committee was headed by Don Fernando Zóbel, with the Spanish consul general heading the Committee on Presentations and the Governor General serving as chairman, representing the Philippine colonial government. Both works were later displayed at the Old Legislative Building on Padre Burgos but were lost during the battle for the liberation of Manila in 1945. In the aftermath of the war, a “junk collector presumably retrieved the bust from the rubble” and sold it to a junk dealer for P5 — not so much for its historical value but probably for its bronze content. The junk dealer then offered it to Elsie “Inday” Cadapan, an influential social realist Filipino artist who used to run an antique store at the Mabini Arts Center in the 1970s. It was Cadapan who, in 1979, sold the bust to East Asia Corporation for Arts & Antiquities, an affiliate of Multinational Investment Bancorporation, that was engaged in art dealership and brokerage that later merged with the institution via its managing director Amado Lacuesta. The post Rediscovered art gem’s curious past appeared first on Daily Tribune......»»
Intramuros, citadel of an empire (1)
My appreciation of arts and culture began when I was assigned by the Commission on Audit as the first resident auditor of the Intramuros Administration, or IA, then headed by Dr. Jaime C. Laya. It was our distinct honor and privilege to have worked with Dr. Laya, who was highly admired for his honesty and integrity. His presence in the workplace brought trust, grace and efficiency. He was the chief implementor of the mandates to restore and develop Intramuros as a monument to the Hispanic period of Philippine history, to restore its general appearance to conform to the Spanish architecture of the sixteenth to the nineteenth centuries, and to sponsor, conduct or otherwise assist and support festivals and cultural activities. Knowing the functions of the agency under audit helped me to review intelligently the economy and effectiveness of the utilization of government resources in the implementation of the mandates to restore the walls of Intramuros, the authenticity of the works it was acquiring, and the cost-effectiveness of the acquisitions. The continuing process of examining things of the past and imbibing into my consciousness bits of knowledge about the makings, the ages, and colors of the porcelain antiques of the Ming and Sung dynasties, the religious relics, the artifacts, the paintings of Luna, Hidalgo, Amorsolo and Castañeda, the archaeological findings, of the rare and ancient books, of the music of various ages and classes of our indigenous peoples, of the architectural and sculptural designs displayed by our own artists in this particular form of discipline — in totality constituted a singular quality of distinction that was uniquely beautiful and globally interesting to behold. The whole process of assimilation enabled me to equip myself with the necessary tools to create my own forms of art out of the stored knowledge that is both teachable and writable for the education and pleasure of man and the Greater Glory of God. President Ferdinand Edralin Marcos founded the Intramuros Administration on 10 April 1979, not only to restore the walls of the oldest city of Intramuros but to perpetuate the memory of the citadel of the only Catholic Empire in Asia. Intramuros was primarily a fortress. How it was built and how it withstood the battle during the Japanese occupation in the Second World War is a fascinating story. The decision of the Japanese Imperial Army during the Second World War to make their last stand in Intramuros against the Allied Forces in the Philippines was a tribute to the formidability of the old walled city as the strongest fortification built by Spain in Asia. The Japanese Army had a worthy commander, Rear Admiral Sanji Iwabuchi, a graduate of the Imperial Japanese Navy Academy in 1915. In 1937, he was promoted to captain and given command of the battleship Kirishima on 20 April 1942. On 15 November 1942, his forces engaged the US Navy in the Second Naval Battle of Guadalcanal where his battleship Kirishima was sunk but not after it had sunk two US battleships and eight cruisers — a major one-sided triumph for the Japanese Imperial Naval Command which promoted Iwabuchi to Rear Admiral. He was given command of the 11th fleet, in charge of the Japanese defense of Guadalcanal against the United States. General Yamashita later gave him a direct order to withdraw and report to him and not to proceed to Manila. He refused, citing his shame over having lost his Kirishima. He believed he could redeem that loss by holding his position in Intramuros to the death. Before the start of hostilities, Rear Admiral Sanji Iwabuchi addressed his men: “We are very glad and grateful for the opportunity to serve our country in this epic battle. Now with what strength remains, we will daringly engage the enemy. Banzai to the Emperor! We are determined to fight to the last man.” (To be continued) The post Intramuros, citadel of an empire (1) appeared first on Daily Tribune......»»
Marina Adams debuts in Asia
Longlati Foundation presents Marina Adams’ debut institutional solo exhibition in Asia, In the Garden of My Memory, featuring 11 large-scale acrylic and watercolor paintings and four scroll intaglio monoprints on paper inspired by Chinese folded books. Poetry is a crucial component of Adams’ artistic practice, intertwining language and painting, opening a pathway through its ineffable sensory experience. In the Garden of My Memory is derived from Ted Berrigan’s poem “Tambourine Life.” Perhaps this phrase struck Adams in her studio on a summer afternoon and leapt off the page. Here, it functions as a cryptic invitation, inviting viewers to journey through the artist’s vibrant realm of memories constructed through colors. Like poetry, Adams’ artworks don’t provide specific imagery or narratives, yet they vividly convey her perspectives and contemplation of the world. Impressions drawn from nature, music, fabrics, architecture and literature are transformed into dynamic colors, humming with the physical resonance of individual existence through the canvas as if its structure were a kind of grammar, and light and shadow serve as its tones. These pieces traverse the boundaries of diverse logical fields, directly reaching the channels of individual senses. [gallery columns="2" size="full" ids="180075,180073"] Adams’ creations should be understood as abstract expressionism within the realm of color field painting. On the one hand, she follows the tradition of color field painting, emphasizing the ontological superiority of overall form and color in the painting, thereby discarding the once-prominent symbols and rhetoric. On the other hand, distinct from the typical serenity and meticulousness of color field paintings, she consistently infuses her colors with spiritual energy, imbuing her paintings with vitality. They undoubtedly emanate from the artist’s bodily rhythm, interpreted into live abstractions through brushes and pigments. Adams earned degrees from Tyler School of Art, Temple University, Philadelphia, and Columbia University in New York. She is the recipient of the John Simon Guggenheim Memorial Fellowship (2016) and the Award of Merit Medal for Painting from the American Academy of Arts and Letters (2018). She has participated in various solo and group exhibitions, including the Parrish Art Museum, Water Mill, New York (2021), Modern Art Museum, Fort Worth (2020), Camden Arts Centre, London (2016) and CUE Art Foundation, New York (2008). Marina Adams’ work is in the collections of the MoMA, New York, the Modern Art Museum of Fort Worth, Texas, the Metropolitan Museum of Art, New York, and the Longlati Foundation, Shanghai. She lives and works in New York, Bridgehampton, Long Island and Parma in Italy. Co-founded by David Su and Zihao Chen in 2017, Longlati Foundation is a non-profit organization registered in Hong Kong. It aims to contribute to the development of contemporary art in its diversity. Curated by Jenny Chen Jiaying, In the Garden of My Memory runs from 14 September to 25 October on the third floor of Longlati Foundation, 117 Hong Kong Road, Huangpu District, Shanghai, China. The post Marina Adams debuts in Asia appeared first on Daily Tribune......»»
