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Carmela Geisert holds second solo exhibit
Self-taught artist and hotelier Carmela Geisert mounts her second solo exhibit at the Redwood Cafe and Artspace in Quezon City. Curated by Professor Ruben DF Defeo, In Reverie runs from 2 September to 4 October and showcases a collection of abstract paintings that explore the realms of daydreaming, positivity and personal introspection Geisert’s artistic journey is an exploration of emotions translated onto canvas. In Reverie captures the essence of positive energy and introspection through an array of colors and forms. Each canvas becomes a portal into a world where colors are felt as much as they are seen, evoking a sense of serenity and connection with the inner self. Her artistic process is an intimate dance between intuition and expression. Her paintings are a result of instinctual gestures and emotional impulses, giving rise to colors that seem to emanate from her very being. Her canvases come alive with stream-of-consciousness compositions that playfully incorporate foliage and forest scenes, fluid experimentations and line-scribbled glimpses into mythology, creating a balance between the organic and the abstract. Geisert enjoys inspiring moments of dreamy contemplation in the lush greenery and proximity to the beach in Palawan and elsewhere. As she gathers her memories of travel, photography, fashion and leisure, she fills her canvases with instinctual gestures often reflecting her moods and meandering thoughts. She started sketching using charcoal and pastel crayons in 2016 to pass off the time during long-haul flights, her portraitures and human figures sketches characterized by confident lines. She also found her way naturally to creating “fluid art,” mixing acrylic paints to create interesting random patterns that follow the character of the paints that she pours on the canvas. Geisert has been recognized by her alma maters — PATTS College of Aeronautics with an Outstanding Alumni award in 2017 and Colegio de Santa Ana with an Outstanding Alumni award for Excellence in Entrepreneurship and in Fine Arts in 2020. The Redwood Café and Artspace is located at Unit 104, Cedar Executive Building, 26 Timog Avenue, Quezon City. For more information, contact Carmela (0917-5507374), Micki (0918-6979226), Jes (0927-8524116) and Redwood Cafe (0917-1386881). The exhibit is for the benefit of the Iraya Mangyan community of Mindoro. The post Carmela Geisert holds second solo exhibit 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......»»
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......»»
Cooking is in his Spanish blood
Sometime in 2017, a veterinarian from the province of Valencia in Spain went on vacation with three of his best friends to the island of Siargao in the Philippines. They enjoyed surfing a lot and fell in love with the place so hard that by the end of their 15-day holiday, they promised to return and even considered relocating. [caption id="attachment_178310" align="aligncenter" width="1707"] CHEF Luis Martinez | PHOTOGRAPH COURTESY OF DOñA ELENA[/caption] A year later, the four amigos made their “final decision.” They made the big move to Siargao and “luckily” found work. The veterinarian, though, ended up becoming a chef and opened a restaurant he called Alma. Then the pandemic struck and, soon, a super typhoon hit the island. The newbie chef had to close down his first culinary venture. Fast-forward to 2023: Chef Luis Martinez is coolly directing his staff at Terraza Martinez restaurant in Bonifacio Global City this late morning of 30 August for an event in collaboration with Doña Elena brand of olive oil. He then introduces the menu he’s specially prepared for the media representatives covering the event. Martinez maintains his coolness as he sits down for an interview with DAILY TRIBUNE and another publication. He says his three friends of 35 years who came with him to Siargao six years ago are still on the island. “We’ve known each other for 35 years. I have my little family from Spain here.” Back in Spain, he has his parents, four siblings and other relatives that make up his “core family” of 25 members who can all cook. He fondly remembers growing up bonding with his family around the kitchen “cooking, eating, drinking wine” particularly every Sunday and on Christmas. He mentions a couple of his comfort food, such as paella, which traces some of its origins in Valencia, and cocido, a beef soup that he likens to the Pinoy bulalo. That’s how Martinez learned how to cook around age nine. “I never studied culinary arts. I never worked in a kitchen before. My first kitchen was Siargao three years ago. Now, this one,” he says of Terraza Martinez, which he set up in 2022 with the Nikkei Group that runs several restaurants. He also admits to making a lot of mistakes along the way of his trial-and-error ways while trying a lot of flavors. [gallery size="full" columns="2" ids="178311,178312"] In terms of culinary, he says he brings “almost everything” of the Spain he grew up into Terraza Martinez. “My idea is I want to make our guests to feel like having lunch or dinner in Spain,” he explains, “with the same kind of ambience, with the same kind of essence where you have a little of tapas, paella, where you can enjoy not only the food but the company of your friends and the comfort of the food. So I’m trying to bring some Spanish culture here as we eat there.” Martinez turns candid when asked about his observations of Filipino cuisine: “The flavors are a little bit sweet than we’re used to. Also, I need to put a little bit less of what I’ll put in Spain. I use a little bit of sugar to make it a little sweet. “I need to adjust, yes. When I opened my first place, I got a lot of complaints because they were saying my food was little bit salty. They were expecting a little bit of sweetness. So I need to adjust, yes. Even here in Terraza Martinez. It has a little bit of Filipino taste.” The chef, for instance, had to take out gazpacho, a cold soup, from the menu because Filipinos tend to prefer hot soups. Overall, though, the reception to Terraza Martinez has been overwhelmingly positive by diners who are made up of “90 percent Filipinos and 10 percent foreigners.” This makes Martinez truly “surprised and happy,” saying, “I wasn’t expecting this a lot of people. All our customers really like the place. They like the food. For me, because I’m the chef, wow!” Next on the chef’s plate is a new restaurant in Siargao he hopes to open soon. That means he’ll be dividing his time, about 15 days each, in Siargao and in Manila. Spain can wait in the meantime. “I try to visit my family and friends every two months, maximum three… I spend summer here because right now I’m opening a restaurant, so I cannot go.” Meantime, Martinez continues to learn more about the Philippines with some help from his Filipina girlfriend, who’s teaching him a bit of the national language. He also picks up words here and there from conversations. He also looks forward to surfing in Siargao, but, when he’s in Manila, just swims and has recently taken up boxing to burn the calories he consumes eating. The post Cooking is in his Spanish blood appeared first on Daily Tribune......»»