DoT chief seeks Rotarians’ support for tourism projects
A partnership with the Rotary Club of Manila, along with other Rotary Clubs in the country can realize the government’s objective of transforming the Philippines into a tourism powerhouse in Asia. [caption id="attachment_179067" align="aligncenter" width="2430"] Department of Tourism Secretary Christina Garcia Frasco, in her speech as guest speaker of the Rotary Club of Manila during the Club's weekly meeting at the Manila Polo Club last 31 August, said it was her ‘sincere hope that with the partnership of the Rotary Club, as well as its members and the captains of industry who contribute in one way or another to the project of nation-building, we can ensure that our country — through tourism — will have a more primary role in Asia as a tourism powerhouse.’[/caption] This was the call made by Tourism Secretary Maria Christina Frasco after presenting the stance of the tourism industry in the country before members and officers of the Rotary Club of Manila during the Club’s membership meeting at the Manila Polo Club last Thursday, 31 August 2023. Frasco reported that the efforts of the DoT, along with the whole-of-government approach ordered by President Ferdinand Marcos Jr. in implementing the department’s projects with an eye to restoring the glory of the tourism industry has resulted as of 30 August 2023 into 3.6 million international arrivals, surpassing the total number of international arrivals last 2022. The figure is already 75.92 percent of the country’s target of 4.8 million tourist arrivals this year. “Philippine tourism contributed 6.2 percent to our gross domestic product in 2022; it is being hailed by our economic managers as the second growth driver in the first six months of this year,” she said. By the end of 2022, Frasco said the tourism industry has contributed over P1.87 trillion to the Philippine economy as a composite of international and domestic spending, representing a 67 percent recovery since 2019. “Tourism also contributed over 5.5 million in tourism employment, an 11 percent share of the national employment, and also represents over 93 percent in recovery from 2019 data,” she added. Frasco also said that the rallying of Philippine tourism after the battering it got from the pandemic stands at 66.3 percent, higher than the 54 percent average recovery of ASEAN nations in 2022. As per tourism receipts, Frasco said the industry has already breached P285.9 billion as of 31 July 2023. Pillars of Tourism The Tourism secretary stressed that to give the Philippines a fighting chance at standing shoulder-to-shoulder with its neighbors in the ASEAN region, her department had crafted the National Tourism Development Plan 2023-2028, which does not only focus on the promotion of tourism alone but also in analyzing and understanding the essential pillars of tourism. Approved by President Marcos Jr. last May 2023, the NTDP provides a framework to guide the development and implementation of programs, projects, and activities towards a sustainable, innovative, inclusive, and globally competitive tourism industry. NTDP’s seven strategic goals include improvement of tourism infrastructure and accessibility; cohesive and comprehensive digitalization and connectivity; enhancement of overall tourist experience; equalization of tourism product development and promotion; diversification of the tourism portfolio through multidimensional tourism; maximization of domestic and international tourism; and strengthening tourism governance through close collaborations with national and local stakeholders. Putting the Plan into concrete action, the DoT hopes to have an accumulated total of 51.9 million tourist arrivals and 34.7 million tourism-related jobs in the country by 2028. Frasco said in terms of infrastructure, the DoT has partnered with the Department of Public Works and Highways to improve accessibility in the regions with tourism sites. “This is by constructing, rehabilitating and adding tourism roads leading to tourist destinations. This year, over 158 kilometers of tourism roads have already been constructed,” she said. Aside from this, Frasco said the DoT has also coordinated with the Department of Transportation in improving connectivity, primarily in the country’s gateways for the improvement of flights and tourist journeys. With this, Frasco said the country is starting to see robust recovery of connectivity in the country, including a 100 percent increase in flights in Clark International Airport; a 614 percent increase in flights in Kalibo International Airport; and over a 300 percent increase in flights in Mactan-Cebu International Airport, among other airports in the country. Moreover, she said they also partnered with the Department of Information and Communications Technology for the purpose of improving internet connectivity across 94 tourist destinations in the country. Connectivity in 47 of these destinations have already improved, according to Frasco. e-VISA Furthermore, Frasco said the DoT has engaged with other government agencies, namely the Department of Foreign Affairs, the Department of Justice, the DICT, and the Bureau of Immigration for the streamlining of the visa application process, aiming to enhance convenience and accessibility for all international travelers, starting with Chinese visitors. Last 24 August, the DFA implemented the Philippine e-Visa system in Philippine Foreign Service Posts in China. The Philippine e-Visa will allow foreign nationals entering the country for tourism or business to apply for temporary visitor visas remotely through their personal computers, laptops and mobile devices. Other initiatives conceptualized by the DoT to improve the tourism experience include the “Hop in Hop Off” project; being part of the “Love the Philippines” tourism slogan; the “Philippine Experience”; facilitating a cultural tourism circuit development focused on heritage, culture, and arts to enhance current tour and domestic circuit offerings, which include Food and Gastronomy, Pilgrimage and Wellness, Living Cultures and Heritage, and an Arts caravan. In order to equip Filipino tourism workers, the DoT is set on training 100,000 of these workers and capitalize on the world-renowned Filipino hospitality. “We have already managed to train over 71,000 Filipino workers,” Frasco said. Optimistic “Frasco said the Marcos administration remains optimistic about tourism recovery and the resurgence of the nation. “Our numbers will indicate that tourism will continue to be a top economic driver that will provide massive employment and livelihood opportunities to Filipinos and our MSMEs,” she said. With the launch of the enhanced “Love the Philippines” branding, Frasco maintained that it would give the country a better opportunity to be reintroduced to the world. The post DoT chief seeks Rotarians’ support for tourism projects appeared first on Daily Tribune......»»