This writers’ workshop loves Filipino literature
The Palihang Rogelio Sicat discussion on 21 June held in UP Diliman looked and sounded like an art class session. Manolo Sicat, the well-known artist and sculptor, was delivering a demo-lecture on printmaking. He said figures and words can go together in a work of art. [gallery columns="2" size="full" ids="175634,175632"] He had a PowerPoint presentation of print images. A pair of prints of a couple of dancers were passed around. One was in black and white, the other in color. Texture and motion were their immediate charm. “But what has printmaking to do with us?,” said Christian Balagoza, a boyish writer. “We’ll know when we get the printmaking session,” said sir Reuel Aguila, director PRS 16 (2023). Art collab This is the latest PRS innovation. When the session was held a few days later, Sicat conducted an honest-to-goodness printmaking workshop at the UP College of Fine Arts. A colleague, Prof. Ambie Abano, welcomed the group and opened her atelier to show mural-sized prints made from wooden originals. It is the artist’s impressive collection of prints featuring landscapes of lush trees in dark, brooding background. Fellows from the previous online batch joined the art activity. During the three-hour session, everyone polished her rubber board, chiseled images and texts, and finally print the works on paper. They were amazed to pick up the skill fast and admire the results in no time. Thumbs and nails got smudged with sticky ink yet everyone was smiling at the wet and black artworks clipped on wires that crossed the studio. 16 years of PRS This is one of the activities that make PRS unique. Thanks to its founders -- dramatist Reuel Aguila, retired professor now a lecturer at the UP, and fictionist Jimmuel Naval, dean of the UP College of Arts and Letters. The partner is always on the lookout for ingenious ways to improve the workshop, all for the good of young writers. PRS began as an informal workshop of a number of young writers held in the mansion of Ligaya Tiamson Rubin in Angono, Rizal, in 2008. Today, fellows accepted in the workshop are pegged at 15. Fellows like the idea that they are the main commentators of the manuscripts. During workshops, they get to be the lead discussant. “They learn to be critical and not rely too much on the opinion of the panelists,” said Aguila. The PRS is the only writers’ workshop that aspires to be mobile, going around the country to make its appellation ‘national’ true. It literally brings the creative writing life closer to practitioners. PRS collaborates with local governments, and with their support the workshop had been to Palayan City, Nueva Ecija (2009); Baler, Aurora (2010); Alfonso, Cavite (2011); Sta. Cruz, Marinduque (2012); Angeles City, Pampanga (2014); and Makati City (2015). It also cooperates with the academe as in UP Visayas-Tacloban (2017), UP Baguio (2018) and UP Los Baños (2019). There were times PRS stayed at its home base UP Diliman like during the 50th anniversary of the UP Department of Filipino and Philippine Literature (UP-DFPL) in 2017. It went online as Zoom conference twice during the pandemic. With the renowned writer Rogelio Sicat as PRS idol, the workshop chooses Filipino language as its medium of writing literature. It also accepts works from the region’s translated into Filipino. Institutional support PRS is the official outreach program of the UP-DFPL whose incumbent chair Schedar DT Jocson said that from the beginning, it has supported PRS and its objectives. Many of its panelists are from the department, including alumna Dr. Lulu Torres-Reyes, the PRS 16 guest of honor. Other PRS supporters include the UP Sentro ng Wikang Filipino (UP-SWF). “We are honored to be part of a movement that brings Philippine literature closer to the common people. PRS writers enrich the catalog of our website,” said director Jayson Petras. Friends and business people also support PRS, like Palawan Pawnshop / Palawan Express Padala company. Lively discussion about literature An hour of PRS discussion on a story or poem does not exhaust its reading or interpretation. To address the gap, sessions are set beyond the allotted time and well into almost midnight. Fellows do not seem to mind as they are very eager to huddle with seniors who are just as willing to forego of an early bedtime. PRS goes one more step. In 2022, it created post-workshop online sessions. Here, senior and beginning writers discuss new works. Everyone is excited to have these disquisitions that aim to improve writing skills. Dedication is demanded from both sides. The recent PRS workshop had the Sicat siblings Luna and Manolo beaming with pride. They were quite surprised to know that almost 300 young writers had already experienced the workshop. PRS is also proud that esteemed writers served as its panelists, including Bienvenido Lumbera, Edgardo Reyes, Ricardo Lee, Rogelio Ordoñez, Lualhati Bautista, Rosario Lucero, Elmer Ordoñez, Jose Dalisay, Marne Kilates, Jess Santiago, Fidel Rillo, Edgardo Maranan, Lilia Quindoza Santiago, Delfin Tolentino, Bonifacio Ilagan, Frank Cimatu, Joi Barrios-Le Blanc, Chris Millado, Jerry Gracio, Richard Gappi, Eros Atalia, Joselito delos Reyes, Choi Pangilinan and Junley Lorenzana Lazaga. PRS connects the lives of senior and beginning writers. Rogelio Sicat would be proud of this long -running project named after him. The post This writers’ workshop loves Filipino literature appeared first on Daily Tribune......»»
How ‘Here Lies Love’ co-producer found his mark on Broadway
When Here Lies Love, the hit musical about former First Lady Imelda Marcos, made history by debuting on Broadway debut with an all-Filipino last July, one of its co-producers, Don Michael H. Mendoza, also reached a career milestone. His goal of putting his name on a Broadway show before turning 40 came true now that he’s 34. [caption id="attachment_172743" align="aligncenter" width="525"] Don Michael Mendoza with Daily Tribune’s (from left) Dinah Ventura, Jojo G. Silvestre, Gigie Arcilla, Vangie Reyes, Marc Reyes, Raffy Ayeng, Gibbs Cadiz and Nick Giongco.[/caption] [caption id="attachment_172742" align="aligncenter" width="525"] ‘Always ask for what you want because the worst that can come back is a no.’ | Photographs Courtesy of Daily Tribune.[/caption] [caption id="attachment_172741" align="aligncenter" width="525"] DON Mike Mendoza with Daily Tribune’s Jojo G. Silvestre and Dinah Ventura.[/caption] It happened, and it’s not just any show. It’s the first Filipino musical on Broadway,” he tells Daily Tribune’s Dinah Ventura and Jojo Silvestre in an interview on their online show Pairfect. “It’s very important to me because a lot of my career is based on the idea of D,E & I — diversity, equity and inclusion — especially in a country like America that’s a melting pot. “It’s very important to make sure that unrepresented voices and communities are brought to the front. To be part of that, for me personally, is an incredible honor because it’s exactly aligned with how I live my professional life every day, every year.” “For the Fil-Am community,” he adds, “I think it’s important for people to see themselves in that arena, whether be as a producer, an actor, or a stagehand, or on the creative team as an assistant director. You know, it says a lot when someone tries to reach that can see themselves in a role that they want to achieve. “Because for a long time, my role models were very few. They’re mostly Americans, they’re white people. And I wanted to be an actor and my only acting influences in the media was Paolo Montalban. He was in Cinderella, American Adobo… He’s now a friend — which is amazing! But I didn’t really have many role models. So, to our community, both Filipino and Fil-Am, they can now look at this production and say, whatever they feel is their career path, ‘I can do it, too.’ So, it’s very powerful.” Beginnings Don Michael Hodreal Mendoza, nicknamed Don Mike, was born in Washington D.C., the capital city of the United States, to immigrant parents. His father Donald Mendoza’s family hails from Cavite and is involved in local politics. His mother Maria Leonila Hodreal has families in Marinduque (maternal side) and Bicol (paternal side). His grandfather Querubin Hodreal created what is now known as the Easy Rock Manila radio station. “My mom, who’s part of that legacy, says even though we’re in the States I somehow ended up doing what our family does, in entertainment and media,” he says, beaming. From Washington D.C., Mendoza’s nuclear family moved to the city of Pittsburgh in the Pennsylvania state, where he grew up. “But I was also raised here in Manila, in Ayala Alabang, for a couple of years,” he points out. He was then between the ages of six and eight, also starting his education at Montessori Manila in BF Homes. “We’re lucky we’re able to come home a lot, so even though I grew up on majority in America, we’d come home every other year.” That explains why he also has exposure and gets inspiration from Filipino movies and entertainment. Mendoza started performing in school plays and high school musicals “for fun.” For college, though, he “needed to study that wasn’t the arts because immigrant families want you to do something that makes money in their eyes.” So he took up broadcast journalism and political science at the American University in D.C. But he didn’t like political science, so he dropped it and added musical theater to his studies without telling his parents until he got into the program. After graduation, he was torn between two goals: becoming a Broadway actor like Jose Llana, who currently plays the late President Ferdinand Marcos in Here Lies Love, and becoming the “Filipino Anderson Cooper.” He ended up staying in D.C with a job in marketing, which eventually became his master’s degree. Mendoza started auditioning and trying to get into shows. “But I wasn’t getting cast the way I wanted to,” he recalls, “because it’s very hard for a Filipino, an Asian male actor to get parts, unless you decided to be in Miss Saigon, which was one of the only very few shows that hire Asian people. So, I kinda fell into producing.” That was when he met a fellow Fil-Am, Regie Cabico, who’s 20 years older than him and became his mentor. He remembers Cabico telling him, “The way to be successful for someone like us in the arts is to start your own opportunities.” Thus, the birth, in 2012, of their company, La Ti Do, which is into production of cabarets and concerts. “I met so many people and worked with so many actors and performers without knowing it’s producing,” he says, smiling at the memory. “I just realized producing means organizing. It means you’re in charge, you’re putting things together and hire people. In those 10 years, I was able to produce small musicals and concerts and special events.” He then put up his own DMH Mendoza Productions, which has La Ti Do as its cabaret-concert arm, to allow him to “produce bigger and more incredible things.” For starters, he produced the off-Broadway play Hazing U that tackles violence in fraternities. Around that time, February 2023, he heard about Here Lies Love being restaged, this time on Broadway. The musical created by David Byrne and Fatboy Slim originally premiered off-Broadway in 2013 at The Public Theater in New York City. A year later, it moved to the Royal National Theater in London, England, and then was restaged at Seattle Repertory Theater in the US in 2017. Mendoza admits with regret that he missed seeing Here Lies Love’s off-Broadway premiere and thought he’d never see it ever again “just because Filipino things don’t usually last very long in America.” So when he heard it was coming to Broadway, he basically called everybody he knew who’s involved in the production to ask how he could help. “I wasn’t really looking for a producer stature,” he says. “I said to many people I’m willing to sell t-shirts in the lobby just to support this show.” It turned out his good friend Lora Nicolas Olaes, who he stayed with in New York, was in the first workshop of the show in 2011, and she personally knows one of the lead producers, Clint Ramos. Olaes then connected Mendoza and Ramos via email, which led to Mendoza joining the Here Lies Love production team. “I’m still having trouble today saying I’m a co-producer. I’m so used to just doing rather than labeling,” he says. “It’s been a wild ride from then till now. I don’t regret any of it. It’s been the best experience so far.” He then shares that having an all-Filipino cast and a predominantly Filipino production team is very important for the lead producers. Two of the five are Filipino: Clint Ramos, a Tony award-winning costume designer, and Jose Antonio Vargas, a Pulitzer prize-winning journalist. This extends to other producers, such as Hal Luftig, Diana DiMenna and Patrick Catullo, as well as to musical writers David Byrne and Fatboy Slim. “They wanted to reach beyond the cast and make sure that the show is escorted into Broadway by Filipinos because it’s a Filipino story,” Mendoza points out. Aside from Llana, the main cast is made up of Arielle Jacobs (as Imelda) and Conrad Ricamora as (Ninoy Aquino), with Lea Salonga (as Ninoy’s mother Aurora) in a limited run until 19 August. “It’s beyond the cast. So our creative team, our production team, our stagehands, everybody. Even our house staff, some of them are Filipinos. We really wanted to make a mark on Broadway. That’s how it came about. So that was an early decision. Because the off-Broadway production was mixed. It was not all-Filipino. It had Ruthie Ann Miles as Imelda. She’s not Filipino. It was hard to move from her and bring in Arielle Jacobs, who is just as amazing, but, you know, it was very important for the team to be culturally accurate. Because it’s our story.” “It’s our show,” he reiterates. “Let’s bring it to the world. Our people are playing themselves. I’ve said this in an interview: The general public is trained to love Filipino as other ethnicities. This is the first time we’re training them to love us, Filipinos, as ourselves.” Musical textbook Mendoza’s fellow co-producers include Salonga and Fil-Am celebrities like comedian Jo Koy, musical artist H.E.R. and rapper Apl.de.ap. “Our show is a musical textbook,” he explains. “It’s a musical built around facts, what happened historically during her lifetime. Our whole goal for the show is to present to you what happened with, of course, entertainment attached to it. There’s a misconception that it’s a documentary. It is not. It’s musical theater. It’s supposed to be fun. You see what happened. “We empower our audience to make their own decision. We don’t tell them, ‘This was a bad person. This was a good person.’ Here’s what this person did in their life and how she was affected by her surroundings, and go home and do the research. You figure it out. We liken it to giving someone a Zip file of Philippine history in the 21th century and you go home and unzip the Zip file to get into the details. “But we give you an overview. It’s really up to the audience when they leave the show. I know it’s the goal of our writers and directors to not impose an opinion. We’re just here to entertain and make you learn. When you leave, it’s up to you.” Mendoza happily reports that Here Lies Love is being received “very well.” He adds, “The critics have come and said really wonderful about the show, especially the ones we’re nervous about, like the New York Times, or The Washington Post, or the Wall Street Journal. It trickles down to everyone who’s seen the show. I think we’re so proud and excited that it’s well-received. Audience members love it, they keep coming back.” He also notes that audiences are “pretty diverse. You see Filipinos, you see Americans, you see visitors. It’s really a big hodge-podge of different people. We’re happy about that, too. It’s not biased to just one community.” Indeed, Mendoza is living his dream and he has this piece of audience for the younger generation who also hopes to break into theater or arts in general: “Always ask for what you want because the worst that can come back is a no.” He then shares what she’s picked up from Kris Jenner: “If somebody says no to you, you’re asking the wrong person. Keeping asking for what you want. Not just manifesting, but really it’s just speaking up. Nobody can read your mind. Nobody can see what’s happening in your mind and in your heart. So if you express it, you ask and you’ll get there. It may not happen in the timing that you want, but it will happen if you keep pushing.” The post How ‘Here Lies Love’ co-producer found his mark on Broadway appeared first on Daily Tribune......»»