How coastal land reclamation can benefit cities and communities
Coastal land reclamation is increasing and will continue to grow and be a popular urban strategy in places that experience urban growth. [caption id="attachment_176366" align="aligncenter" width="1041"] Palm Jumeirah in Dubai, an artificial archipelago that houses some of Dubai’s luxury hotels, residences and entertainment venues. | Photograph Courtesy of Abid Bin Nazar.[/caption] This is according to a study, “Mapping 21st Century Global Coastal Land Reclamation,” that analyzed landsat satellite images from 2000 to 2020 to quantify spatial extent, scale and land use of urban coastal reclamation of 135 cities globally with populations exceeding one million. Key findings indicate that 78 percent of these cities have turned to reclamation to create additional land, resulting in 253,000 hectares of new land, an area equivalent to Luxembourg. Land reclamation is the process of creating new land from the sea. It’s often used in places with scarcity of land and high population density for many purposes. From Western Europe and West Africa to the Middle East, East Asia and Southeast Asia, these countries’ cities reclaim lands for port extension, residential/commercial and industrial purposes aimed at creating tourist and green spaces. “Coastal land reclamation is a forward-looking approach to urban development,” said Architect Ian Fulgar, the principal architect of Fulgar Architects. It allows cities to preserve valuable ecosystems and resources from urban sprawl by expanding spaces without encroaching on existing natural land. More importantly for architects, urban planners and modern city dwellers, it presents an opportunity to have purpose-built urban environments specifically designed to meet their needs. “Architects and urban planners can design sustainable and efficient infrastructure with a blank canvas, incorporating the latest technologies and best practices in urban planning. This approach can lead to more resilient and adaptive cities capable of mitigating the effects of climate change and other environmental challenges,” Fulgar added. Innovation, sustainability Singapore, Dubai and Hong Kong are some of the world’s most notable cities with impressive urban reclamation projects. Singapore’s Marina Bay Sands and Gardens by the Bay are testaments to the city-state’s commitment to innovation and sustainability. The former is a luxury integrated resort famed for transforming Singapore’s coastline and city skyline, while the latter is a spectacularly unique horticultural destination that combines art, science and nature. These reclaimed land developments further boost the country’s international reputation and real estate value around the area. Coastal land reclamation has significantly changed the geography of the United Arab Emirates. Dubai features ambitious projects now known as some of the most recognizable developments in the world, like Palm Jumeirah, an artificial archipelago shaped like a palm tree when viewed from above that houses some of Dubai’s luxury hotels, residences and entertainment venues, and The World, a groundbreaking project composed of small artificial islands in the shape of a world map. Lastly, Hong Kong’s commitment to preserving art, culture and ongoing sustainable urban development is exemplified by its West Kowloon Cultural District, a 40-hectare reclaimed site along Victoria Harbour’s waterfront designated as the city’s vibrant cultural quarter where the local arts scene can interact, develop and collaborate throughout its sustainability principles. “These projects have created iconic and visually striking landscapes by pushing the boundaries of engineering and urban design. Sustainability is often at the forefront, integrating practices and technologies that minimize environmental impact and enhance the quality of life for residents and visitors,” Fulgar pointed out. “Trends and insights on global reclamation illustrate the potential of reclamation projects in addressing various urban development, environmental conservation and community well-being needs, leading to more sustainable and resilient urban planning worldwide. By adopting these lessons and focusing on sustainable growth, the Philippines can capitalize on its potential and carve a path to a brighter future,“ Fulgar added. The post How coastal land reclamation can benefit cities and communities appeared first on Daily Tribune......»»
Making Filipinos proud through our folk dances
The summer that Marielle Benitez-Javellana participated in the performances of the Bayanihan Philippine Dance Company in various barangays of Manila, she was balancing her time between football and folk dance. [caption id="attachment_175404" align="aligncenter" width="841"] Marielle Benitez-Javallana with son Lucho.[/caption] She had just graduated from De La Salle University where she played for the University Athletic Association of the Philippines. She was also a member of the national women’s football team. Between her graduation and return to the football field, she attended the Philippine Women’s University’s Bayanihan folk dance workshop. This culminated in a class recital at the Folk Arts Theater where she danced “Aray.” As she recalled in her interview with the DAILY TRIBUNE, it was quite a challenge for her to give her equal attention to football and dance. She recounted laughingly, “I would run from one rehearsal to one training. Or from a game to a performance. In the car, I would fix my make-up or change into my costume or my sportswear. “I stayed in dance because I enjoyed the company. We goofed around a lot, and we didn’t care if we fell from a bench, tripped or looked awkward because of our mistakes. We kept trying and we learned how to do the steps correctly.” It was a rite of passage for Marielle and the new Bayanihan applicants because they had to follow the rules, “such as attending rehearsals with our makeup on and our hair pulled up in a bun. They were inculcating in us the standards for which Bayanihan was known and admired.” Grace and precision While folk dancing may be different from playing football, she somehow found similarities in both. “At first, I felt a little bit awkward because I was a football player and at the same time dancing Itik-Itik, Binasuan and Tinikling. In both, precision and grace are important. Both require commitment and hard work. And in dance, as in football, you perform as a team. You can’t do things by yourself. You have to be in sync with the other team members and be connected with them.” She would have her first international engagement in August that year and, to her delight, it was in Athens where the Olympics were being held. “Just like most athletes, my dream was to be part of the Philippine team in the Olympics. And there I was exactly at the Olympics, but I was not in my athlete’s uniform. Instead, I was in my Filipiniana costume, with my hair teased up. We were the Philippine representatives at the Cultural Olympiad, which took place alongside the Olympic Games. “We had shows at night over the week. One headline said, ‘Philippines bags the gold in the Cultural Olympiad because of Bayanihan.’ I was there mesmerized by all those athletes gathered and there I was, all made up, dancing to Philippine folk music. Still, being there for my country and eliciting thunderous applause made me proud of my country and the Bayanihan.” The rest is, of course, history. She went on to dance in various international performances, festivals and competitions and had been part of many award-winning showcases. A challenge every day Fast forward to 2023, Marielle is the executive director of the Bayanihan. One would think she has adapted to the rigors of managing a world-class performing arts group and can now take it easy, having become accustomed to running the organization. On the contrary, Marielle clarified, “I think it’s a challenge every day because, number one, I obviously would continue all my mom’s programs but, at the same time, I would also need to move forward. “At the time that she was on top of the administration of the Bayanihan, she had different challenges naman. And I think, what she was able to set and implement will now create more challenges and opportunities for me. What we share is our passion for work and for a cause. Like her, I work passionately and enthusiastically. “If you ask the younger generation now who the Bayanihan is, they wouldn’t know it the same way the older generation knew the prestige of Bayanihan. That is a challenge for me. Without having to put the Bayanihan on TikTok, it is my responsibility to make ourselves visible and relevant without breaking the Bayanihan traditions.” But if it was a top dream for the young women then to join the Bayanihan so they could see the world, today is quite different “since everyone could travel now. What has remained is that certain character that qualifies one to be a member. There is no money in Bayanihan, so one has to have that desire for advocacy to share with the world the best of our country. A Bayanihan member should be capable of taking to heart our mission to promote Philippine culture. It’s a cause. A thing of the heart. That’s why we’re also known as cultural ambassadors.” Hall of Fame Bayanihan has survived, Marielle explained, “because we always have new trainees. We constantly recruit and we receive applications often. But of course, we also see through the applications. Not just anyone would really be able to last long rehearsals. One has to have that specific attitude and frame of mind that they need to be able to balance school or work and rehearsals. There has to be a certain kind of maturity, which comes from exposure and work ethic that one learns in a working environment. The thing is if you’re working, you cannot just leave for tours and performances so all these factors come into play.” “Right now, we have 30 members — 15 men and 15 women,” Marielle said. “We also brought in new trainees in our annual production Continuum — A Dance Spectrum Through the Years. In the short time that Marielle has assumed the post of executive director, Bayanihan has added to its long list of awards at the same time that it scored new milestones. “Last year, we won our 14th grand prize in Korea so we have been installed into the Hall of Fame. This year we are participating as a guest organization.” “Last year, we were the first Philippine dance group to perform in Riyadh, Saudi Arabia. Early this year, we were the first Philippine group to perform at the Royal Opera House in Oman, Muscat.” First face-to-face festival Looking forward, Marielle enumerated future plans including a tour in September that will bring them to Cyprus and Greece, and in October, to Korea. Marielle will also be active as an officer of the Federation of International Dance Festivals, of which her mom was the local chair for Asia. “When I came in as Bayanihan executive director, it was crucial for me to continue what my mom had begun. Fortunately, during the election last October, I was elected as vice chair for Asia.” In December, Bayanihan will finally host its first face-to-face international dance festival. So far, countries that have confirmed their attendance are Austria, Spain, Poland, Korea and Indonesia. They will all perform in week-long productions. Marielle acknowledged the support of her brother Philippine Women’s University president Marco Benitez and the Bayanihan Board of Trustees composed of its chair, Congressman Kiko Benitez; the president, Ambassador Rosario Manalo; and the members, namely, Rosky Balahadia-Hilado, Judith Pantangco, Imelda Trillo, Leni Cabili, Neny Apostol Regino, Chingay Lagdameo, Marilou Mirasol, Rachy Cuna, Marilou Mirasol and Boy Abunda. Of course, behind them too is the PWU chair Vicky Nazareno. Finally, Marielle shared, “We will continue with our mission to research our dances all over the Philippine archipelago and create our distinct Bayanihan adaptations. And, of course, we will strive to continue inculcating in our members the Bayanihan values that I believe make our performing artists stand out — commitment, discipline, perseverance, leadership, teamwork, time management and the ability to balance late-night hours of rehearsals with your work and home responsibilities when you wake up the next day. These practices make us excel as dancers and because we do our best to excel, we proudly represent our country and hopefully make our countrymen proud.” The post Making Filipinos proud through our folk dances appeared first on Daily Tribune......»»
Pinoy’s got talent
“That’s cool, Attorney,” said Mr. Arico “Acoy” Matibay, a fictional client of mine from the Philippines. He was sitting in my office along with his long-time sweetheart, Ms. Dinah Sia Maasim, seeking legal advice about their chances of getting a green card in the US. “So, if we have special talents or skills that are way above what ordinary people have, we can apply for a green card?” interjected Ms. Maasim, who could not mask the excitement on her face. “Yes,” I replied. “But there are a number of requirements that need to be met in order to qualify for this type of visa. Number one is that exceptional talent or ability should pertain to the arts, sciences, or business. Number two is there should be an employer willing to sponsor the person.” I explained further that this type of sponsorship was relatively faster because it belonged to the EB-2 immigrant visa category with only a one-to-two-year waiting period for a green card. Also, the application could bypass the labor certification process and be filed directly with the US Citizenship and Immigration Services if accompanied with proof that the person had international acclaim or recognition in his/her field of specialty, that he/she performed or possessed the special skills within the past year, and that the exceptional ability would be put to use in the US immediately. “To prove these things,” I continued, “you can submit evidence of awards or prizes, certificates of membership in international associations, published materials about the work or talent, authorship of scientific or scholarly articles, proof of participation as a judge or panel member, etc.” “In addition,” I went on, “at least three of the following types of documentary evidence must be submitted: an academic record of diploma, award, or certificate, letters showing at least 10 years’ full-time experience in the specialty field, license or certification to practice the profession or occupation, proof of high salary commensurate with the exceptional skill, proof of membership in professional associations, or evidence of special recognition from industry peers or governmental organizations.” After I finished talking, the couple exchanged excited glances and smiled at each other, their faces beaming with satisfaction. Mr. Matibay spoke first: “Thank you for the explanation, Attorney. I think we can meet most of the requirements.” “Our special talents have made us somewhat popular in Asia,” added Ms. Maasim, smiling. “We’ve also received awards from the industry, plus we’ve been very active in performing our special skills this past year. We also intend to use our exceptional talent here in the US. In fact, there’s an employer/producer who’s very much willing to put us to work as soon as possible.” “Not only that,” continued Mr. Matibay, “we’re also members of a professional film group that sometimes act as panel judges for amateur movie contests. We’ve been doing this gig for 15 years now and we’re among the top five percent of high-earners.” “That’s quite impressive,” I said. “May I ask what is it that you guys both do?” “We’re acrobatic porn artists, Attorney,” replied Mr. Matibay proudly. “We do triple-X movies and live shows. Our most popular segments are the Torture Chamber and Banana Split. We also do Jose and the Pussycats. Last year, we did a Covid special called Strep Throat. We actually have a demo tape with us, Attorney. It’s called The Magic of Johnson and Larry’s Bird.” My head started spinning and it took me a while to find the courage to tell them that the US did not consider porn acrobatic talent as a skill of exceptional caliber for EB-2 sponsorship purposes. Sexceptional ability maybe, but exceptional ability certainly wasn’t. I advised them to try their luck in Russia instead. The post Pinoy’s got talent appeared first on Daily Tribune......»»
TOFA honors this year’s Presidential Volunteer Service awardees
The Outstanding Filipinos in America, an organization that honors the achievements of Filipinos in the USA, named the 2023 Presidential Volunteer Service Awardees during the recent awarding ceremony at the Triad Theater in New York City. Founded by New York-based journalist Elton Lugay, TOFA acknowledged individuals who rendered their talents and skills, expertise and wisdom in diverse community events around the United States. The distinction was acknowledged by the office of The White House in Washington, D.C. This year’s recipients included senior creative manager Angelene Coronel, healthcare worker Richie Garcia, special education teacher Deirdre Levy, public health expert Rachelle Peraz Ocampo, civil rights advocate Clifford Robin Temprosa and digital creators Dennis Almario, Chris Labaco, Jonathan Maravilla, Erwin Pajarillo and Eric Relucio. Dominating the roster were artists and performers Arianne Aldecoa, Denise Kara Almario, Bernice Bernabe, Eric Celerio, Marga Empress, Manilyn Gemproso, Asia Guzman, Melody Himarangan, Erno Hormillosa Jr., Gene Juanich, Hansel Mendoza, Morris Montilla, Marcus Oche, Bobby Ramiro, Ellis Young, Hannah Zapanta and Mark Anthony Atienza. Atienza, a graduate of Bachelor of Arts in Music Production from the De La Salle-College of Saint Benilde, recalled that he was surprised with the recognition. He thought he was just only attending the affair. “I feel honored and blessed to receive this award. It continues to motivate and inspire me to constantly give back to the community,” he said. Since residing in the US since 2021, he sang in Filipino restaurants, including Kabayan and Kusina Pinoy Bistro. Atienza was the opening act of some biggest celebrities’ concerts, such as Morissette Amon, Marcelito Pomoy, Erik Santos, Gary Valenciano and KZ Tandingan. He likewise has been part of special traditional Masses such as Simbang Gabi and social gatherings of the Philippine consulate and the Philippine Independence Day Council Inc. With his determination and passion, Atienza, along with his fellow TOFA singers Almario, Guzman, Relucio, Young, Zapanta, Neeko Delos Santos and Geo Rebucas, showcased their vocal prowess with the US National Anthem during the Filipino Heritage Night at a National Basketball Association game at Madison Square Garden in November 2022. They were also invited to serenade the White House for its Christmas Open House in December 2022. Despite missing his home country, Atienza shared that he temporarily decided to stay abroad because of the opportunities which opened up for his career. “As an independent artist during the pandemic, it was really hard for me because I had no place to perform,” he stated. “No way to somehow make a living with my music.” He lauded all musicians and digital creators in the industry for inspiring him to become a better person. “I hope and pray that with your art and contents that you’re making, you’ll continue to use it to make an impact on our society.” Atienza wrote songs for multimedia companies GMA Music and Viva Music. His original pieces were also featured in the movie Walwal, which was directed by award-winning filmmaker and Benilde Digital Filmmaking chairperson Jose Javier “Joey” Reyes. He recently released his debut album 20/20, which was based on his own experiences of love and heartbreak during the coronavirus pandemic. The post TOFA honors this year’s Presidential Volunteer Service awardees appeared first on Daily Tribune......»»