Without ‘soul, progress is meaningless
Reduced budgets against big, supportive words paint a grainy picture of how the Marcos Jr. administration is prioritizing the arts and culture sector of the Philippines. In 2022, “proposed budget cuts for four key agencies tasked with preserving history and culture,” as said in a report, got critics’ hackles up, implying that the Marcoses had no love lost for history as it was allegedly bent on revisionism. However, a source from the National Commission for Culture and the Arts acknowledges that this has been a “period of recovery,” and that “the administration has continuously supported and assisted in the recovery of the sector, which is one of most adversely affected by the pandemic. Through the government’s cultural agencies, support to the culture still continues” to this day, one year into the term of President Ferdinand Marcos Jr. For its part, the Duterte government, at the height of the pandemic, took steps to alleviate the needs of all those affected in the arts and culture sector. Assistance Data from the Cultural Center of the Philippines reveals that during that time, about 800 events were canceled, losing about 800,000 audiences or participants, and at least P90 million in revenues. About 3,000 artists, cultural workers and other kinds of workers were affected. This was the same all over the country and the world. The NCCA’s Assistance Program for Cultural Workers Under the State of Calamity aimed to provide quick cash assistance in the amount of P5,000 to around 800 beneficiaries. Artists and cultural workers who were not under an employer-employee relationship, without regular income or were working freelance, with no benefits, and/or had no employers to run to, and those whose source of income were gone due to the pandemic, were prioritized. The executive council members of the NCCA’s 19 national committees, which represent the different fields of culture and the arts, were tasked to list 35 priority beneficiaries. The NCCA “is the overall policy-making body, coordinating and grants-giving agency for the preservation, development and promotion of Philippine arts and culture; an executing agency for the policies it formulates; and tasked to administer the National Endowment Fund for Culture and the Arts — a fund exclusively for the implementation of culture and arts programs and projects.” Executive Order 80’s. 1999, under then President Joseph Ejercito Estrada, put the NCCA on top of other cultural agencies: the Cultural Center of the Philippines, National Historical Institute (now the National Historical Commission of the Philippines), National Museum, The National Library (now, The National Library of the Philippines) and the Records, Management and Archives Office (now, the National Archives of the Philippines). In 2001, Section 8 of Republic Act 9155 added the Komisyon sa Wikang Filipino/Commission on the Filipino Language under the NCCA umbrella tied up with education goals. It states: “The Komisyon ng Wikang Pilipino, National Historical Institute, Record Management and Archives Office and the National Library shall now be administratively attached to the National Commission for Culture and the Arts and no longer with the Department of Education. The program for school arts and culture shall remain part of the school curriculum.” Putting these cultural agencies together was meant to synergize efforts to strengthen the Filipinos’ sense of heritage and nationhood. Budget allocations In 2023, a year after President Marcos first stepped into office, what “resources” are we talking about? When budgets were being deliberated on in 2022, reports came out on calls for an increase in the proposed budget for arts and culture. At the hearing of the Senate Committee on Finance, NCCA chairman Rene Escalante said, “…we are proposing additional funding of a total of P33 million” to cover expenses for “more manpower and space as some regulatory functions of the National Museum of the Philippines were transferred to it.” Department of Budget Management Secretary Amenah Pangandaman in her newspaper column wrote last 31 May: “For 2023, DBM has released funding for our cultural agencies to sustain their projects. It has allocated P212 million for the National Historical Commission of the Philippines; P33 million for NCCA; P164 million for the National Archives; P70 million for the Commission on the Filipino Language; P356 million for CCP and P444 million for the National Museum.” ‘Full support’ Prior to his State of the Nation Address this year after one year in office, expressed his “commitment to promoting Philippine culture, as well as the preservation and protection of the country’s cultural heritage, In a speech at the NCCA Ani ng Dangal (Harvest of Honors) awarding ceremony in Malacañang, he said: “Makaaasa kayo na kaisa ninyo ang pamahalaan at administrasyong ito sa pagsusulong at pagpapayaman ng ating sining at kultura (You may rest assured the government and this administration is one with you in the promotion and development of our arts and culture),” pointing out its importance in and interconnection to efforts to boost our economy while uplifting the image of Filipinos across the globe. [caption id="attachment_161350" align="aligncenter" width="1200"] TRADITIONAL style of mat weaving. | PHOTOGRAPHS COURTESY OF LIKHA[/caption] [caption id="attachment_161351" align="aligncenter" width="1200"] Banig weavers.[/caption] ‘Who we are’ What a rich and thriving culture means to a nation cannot be emphasized enough. In October 2018, when Malacañang hosted the awarding of the Gawad sa Manlilikha ng Bayan, Philippine Heritage Award and the Order of National Artist, then President Rodrigo Duterte noted the role that cultural heritage plays in the formation of the Filipino identity. “We must recognize and fulfill our duty to stay true to who we are, remember where we came from and honor the timelessness of our culture and traditions,” he said. His commitment was evident as the pandemic went on, with the NCCA offering assistance to the affected workers in the arts and culture sector. The unspoken benefit from that experience was that the arts community bounced back immediately, as artists and cultural workers continued to create, to entertain, to impart insights, to provoke and stimulate, to inspire. Creativity might have taken a pause during the pandemic but not for long as artists began to turn to cyberspace to share their works and interact with their audiences mainly in their social media accounts. Taking this cue, cultural institutions and companies, arts organizations and culture-related groups took the online route, creating virtual events such as online galleries, webinars and talks, film showings, workshops and tutorials, live-streamed musical shows and even presentations of recorded theatrical and dance performances. The digital arts have blossomed and traditional artforms have found themselves increasingly and suddenly in the digital world. Post-pandemic, establishments reopened, but cultural spaces such as museums, galleries and theaters were among the last ones to reopen. Local artistry In the first year of Marcos’ presidency, First Lady Liza Araneta-Marcos took on the role of promoting Filipino culture by spearheading projects like the Malacañang museums and Likha exhibits, which shone the limelight on local artistry and craftsmanship. One of the legacies