Kadayawan sa Dabaw now on its 38th year
Today, 20 August, is the culmination of Kadayawan sa Dabaw, touted to be the festival of all festivals in Mindanao. Now on its 38th year, the official festivity of Davao’s most colorful and bonggacious celebration started last 10 August. [caption id="attachment_173332" align="aligncenter" width="784"] street dancing at the festival. | Photographs By Henrylito Tacio For The Daily Tribune[/caption] [caption id="attachment_173333" align="aligncenter" width="763"] Floralfloat.[/caption] [caption id="attachment_173334" align="aligncenter" width="898"] The streets of the city were on fire as dancers stomped their feet, swayed their hips and cheered in their loudest voices.[/caption] A week later, 17 August, Kristine Claire Tar of the Bagobo-Klata was crowned as this year’s Hiyas ng Kadayawan. “Hiyas sa Kadayawan is a great avenue for us to show not only for our strength as a tribe but to show as a woman that we are powerful, we have a voice and that we are talented,” she answered when asked the question: “How does Hiyas sa Kadayawan empower the women of Davao City?” “The Hiyas sa Kadayawan,” she further explained, “is a showcase of different diversity, the unique beauties of the 11 ethnolinguistic tribes of the city. It is a way for us to showcase our uniqueness and our diversity, and I am an example for that.” Tar then concluded her reply, “I, as a Hiyas, have experienced the great opportunity to show and share my voice, in sharing my advocacy and my plans as a tribal youth president, and as a woman.” First runner-up Juhana Sultan of the Maranao ethnic group was chosen as Hiyas sa Panaghiusa while Althea Asnawi of Taosug tribe settled for second runner-up as Hiyas sa Kalambuan. Sultan also got the following special awards: Eastern Smile of the Night, The Spectrum, Pau-Pau Choice, Hiyas of Mr. D.I.Y and Best in Cultural Presentation. Street dances On the 19th, the streets were filled again with contingents from the city itself and even those from other provinces of Davao and even other regions with the execution of Indak-Indak sa Kadalanan. Some streets of the city were literally on fire as street dances stomped their feet, swayed their hips and shouted with their loudest voice ever during the event. Moving colors — mostly red, yellow, orange and green — flooded the streets. For the Davao City School-Based Category, there were six contingents: Apo Duwaling Dance Company of the Mabini National High School; Tribung Lacson Performing Arts and Ensemble of Lacon Integrated School; Sining Sayon Dawet Cultural Ensemble of Davao City National High School; Hinugyaw Dance Performing Arts of Don Enrique Bustamante National High School; Sining Mananayaw Ensemble of Catalunan Pequeno National High School; and the Performing Arts Company of Lapu-Lapu Elementary School. There were 13 entries in the Open Category or those contingents outside of Davao City. Davao Oriental was represented with four entries: Caraga Matimawa of Caraga National High School (from Caraga), Tribu Maganahay Matiao National High School (from Mati City), Banayan Performing Arts (from Banaybanay) and Rise and Shine Caraga of San Luis National High School. (also from Caraga). Davao del Norte had two entries: Madyaw Samalikha Cultural Dance Troupe (from Island Garden City of Samal) and Asuncion National High School Performing Arts Guild (from Asuncion). There was a lone entry from Davao de Oro: Indak Elizalde Performing Arts Guild of Elizalde National High School (from Maco). Entries outside of Davao Region were as follows: Tribung Balovebagueño (from Balabagan, Lanao del Sur), Agusan del Sur Artists’ Guild (from Agusan del Sur), Landan National High School Performing Arts Group (from Polomolok, South Cotabato), Kalingawan Dance Troupe (from Sto. Niño, South Cotabato), Gagandilan Akbar Performing Arts Guild (from Akbar, Basilan) and Sindac Anib Performing Arts Guild (from Bislig, Surigao del Sur). “The Indak-Indak sa Kadalanan is wildly popular because of the distinctively Mindanaoan beat and costumes,” one pundit commented. “Several tourists come to Davao to watch hundreds of people dancing with vigor in the streets, clad in their native attire and carrying extravagant props that would give Hollywood studios a serious run for their money.” Unlike in the past, the street dancing was moved to the afternoon instead of the usual morning. When asked why, Second District Council Al Ryan Alejandre, the festival spokesperson, told Davao media: “So, it will not be too hot for the children, and we have a good vantage view since it will be in the afternoon and the evening.” (Editor’s note: By the time this feature came out, the winners were already announced.) ‘Pamulak sa Kadayawan’ Also today, August 20, the Pamulak sa Kadayawan will be held. It is a sight to behold as it is patterned after the Pasadena Parade of Roses in the United States — where flowers and fruits are set in colorful floats by business establishments, community assemblies and peoples’ organizations as they promenade on the streets symbolizing all the bounty sustainably enjoyed by the city’s residents. This year, the Daku Category has nine entries: Ipi Kadayawan Float, Kadayawan Kaleidoscope: A multicultural Float Gala, The Fruits of Love and Caring the Nature, Kahayas sa Kalipay (XVI Global Holdings B.V.), IQOR Nurturing Hands, Nurturing Hearts, Harmony in Motion: Vista Estates and Vista Mall Tribute, Fly with the Champions — Philippines Air Asia, Inc., The Davaoeño Spirit (Aeon Blue), and National Food Authority Region XII. The Gamay Category has 13 entries: Guardians Anti-Crime Phil, International Inc., Barangay Councilors League of the Philippines First District, Teleperformance, Kababaihan Group, Duterte Squad Solid Supporters Group, Hudyaka sa Sutherland, Black Hawk Extreme Riders of Davao, Inc., Eng Seng Products, Tahawrog Tribe, Own Your Future — Alorica Teleservices, Inc., The Cause and Effect — A and L Marketing Solutions Hub, Inc., and Balangay — Philippine Retirement Authority. The Non-Competing Category has 14 entries. Perhaps not too many know that the festivity actually started in the 1970s when then Mayor Elias B. Lopez initiated tribal festivals featuring the lumad (native) and the Muslim tribes of Davao City where they showcase their dances and rituals of thanksgiving. It was then called “Apo Duwaling,” in honor of the three royalties for which Davao is famous for — Mount Apo, durian and waling-waling. In 1988, Mayor Rodrigo Duterte renamed “Apo Duwaling” to “Kadayawan sa Dabaw.” Kadayawan is derived from the friendly greeting “Madayaw,” a term taken from a Dabawenyo word dayaw which means “good,” “valuable,” “superior” or “something that brings good fortune.” “As the longest-running community festival in Mindanao, Kadayawan sa Davao has metamorphosed into a grand celebration that honors Davao’s rich cultural heritage and the many blessings bestowed on the city,” the Davao Tourism Office said. “Kadayawan’s sights and sounds remain unparalleled.” The post Kadayawan sa Dabaw now on its 38th year appeared first on Daily Tribune......»»