of the pandemic that will continue in the coming years is incorporation of streaming or recording for posting and sharing in social media and other mediums. This is true for certain events such as launchings and talks. We have discovered the far-reaching reach of online platforms as well as the convenience of it, saving us time and money. With online platforms, we can reach thousands and disseminate information further beyond borders. Our audiences are not limited to certain geography, certain spheres. However, for theatrical productions, dance, films and music, we have to devise ways to monetize them so that the creatives involved can make a living out of their crafts. That is one of the challenges that the sector will be facing, which is part of the recovery process from the pandemic. One other important factor to be considered is the creative industries or creative economy. The Philippine Development Plan 2017-2022 was launched in 2017, and for the first time, arts and culture and the creative industries are included in the national agenda. An inter-agency board has been created focusing on the creative industries, with the NCCA as one of the key agencies. This entails creating a collective vision and aspiration of Filipinos for themselves and for the country, and is an acknowledgment of the power of arts and culture to shape and elevate consciousness and ways of life and inspire communities. In that chapter, the government promises to “boost the development of Filipino creativity as tool for social cohesion and impetus for culture-based industry and creative economy.” Let’s not forget that a thoughtful and caring governance and industry would indeed include arts and culture in order to prosper in all aspects, recognize the important roles of their artists and cultural workers, and would preserve their cultural legacy, which contribute to realizing a deeper sense of self and national identity. True prosperity does not dwell on the material level but must include the nourishment and nurturing of the soul. The post Without ‘soul, progress is meaningless appeared first on Daily Tribune......»»
Grand night of classical music with an electric audience
Three youthful musicians, Mark Kenedy Rocas, Adrian Nicolas Ong and Aidan Ezra Baracol, recently wowed — make that brought the house down — an appreciative, mostly Gen Z audience at the Samsung Performing Arts Theater at Circuit Makati. The hyped evening featured the Philippine Philharmonic Orchestra — under the baton of Maestro Herminigildo Ranera — the country’s leading orchestra, presenting the Young People’s Concert. An educational guide with a friendly and amiable approach, he gainfully conducted an educational tour in an informal and candid manner before the actual concert. He gleefully introduced the PPO according to the four sections: percussion, strings, woodwind and brass, as each team stood up and outdid each other with little catchy tunes. [gallery columns="2" size="large" ids="159369,159370"] This is in keeping with the Cultural Center of the Philippines Arts Education Program-focused event — more aimed for the younger generation. Ranera is a product of the University of Santo Tomas Conservatory of Music with a Bachelor of Music degree major in Trombone and Theory. He likewise possesses a Master of Music degree in Conducting from the renowned University of Northern Colorado and Doctor of Philosophy major in Educational Management from the Cagayan State University. The arrangements of the three-time winner of the National Music Competitions for Young Artists or NAMCYA have been featured in the albums of lauded conductor Redentor Romero, together with the Moscow Symphony Orchestra and the Warsaw Philharmonic Orchestra. Through the years, we have been blessed to have witnessed the greatest and the best performers. Thus, we were absolutely baffled with these three young gentlemen with exceptional talent and technical ability. And to think they already have a stellar resume this early on into their musical forays! Rocas performed “Orpheus in the Underworld by German-born French composer Jacques Offenbach” (1819-1880). The piece’s rousing initial fanfare was followed by a gentle love song and an infernal passage. The finale was the ever-popular and all-too-familiar Can-Can of Moulin Rouge fame. He further showed his skills by a rendition of the Flute Concerto No.2 in D Major and K. 314 first and second movements by Austrian composer Wolfgang Amadeus Mozart (1756-1791). His love affair with the flute began at nine years old. He became a member of the Philippine Youth Symphonic Band from 2005 to 2012. A graduate from the University of the Philippines College of Music, he enrolled in several masterclasses under renowned international artists and mentors. Currently, he is an assistant principal flute of the UP Symphony Orchestra. [gallery columns="2" size="large" ids="159371,159372"] Ong’s prowess on the violin was exhibited with the Tzigane by French composer, pianist and conductor Maurice Ravel (1875-1937). The 10-minute obra is a continuation of the Romantic tradition of show pieces for violin virtuosi in a wholehearted gypsy style. He made his professional debut at 17 with the PPO. A scholar of the Interlochen Arts Academy by the Interlochen Center for the Arts in Michigan, he graduated with honors and served as the concertmaster. He recently completed with one of the highest distinctions from the Mannes School of Music in New York City. Notably, he has debuted at the holy grail for performers, the prestigious Carnegie Hall of New York, in May 2023. He is now slated for international concerts with the Asian Youth Orchestra. Baracol revealed mastery of the keys through the Piano Concerto No. 2 OP .18, C Minor by Russian composer, pianist and conductor Sergei Rachmaninoff (1873-1943). This masterwork established his name in the annals of history and is an enduring piece that breathes air into his childhood experiences. This was eloquently and passionately interpreted by Baracol. [caption id="attachment_159373" align="aligncenter" width="525"] (L-R) CCP Vice President and Artistic Director Dennis Marasigan, CCP Consultant Alex Cortes, CCP Board of Trustees Vice Chairman Michelle Nikki Junia, CCP President Maria Margarita Moran-Floirendo, violinist Adrian Nicolas Ong, flutist Mark Kenedy Rocas, pianist Aidan Ezra Baracol, De La Salle-College of Saint Benilde Consultant Edu Jarque and Niña Romualdez Estela | Photos courtesy of the Cultural Center of the Philippines[/caption] His first brush with the piano was at age 10 and had his first solo piano recital at the SEARCA Auditorium of the University of the Philippines in 2017. During the pandemic, he continually joined international competitions, earning top placements. This coming September 2023, he has been awarded entrance scholarships and admissions at the Royal Academy of Music, the Guildhall School of Music and Drama and the Royal College of Music, all in London, plus the Yong Siew Toh Conservatory of Music at the National University of Singapore. Amid cheers, applauses and bravos, the three promising young men took bow after bow after bow. I could only imagine that the future holds international acclaim, with recital after recital after recital in front of discerning audiences around the world. The post Grand night of classical music with an electric audience appeared first on Daily Tribune......»»