Chef Valery Anthony’s secrets: Time and Intention
Valery Jane Anthony grew up watching shows on the Food Network, which was ultimately noticed by her nurturing and caring mom, an amazing cook herself. “As she noted that I grew fond of watching the ongoings in the kitchen, she bought me cookbooks which I would continuously read day in and day out,” she shared. “And I presume that’s where my love for food and cooking started. Besides, I would feel myself the most when I’m in the kitchen,” she admitted. [caption id="attachment_168047" align="aligncenter" width="960"] Valery Anthony (rightmost, standing) at her college graduation[/caption] Chef Valery, 24, was raised within an encouraging family. “I believe that’s one big factor as to why I kept persevering through my career. They’ve always been so supportive on whatever I did. And whenever I did make mistakes, they also pointed it out and helped me fix it so I could be better.” Prior to graduation from the Culinary Arts program of the De La Salle-College of Saint Benilde, she was the sole Philippine delegate to the Young Chefs Olympiad in India, one of the largest culinary gatherings worldwide, where she clinched fifth place. She likewise garnered silver at the lauded Philippine Culinary Cup. [gallery size="full" columns="2" ids="168049,168057"] During her internship at the Italian Culinary Institute for Foreigners in d’Asti and in the Michelin-star restaurant Il Picolo Principe in Luca, Tuscany, both in Italy, her main takeaways were organization, ingredients, techniques and, most importantly, resilience. “My highlight would definitely be the traveling and the food most especially. There’s really a certain charm when you get to experience another country’s food and culture. I would say it’s a core memory and a lifelong memory of mine,” she imparted. With a culinary degree in hand, her first foray into the professional world was at the award-winning Italian pizzeria a mano Restaurant, where she worked her way up to become a chef de partie. Today, she has joined the ranks of sterling chef Margarita Fores’ Sostanza Corporation as a chef de partie and menu planner. When asked on her favorite ingredient, she approached the question with the intangible — time and intention. “Excellent food may still be done quickly even on a rush. But as with a lot of great dishes, it requires time and patience. Cooking and creating food has to be intentional. It makes it more personal and honestly affects the overall product,” she revealed. [gallery size="full" ids="168081,168080,168079"] Meanwhile, her sharp and trusty knife is her favorite kitchen tool. “Sometimes that’s all a chef needs in a busy kitchen.” When pressured, she tends to remain calm and laugh it out after service. “However, I recalled I started as a really terrible crybaby,” chef Valery divulged. “During my first job, I would cry over the smallest matters. But I eventually learned to manage my thoughts and emotions better under pressure by taking it positively and not to dwell over it.” During her free time, she loves to read and write, being a bookworm back in high school. “Now I enjoy reading articles about food, fashion and art. In addition, I relish going on self-dates! I’m quite comfortable in my own company and I love going to malls, cafes and restaurants by myself. It’s a way for me to unwind and destress.” Looking into the future, she wishes to continue with research and development in the food industry and hopes to be included in more collaborations — fingers crossed, she said. One day someday, she prays for a project she can call her own. [gallery size="full" ids="168078,168077,168076"] We had a chat with chef Valery as she shared her thoughts on values, words of inspiration and working with chef Margarita Fores: On modesty “One lesson that I always carry, even until now, is to keep my feet on the ground and my head held high. College and competitions have humbled me in a lot of ways through mistakes and failures. I emerged as a stronger and wiser person. Keep on pushing! I don’t believe in giving up. I advocate perhaps to take a break, step back. But never give up.” Hardest to master recipe “This is actually quite funny! A little backstory, I am in love with chocolate chip cookies. And I’ve been trying to make my own version since God knows when — I’ve always been left unsatisfied. Only until recently, I made a batch that I was genuinely happy with! I’m not the best with baking, but I do have the patience with testing recipes here and there, every now and then.” Working with Chef Margarita Fores “It still feels so surreal! I’ve been a huge fan since I was in high school. Even before she won Asia’s Best Female Chef, I’ve already had a big admiration for her. She’s extremely kind and fun to be with. She has also opened up a lot of doors for me and I must say that she is one of the catalysts in my career.” Latest projects “I’m currently handling menu planning and research and development in chef Margarita’s catering company. I recently also did a collaboration in Singapore with chef Margarita, chef Miko Calo and chef Johanne Sy. I used to only dream of these. I’m extremely grateful I get to have my passion as my job!” Culinary motto “Never stop learning. I’ve always believed that it is an everyday experience. We always have the chance to gain new knowledge and improve ourselves, through small or big ways. And wherever we go, there will always be those who will have our weaknesses as their strengths and vice versa. So keep on learning.” Advice to aspiring chefs “Take notes of everything, even if you think you won’t need it. One day you will. Always initiate to help. Because that’s one step to learning.” The post Chef Valery Anthony’s secrets: Time and Intention appeared first on Daily Tribune......»»
Veteran journalist, book author Rene Acosta is new NPO chief
President Ferdinand R. Marcos Jr. has appointed veteran journalist and book author Renato “Rene” Acosta as the new head of the National Printing Office, an attached agency of the Presidential Communications Office, Malacañang announced Saturday. Press Secretary Cheloy Velicaria-Garafil said that Acosta will replace Carlos Bathan as the director of the government’s official printing arm. Acosta was a fellow of the East-West Center in Washington DC and an alumnus of the US State Department’s premier professional exchange program International Visitor Leadership Program. The Philippine-based journalist has contributed stories and analyses on domestic and regional issues for renowned international think tanks, such as the Washington DC-based Center for Strategic and International Studies and Oxford Analytica in the United Kingdom. Acosta had also written and edited stories for the online portal of the US Pacific Command’s Asia Pacific Defense Forum, now known as Indo-Pacific Forum. He also worked for the United States Naval Research Institute News. His book, titled “The War on Terror: How the Philippine Military and the US Broke the Axis of Terror in the Philippines,” was published and launched in Singapore by Penguin Random House. Acosta was also the “featured author” in 2019 by the Singapore Writers Festival—considered one of Asia’s premier literary events. The journalist and book author delivered lectures on the three themes during the 10-day literary feast sponsored by the Singapore Arts Council. Until his appointment, Acosta was a reporter for BusinessMirror, which he joined in its founding in 2005, and where he had been covering defense and national security issues during the past years. Acosta was a former president of the Defense Press Corps of the Philippines. He began his journalism career at the state-owned Philippine News Agency in 1989 while still a journalism student and later rose from the ranks. Acosta wrote and edited stories for wire agencies during his junior years as a reporter. He was also based and worked for a newspaper in Western Pacific. Before joining BusinessMirror from the defunct Today newspaper, Acosta briefly worked for the Intellectual Property Office of the Philippines as a communication consultant, where he helped work for the removal of the country from the Priority Watch List on piracy by the US Trade Representative’s office. Acosta also founded and edited the defunct Intellectual Property Rights Review—the first newspaper in the world of intellectual property rights that was hailed by worldwide IPR advocates. The NPO, the agency that Acosta now headed, is tasked to continue to provide printing services to government agencies and instrumentalities as mandated by law. It also provides printing of official ballots and election paraphernalia which could be shared with Banko Sentral ng Pilipinas, upon the discretion of the Commission on Election consistent with the provision of the Election Code of 1987. The post Veteran journalist, book author Rene Acosta is new NPO chief appeared first on Daily Tribune......»»