‘Moment of legacy’:Pinoy producers making B’way history with ‘Here Lies Love’
[caption id="attachment_157582" align="aligncenter" width="546"] Don Michael Mendoza and Georgina Pazcoguin.GIRLIE Rodis[/caption] [caption id="attachment_157584" align="aligncenter" width="193"] Giselle Tongi[/caption] [caption id="attachment_157583" align="aligncenter" width="351"] Adam Handyman, Bobby Garcia,[/caption] Here Lies Love, the Broadway musical about former First Lady Imelda Marcos and the People Power Revolution, is not only the first Broadway production to have a cast composed entirely of Filipinos. It is also the first to have so many Filipinos on its producing team. The latest HLL Pinoy producers are Black Eyed Peas singer Apl.de.Ap and DJ CherishTheLuv. They are part of a distinguished group that includes celebrated performers, renowned artists and accomplished advocates who are of Filipino blood and are proud to be part of the innovative show. Named as producers are Hal Luftig, Patrick Catullo, Diana DiMenna and Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas, with Aaron Lustbader as executive producer. They are joined by Lea Salonga (who is in the cast), H.E.R., Jo Koy, Bobby Garcia, Giselle “G” Töngi, Celia Kaleialoha Kenney, Girlie Rodis, Miranda Gohh, Rob Laqui, Georgina Pazcoguin, Don Michael H. Mendoza, Adam Hyndman, Yasuhiro Kawana, Triptyk Studios, Shira Friedman, James L. Nederlander, Kevin Connor, Patrick Trettenero, Elizabeth Armstrong, Cathy Dantchik, Wendy Federman/Suzzane Niedland, Luke Katler/Ryan Solomon, Laura Ivey/Janet Brenner and Hunter Arnold/TBD Theatricals. David Byrne, co-founder of the ‘80s New Wave group Talking Heads and the brains behind the concept and music of HLL, said to The Washington Post’s Gina Apostol that this was what he intended. The Grammy- and Oscar-winning musician explained, “I wanted producers who understand what it means, not just to them personally but to the Filipino community.” ‘Phenomenal musical’ Getting the producers on board was not difficult because of HLL’s history. In 2013, HLL premiered off-Broadway at New York City’s The Public Theater where it played until 2015. It also had runs at London’s National Royal Theatre from 2014 to 2015, and at the Seattle Repertory Theater in 2017. Tony Award-winning producer Adam Hyndman was among the audience of HLL’s off-Broadway debut. “I was so impacted that I saw it three times and brought everyone I knew!” he recalled. When he was invited to bring the project to the world’s most famous theater circuit — Adam had produced the Broadway musicals Aladdin, Once On This Island, Hadestown and The Inheritance — his response was immediate: “I jumped on board because I knew HLL would be more than just another show, but rather a moment of legacy.” G Töngi, who had made a name for herself as an actress/host/VJ in the Philippines in the 1990s, was likewise fired up when she witnessed HLL at Seattle Repertory. “I walked away from that experience feeling so seen,” she said. The musical brought her back to 1986 when she, as a child, marched in the streets outside Malacañang with her mother. Atlantis Productions founder Bobby Garcia, who mounted the Philippine productions of Rent and Angels in America, has been involved with HLL since 2014, when it premiered at London’s National Theater. Bobby said, “(Director) Alex Timbers kept me in the loop of potential productions. Patrick Catullo and Clint Ramos approached me about joining the team as co-producer and talked to me about how the show would have a revolving door of Filipino artists from Manila to play Aurora Aquino (the mother of Ninoy Aquino).” The opportunity was simply too good to pass up, said Garcia. “As an advocate of Filipino talent, I wanted to be part of bringing this phenomenal musical to the Broadway stage and opening the door for talent from the Philippines to cross the ocean and make their Broadway debuts.” Breaking ground Garcia’s friend, veteran talent manager and stage and film producer Girlie Rodis, certainly understands what he meant. “Whether you’re someone on stage or someone working behind the scenes, the big break doesn’t come often,” said Rodis. “So when Bobby talked to me in 2021 about joining him as co-producer, no questions asked. More than the prospect of giving breaks to our talented Filipino artists, it’s the chance to carve a legacy that made me tell Bobby, ‘Count me in!’ Who would have thought that a Broadway musical production would have an all-Filipino cast and depict the history of the Philippines? Now it’s finally happening.” HLL’s Broadway debut is set to break ground in American media and performing arts. “This visibility of Filipino performers in leading roles on Broadway just fills my heart,” said Georgina Pazcoguin, New York City Ballet’s first Asian-American female soloist and co-founder of the diversity initiative Final Bow for Yellowface. For actor and stage/TV/new media producer Don Michael H. Mendoza, the impact will definitely be long-term. “Like Hamilton does for actors of color, Here Lies Love will provide employment to countless Filipino performers, musicians and production staff for many years to come. Moreover, it will teach the audience about a people that was always in front of them for decades, but playing other ethnicities. Now it’s our turn to be seen and loved by the audiences for who we are as Filipinos. Not as anyone else.” Bayanihan spirit The bayanihan spirit, or cooperative spirit that Pinoys are known for, is very present among the HLL producers. A number of them are based outside of New York and a few — like Rodis — are outside the US. But thanks to technology and fueled by a united passion, they have formed a strong bond and have achieved their tasks outstandingly. “Being a Here Lies Love co-producer has, at long last, connected me with my culture in a way I’ve been craving. For the first time ever I’m surrounded by co-workers who share a part of my identity,“ said Pazcoguin. Rodis added, “Collaborating with this incredible group of Filipino co-producers has already given me so much. Tony award-winning designer Clint Ramos and producer Jose Antonio Vargas, a Pulitzer-prize winning journalist, have been supportive and generous. It’s a blessing to be in this company.” A few days before Here Lies Love opens on Broadway, the producers already feel ecstatic. “We are excited that there is so much enthusiasm both in the Broadway and Filipino and Fil-Am communities to see HLL,” said New York-based creative producer Rob Laqui. “One of our jobs as producers is to translate this buzz to getting people to the theater so HLL will have a long and successful run… We are confident and have faith in our process, and in the incredible team assembled, that HLL will be the gold standard for what Broadway can be.” The post ‘Moment of legacy’:Pinoy producers making B’way history with ‘Here Lies Love’ appeared first on Daily Tribune......»»