Filipino fiesta fare Chef Reggie’s way
Of the many good things they love about this country, foreign tourists always mention our food as the top three or five of their list, next only to our warm people and our white-sand beaches. Whether these are food sold on the streets, made at home in the simplest to the most sophisticated kitchens, all the way to gourmet offerings of Michelin-cited establishments, they occupy a special place in our visitors’ hearts and palates. One chef of long-standing fame and outstanding reputation is Reggie Aspiras, whose recipes are compiled in a number of best-selling cookbooks. A dear friend of mine, along with the other Aspiras girls, Aida Cristy and Babot, daughters of the late popular couple, Secretary of Tourism Sunshine Joe and his Marian devotee better-half Amparing, a staunch Cabinet lady of the Marcos years circa 1960-1980s, Reggie has been the subject of my features through the years. Being close to each other, we have collaborated on a number of projects highlighting her many accomplishments in the culinary arts. [caption id="attachment_165873" align="aligncenter" width="2560"] Aspiras sisters - Reggie, Aida and Cristy.[/caption] Recently, Chef Reggie prepared and hosted a special Sunday lunch in the Aspiras La Vista home as her contribution to the first Manila Food and Wine Festival, which was founded by Kate Dychangco - Anzani, a passionate food aficionado and wife of famed Italian chef Marco Anzani. According to Reggie, herself a prolific writer-columnist, the festival was “conceived to bring life to the food industry in Cebu after Covid, and it has been adopted by Manila, Ilocos and Davao.” In partnership with the regional offices of the Department of Tourism, this series of regional events aims to establish the Philippines as the emerging premiere culinary destination in Asia. Hence, the event showcases traditional and regional cuisines, local chefs and restaurateurs. “The festival is meant to highlight our food culture; as well as fuel the fire of innovation to elevate our food culture by establishing the Tatak Pinoy food stamping program,” Reggie shared. The first cook in Metro Manila to showcase her culinary specialties in the festival, she came up with an interesting mix of festive dishes to which she added her personal touch, a garnishing here and an indigenous flavoring there, mostly original Ilocano since the Aspiras family comes from the north in La Union. Reggie explained, “Filipino Done My Way, in Reggie’s Kitchen’ is the first of a series of events specially curated for the MFWF. " “Being a staunch believer in the possibilities of Philippine Cuisine, there was no other food to cook but our own, to which, of course, I added some touches. It was a very personal menu, as the dishes were created for a purpose that stem from my roots, a happy memory, which is to simply share the way I cook Pinoy food and how I like to eat.” Taking after her father Sunshine Joe’s inimitable way of promoting the Philippines, which highlighted Philippine crafts, music and dances, Reggie gave her guests, led by Senator Loren Legarda and television personality Korina Sachez Roxas, along with DoT Undersecretary Verna Buensuceso and DoT Regional Director Jeff Ortega, a sense-surround spectacle featuring dancers who welcomed the guests right from the gate, rondalla music, kiping ornaments hovering over the individual tables, table settings of local handwoven fabrics and fresh tropical flowers. I was honored with a place in the main table, along with Reggie’s sister Aida. All the while, her other sister, Cristy, hopped from table to table to help entertain everyone. [caption id="attachment_165867" align="aligncenter" width="1708"] With fiesta revelers Sen. Loren Legarda and television personality Korina Sanchez Roxas.[/caption] [gallery columns="2" size="full" ids="165871,165868"] Let’s hear it from Chef Reggie who gave us her annotation of the delicious dishes she served us. “For appetizers, I had my rendition of Chicharon Bulaklak, large ruffled flower-like fat that are 250 grams each. To cut through the fat, I served the chicharon with seasoned vinegar and an assortment of achara: radish, corn, chilies and papaya. “I also recreated the Kilawing Hipon with a trio of Mangoes. This was one of the dishes I presented during the Food and Wine Festival in Cebu, paying tribute to their famous mangoes. To the kinilaw I added the famous Cebu dried mangoes, some fresh mangoes and a pickled green mango relish to cap the kinilaw that sat on kaykay (cassava chips from Cebu) or fried fish skins. “Being the Ilocana that I am, bagnet had to figure prominently in my spread, and it did -- in the form of Sisig; drizzled with Sriracha Aioli and crowned with Arugula Ensalada. [caption id="attachment_165870" align="aligncenter" width="2008"] Bagnet Sisig and Arugula salad.[/caption] “Salad was Fried Chipirones (Baby Squid) on a mixed bed of Pako Ferns and Chef Reggie’s hydroponically grown Salad Greens Mix. It was served with a vinaigrette made from Bugnay Balsamic Vinegar from Ilocos Norte that I turned to a creamy vinaigrette. [caption id="attachment_165869" align="aligncenter" width="1004"] Salad of Fried Chipirones (baby squid) on a bed of Pako ferns, and Chef Reggie's hydroponically grown salad green mix served with vinaigrette from Bugnay Balsamic Vinegar.[/caption] “Soup was presented in Coconut Shells, where buko juice, chicken, oyster mushrooms and aromatics were left to steam for hours before serving. It was a good way to refresh the palate, before the main course. It made a refreshing start to the meal. “Badjao Lumpia is made of bangus tossed in blue pea-soaked vermicelli. It is presented with sweet garlic vinegar and vegetable confetti “The Seafood Malabon is a spin-off, and my tribute to Aling Nene who, in my opinion, makes the best Pancit Malabon. [caption id="attachment_165875" align="aligncenter" width="641"] Seafood Pancit Malabon, a tribute to Aling Nena.[/caption] “Pistachio Kare-Kare had with Dried Fruit Bagoong was a dish that I put together for a cooking class that was designed to serve dishes that are new and exciting to Filipino diners here and abroad. And so was Salmon Wrapped in Pechay Leaves Served with Smoked Bacon Laing. [caption id="attachment_165874" align="aligncenter" width="641"] Pistachio kare-kare with dried fruit bagoong.[/caption] “There is no hiding my pride in being 100 percent GI, genuine Ilocana, that is. As such, my Kurobuta lechon was served stuffed with Ilocos Garlic, Ilocos Shallots and Karimbuwaya (a succulent endemic to the north with an innate tartness traditionally used to stuff lechon with). It was paired with seasoned Sukang Iloco inspired by the suka at Dawang’s -- the favorite karinderya of President Bongbong (Marcos). The lechon was accompanied by pandan infused puso, as lechon is enjoyed in Cebu. [caption id="attachment_165872" align="aligncenter" width="641"] Kurobuta lechon stuffed with Ilocos garlic, shallots and Karimbaya (succulent traditionally used as lechon filling).[/caption] “Of course our Lechon must be served with Dinuguan. In my kitchen I call it Silky Dinardaraan - stirred for hours until the sauce is thick and glistening…just as mom did hers, La Union style- growing up. It is scooped with Okilas -- huge pig skin chicharons -- a delicacy in the north. “For dessert, a warm cronut base held a freshly churned house-made Coconut Cream Ice Cream served with ube coulis, sweetened beans, jackfruit and bananas. “It was a feast cooked from my heart. One that, happily for me and my family, everyone enjoyed.” The post Filipino fiesta fare Chef Reggie’s way appeared first on Daily Tribune......»»