Yes, anybody can fly with aerial arts
photograph courtesy of Lariza Jane E. Cabaltierra AERIAL silks. photograph courtesy of Kate Cometa AERIAL hammock. Zendaya as circus aerialist Anne Wheeler in the 2017 musical drama film The Greatest Showman is truly captivating. But do you know that you can also do her aerial tricks? Well, yes, if you take lessons in aerial arts, which are offered in local studios. Aerial arts is a type of performance in which one or more artists perform aerial dance and acrobatics with the use of an apparatus, such as hoop, silks and hammock as the most common ones. Aerial hoop Aerial hoop (also known as lyra) looks a lot like hula hoop, though made of steel and suspended from an overhead point upon which a performer can do tricks while spinning. Nesh Zamora teaches aerial hoop at Elite Aerial Arts, which she co-owns. She began her aerial arts journey in 2012. She was then engaged to be married and weighed about 138 pounds, so she wanted to slim down to fit nicely into her wedding gown. She “chanced upon” a dance and fitness studio around the Ortigas area, where she discovered pole fitness, dance and eventually, aerial arts. She fell in love with aerial hoop and silks that she continued taking lessons in different studios in Metro Manila and in the United States even after she achieved her ideal weight. “It was a slow start for me,” she recalls. “I needed to psych myself to believe that I can be at par with the other girls in class. Would you believe it took me six sessions to just be able to climb the aerial fabric? There are no shortcuts in learning aerial arts. It is truly for everyone as long as they are willing to put in the work.” Zamora says she started teaching aerial hoop and silks in 2014, after taking “intensive classes from known aerialists in countries like Thailand, Hong Kong and the US.” Today, she also teaches and performs (during parties or corporate events) aerial silks and hammock, as well as less common types like aerial straps, cube, moon and lyrapole. She recommends aerial arts not only for only for its health and health and confidence-boosting benefits but also the friendships formed among students and teachers. “Whatever lifestyle, gender, age and even weight you may have when you enter our studio, you will end your first session knowing that aerial arts is for you.” Tips for new students: 1. Make sure you choose a studio with qualified instructors and which puts premium to student safety in terms of the quality of equipment used and instruction pacing. 2. Come to class with an open mind. 3. Try out all types of aerial equipment to see what excites you the most. 4. Listen and watch intently. Don’t be shy to ask your instructors to repeat or demonstrate what is being taught. 5. Enjoy and document your progression by taking photos and videos. 6. Never compromise your safety. Elite Aerial Arts Address: 143-3 Maginhawa St., Sikatuna Village, Quezon City. Website: eliteaerialarts.com. FB: Elite Aerial Arts, IG: @eliteaerialartsph. Aerial silks Aerial silks (also referred to as tissu, fabric and ribbon) are two long pieces of fabric made of not silks but a blend of polyster-lycra or nylon tricot that measure at least 16 meters each. These fabrics are draped down from a single point, which is then connected on a ceiling or outdoor rig using steel or aluminum hardware. The performer will climb the silks and do different kinds of sequences on them. Lariza Jane E. Cabaltierra is an aerial instructor at Idanceph dance studio and a junior member of the Whiplash Dance Company. In 2014, or merely a year after she learned aerial silks, this former teacher of ballet for kids made the cut in the Hall of Fame of TV5’s Talentadong Pinoy with her stunning performance. Over the years, she’s learned many other apparatuses, such as hoop, hammock, chandelier, moon and helix. She says not to believe in misconceptions that aerial arts is only for women who are young, strong and have a dance background. “It’s a step-by-step process. Little by little, your body will become strong and you will have confidence that you can do the tricks. As long as you’re happy with what you are doing, just keep going. What matters is what your heart wants.” Tips for new students: 1. Wear comfortable clothing that is suitable for the class you will be attending. 2. Do some proper warm-ups before class starts. 3. Expect more laughter and be ready to surprise yourself. 4. If you have a health concern, don’t be shy or don’t hesitate to tell the teacher or coach about it. 5. Be friendly, so you can make new friends and have a support system. 6. Most of all, just enjoy the class. Idanceph Address: #96 Maginhawa St., M Place Building, Diliman, Quezon City. FB: Idanceph. Aerial hammock Aerial hammock (also called slings) is similar to the one used in aerial yoga or aerial fitness, but with a much longer fabric, so the performer can do more tricks while spinning. Kate Cometa teaches aerial hammock at Beast House Pole and Aerial Dance Studio. She discovered aerial arts in 2016, when, as she tells it, “life had me all kinds of confused,” especially in her relationships and career choices, while suffering from insomnia and anxiety. “When I started in aerial silks, I looked more like a flailing sausage than a graceful aerialist. For two whole months, I couldn’t even manage a simple invert.” But she didn’t give up and even became “obsessed” with aerial arts, not minding “spending all my money on class cards and super cool aerial outfits.” She then joined her first recital and realized that it wasn’t just a hobby but already her “heart and soul.” She also ventured into hoop and silks, and even outside her comfort zone with pole dance. In 2018, she started teaching aerial hammock and joined her first competition, the Philippine Aerial Cup, in the amateur women pole division. “The most important thing is to allow yourself to be a beginner and fully enjoy the class,” Cometa points out. “There’s no need to worry about your fitness background or any preconceived notion. Everyone is welcome. It’s an inclusive community that embraces diversity and celebrates the uniqueness of each individual.” Tips to new students: 1. Listen to your teacher and truly know your body parts, both left and right. It may sound simple, but you’d be surprised how often we forget those essential details when we’re hanging in the air. 2. Approach your aerial journey with an open heart that is ready to accept new things, embrace challenges and love every step of the process. It’s through this openness that you’ll find the true magic of aerial arts. 3. Let the guidance and expertise of your instructor sink in and trust that they are there to support you on your incredible journey. (Cometa leads the aerial flow workshop in Cebu on 8 to 10 July.) Beast House Pole and Aerial Dance Studio Address: 2nd Floor, Pioneer Centre, United Street corner Pioneer St., Kapitolyo, Pasig City. FB: Beast Home Pole and Aerial Dance Studio. IG: @beasthomeph. The post Yes, anybody can fly with aerial arts appeared first on Daily Tribune......»»
Blondie brings ’70s and ’80s vibe at Coachella
American punk rock band Blondie rocked out to '70s and '80s hits on Friday at Coachella Valley Music and Arts Festival in Indio, California. Fronted by rock icon Debbie Harry, the band kicked off with "One Way or Another". Then it played hit after hit, and even performed a few newer songs during the set, including rocksteady song "The Tide is High" and "Long Time" from its 2017 album. The band ended its performance with slower, funkier songs such as "Heart of Glass" and "Dreaming", which seemed to calm the crowd after a period of rock music. The 77-year-old Harry still sounded and looked like a true punk rocker after all these years. Her distinctive voice could still transition from soft and ethereal to angry and gritty. Also, that night, she wore futuristic-designed shades, a leather vest jacket, and acid-washed jeans. Harry co-founded Blondie with lead guitarist Chris Stein in 1974. The band disbanded in 1982 but reformed in 1997. Its most recent studio album, "Pollinator," was released in 2017. The post Blondie brings ’70s and ’80s vibe at Coachella appeared first on Daily Tribune......»»