22 CHORAL GROUPS TO COMPETE AT AOV INT’L CHORAL FESTIVAL
The Cultural Center of the Philippines, in partnership with the Philippine Madrigal Singers, brings back the prestigious biennial choral competition, the Andrea O. Veneracion International Choral Festival, on 20 to 23 July 2023, at the Samsung Performing Arts Theater in Circuit Makati. Named after the founder of the world -renowned Philippine Madrigal Singers, the late National Artist for Music Andrea O. Veneracion, the choral competition will have 22 choirs competing in the Folk Song, Equal Voices and Mixed Choir categories. The competing choral groups from Luzon are: The Archangel’s Journey Chorale from Caloocan City; BINHS’s Salinlahi Serenata Singers from Silang, Cavite; Calasiao Treble Chorus from Calasiao, Pangasinan; Coro Jesu from Makati City; De La Salle University Chorale from Manila; DYCI’s Dagalak from Bulacan; Gloria Patri Singers from Quezon City; Lighter Side Movement from Mandaluyong City; Los Cantantes De Manila from Manila; Oroquieta Chamber Singers from Lucena City, Quezon; Pamantasan ng Lungsod ng San Pablo Chorale from Laguna; Philippine Normal University Chorale from Manila; Philippine Vocal Ensemble from Makati; St. Paul College Pasig High School Chorale from Pasig City; Tarlac Männerchor from Tarlac City, Tarlac; and University of Baguio Voices Chorale from Baguio City, Benguet. The Visayas and Mindanao representatives are: Silay City Chorale from Silay City, Negros Occidental; Jose Rizal Memorial State University Dimasalang Choristers from Dipolog City, Zamboang Del Norte; University of Mindanao Chorale from Davao City, Davao del Sur; University of Southeastern Philippines Harmonia Polifonica Chorale from Davao City, Davao del Sur; and Western Mindanao State University — Grand Chorale from Zamboanga City, Zamboanga Del Sur. The Bangkok Voices from Thailand will also compete. Five renowned adjudicators who have made their marks in the international music scene will evaluate and choose the best choral group in thecountry. The jury is composed of Christo Burger (Africa), Jãnis Ozols (Europe), Virginia Bono (South America), Zimfira Poloz (North America) and Mark Anthony Carpio (Asia). Each winning choral group in the different categories will take home cash prizes and a conh shell trophy designed by artist Mary Catherine Sta. Ana. The trophy resembles a large conch shell with a wide opening through which one may imagine listening to the sound of the seas that surround the Philippine islands. The parts of the shell suggest the form of a bird singing, taking inspiration from the theory that bird songs may have influenced the development of music. The post 22 CHORAL GROUPS TO COMPETE AT AOV INT’L CHORAL FESTIVAL appeared first on Daily Tribune......»»
Martial arts superstar Bruce Lee’s legacy endures 50 years on
Hong Kong businessman W. Wong still remembers the day in 1972 when he first heard neighborhood kids rave about a figure who seemed larger than life: Bruce Lee. Lee, a consummate martial artist whose films spawned a kung fu craze around the world, was one of the first Asian men to achieve Hollywood superstardom before his death at 32. His influence can still be felt in Hong Kong, where he spent his childhood and final years, as fans this week hold exhibitions and martial arts workshops to mark the 50th anniversary of Lee's death. "Every child needs some kind of role model, and I chose Bruce Lee," said Wong, 54, who has led the city's largest fan club devoted to the star for nearly three decades. "I had hoped my life would resemble the Bruce Lee I saw: handsome, strong, with great martial arts skills and a heroic image." At a studio for Wing Chun -- a style of martial arts Lee practiced before inventing his own Jeet Kune Do method -- the martial arts master is revered as something akin to a patron saint. Studio owner Cheng Chi-ping, 69, told AFP his cohort began their training under the shadow of Lee's cultural influence but "we could never match his speed, strength or physique". Lee's appeal had not diminished for the next generation, said Mic Leung, 45, who trained at the same studio and, as a teenager, sought out Lee's movies on old videotapes. "When we talk about the 'god of martial arts', we could only be talking about Bruce Lee. There is no one else," he said. Smashing barriers Born in San Francisco in 1940, Lee was raised in Hong Kong and had an early brush with fame as a child actor, supported by his father, who was a famous Cantonese opera singer. At 18, he continued his studies in the United States and over the next decade taught martial arts and scored minor parts in Hollywood, before landing the role of Kato in the television series "The Green Hornet". But it was not until Lee returned to Hong Kong that he landed his first lead role in the martial arts film "The Big Boss", which made him a household name in Asia after its 1971 release. The next year saw two more box office hits -- "Fist of Fury" and "The Way of the Dragon" -- cementing Lee's persona as a relentless, lightning-fast fighter. Lee had completed filming his fourth star vehicle, "Enter the Dragon", and was halfway through his fifth when he died on July 20, 1973 from swelling of the brain, attributed to an adverse reaction to painkillers. Film scholar Aaron Han Joon Magnan-Park, who taught Lee's movies at the University of Hong Kong, said Lee expressed a kind of Chinese identity that transcended national borders. "I would call Bruce Lee a paragon of Sinophone soft power success with Hong Kong characteristics," he told AFP. In Hollywood, Lee represented a rebuke to racist stereotypes, showing that Asian men were more than just servants and villains. The scenes where he bares his torso and flexes his muscles -- what Magnan-Park called the "kung fu striptease" -- were essential because they show how ripped bodies can belong to Asian heroes as well. "He made Asian men sexy, and that is something I don't think we talk about enough," he said. Preserving legacy Despite Lee's enduring fame, preserving his legacy in Hong Kong was no easy task, fan club chairman Wong told AFP. Government support was intermittent at best, he said. Fans in 2004 successfully petitioned to set up a bronze statue of Lee on Hong Kong's famed waterfront, but a campaign to revitalise his former mansion could not save it from demolition in 2019. At a government-run museum exhibit commemorating Lee's life, a woman surnamed Yip told AFP she wanted to share "a symbol of the old Hong Kong" with her two children. Wong, who had organised a smaller exhibit in Sham Shui Po district, acknowledged a decline of interest among young people but said Lee's philosophy always has the potential to become relevant again. He pointed to how protesters in Hong Kong's 2019 democracy movement cited the martial artist's mantra -- "Be water, my friend" -- as a reminder to adopt flexible tactics of resistance. That discussion has largely tapered off after authorities cracked down on dissent, but Wong remembers the public at the time wondering why young protesters were so taken by Lee. "As long as everyone still remembers (Lee), once your interest is piqued, you will have a chance to rediscover him," he said. The post Martial arts superstar Bruce Lee’s legacy endures 50 years on appeared first on Daily Tribune......»»