UFC President Dana White on Manny Pacquiao vs. Conor McGregor rumours: “I don’t care about any of that s**t”
Back in 2017, Irish MMA star Conor McGregor faced undefeated American boxing star Floyd Mayweather Jr. in a big-money superfight, arguably the biggest combat sports event of that year. McGregor was, at the time, at an all-time high in his UFC career and was coming off a demolition of Eddie Alvarez to become the UFC’s first simultaneous two-division UFC champion. Looking for even bigger paydays and an even bigger spot in the limelight, McGregor set his sights on Mayweather Jr, and the two ultimately agreed to a 12-round boxing bout. During the lead-up to the bout, one of the people actively promoting the event was none other than UFC president Dana White. McGregor was the UFC’s biggest star at the time, and his superfight with Mayweather Jr. definitely helped draw eyes onto the world’s largest MMA promotion. Three years later, McGregor is once again the topic of conversation after some mysterious tweets. The Irish superstar tweeted the Filipino phrase “Tinatanggap ko”, which means “I accept” in english. Many believe that it’s a not-so-subtle dig at Filipino boxing star and eight-division boxing world champion Manny Pacquiao. This comes after McGregor and Pacquiao already had an interesting exchange on Twitter a few weeks back. It looks like “The Notorious” is once again angling for a big-money boxing bout against one of the world’s best. The difference now however, is that he’s retired from the UFC. Which is why when White was asked about the McGregor-Pacquiao rumours, he had a simple answer: “I don’t care about any of that s**t.” White’s response is understandable, given that McGregor, who last fought in the UFC in January, defeating Donald Cerrone in just 40 seconds, is supposedly no longer connected to the North American mixed martial arts giant. Should the Pacquiao-McGregor fight actually come to fruition however, would White remain as unconcerned as he is now? .....»»
The Unforgettable ONE Championship Debut Of Jomary Torres
There are only a few ONE Championship debuts that can match Jomary “The Zamboanginian Fighter” Torres’ spectacular entry into The Home Of Martial Arts at ONE: KINGS AND CONQUERORS back in 2017. .....»»
Floyd Mayweather Jr. responds to Conor McGregor s retirement
Over the weekend, two-division UFC world champion Conor "The Notorious" McGregor once again announced his retirement. The 31-year old McGregor (22-4 in MMA, 0-1 in Boxing), posted a photo of himself with his mother on Twitter with the caption "Hey guys I’ve decided to retire from fighting. Thank you all for the amazing memories! What a ride it’s been!" Hey guys I’ve decided to retire from fighting. Thank you all for the amazing memories! What a ride it’s been! Here is a picture of myself and my mother in Las Vegas post one of my World title wins! Pick the home of your dreams Mags I love you! Whatever you desire it’s yours ?? pic.twitter.com/Dh4ijsZacZ — Conor McGregor (@TheNotoriousMMA) June 7, 2020 This was McGregor's third retirement announcement in the last four years, with his first one coming back in 2016 and the second one in 2019. Obviously, the Irish combat sports star's first two 'retirements' were short-lived. The following day, McGregor posted a photo of a cake, presumably from his daughter, that read "Happy Retirement Daddy" on his Instagram account. While a lot of the comments were well-wishers, there was one comment that stood out, and it was from none other than undefeated boxing legend Floyd "Money" Mayweather Jr. "If I'm not mistaken, didn't you tell Mike Tyson you could be at me if we fought a second time? Now you're quitting? I thought you wanted to beat the best? Well, if you decide to come back, I will be waiting to punish you again," Mayweather Jr's comment read. Mayweather Jr. came out of retirement in 2017 to face McGregor in a professional boxing bout, the biggest combat sports event of that year. While McGregor did put up a good fight, Mayweather Jr. was able to maintain his undefeated record with a tenth-round TKO victory over the first-time boxer McGregor. Since then, McGregor has returned to mixed martial arts, falling to reigning UFC Lightweight Champion Khabib Nurmagomedov in October of 2018, and then bouncing back with a 40-second TKO of Donald Cerrone back in January. Will McGregor remain retired? Will Mayweather and McGregor share the ring once again? Only time will tell. .....»»
Your Mother s Son to premiere at IdeaFirst Film Festival
Jun Lana's controversial film "Your Mother’s Son" is set for its Philippine premiere at the EnlighTEN: The IdeaFirst Film Festival......»»
NBA: Warriors win against Magic despite Green ejection
The Golden State Warriors, fueled by 23 points from Andrew Wiggins and two late baskets by Stephen Curry, beat the Magic 101-93 in Orlando, despite the ejection of Draymond Green just 3 minutes 36 seconds into the contest. Curry was left shaking his head when Green was tossed, receiving two quick technical fouls for heatedly.....»»
LIST: Saint movies to watch this Holy Week
YouTube offers free access to films on the lives of Catholic Saints in time for the Holy Week. .....»»
Tothapi may bagong single, ka-join na sa Sony Music family
LEVEL up ang breakthrough Bicol-based band na Tothapi! Sila kasi ang pinakabagong pamilya ng Sony Music Entertainment na kinabibilangan ng ilan sa mga biggest OPM acts ng bansa, katulad ng Ben&Ben, SB19, Denise Julia, Clara Benin, Ace Banzuelo, The Itchyworms, Sponge Cola, at marami pang iba. “It has been an amazing ride with Sony Music.....»»
NEWS BRIEFS | 26 March 2024
P101-M sea wall to rise in Surigao Sur town A P101.3 million sea wall will be constructed in Marihatag, Surigao del Sur to protect lives and properties from storm surges there. Rep. Romeo Momo (1st District, Surigao del Sur) led the ground breaking of the Marihatag Seawall Project last Sunday, March 24. “The project is a […].....»»
‘Under a Piaya Moon’ director hopes he made mentor Peque Gallaga proud
In receiving the award for Mowelfund Film Institute Special Citation (full-length film category) at the just-concluded Puregold CinePanalo Film Festival at the Gateway Cineplex, “Under a Piaya Moon” director Kurt Soberano dedicated it to all his film and acting mentors, including the late multi-awarded filmmaker Peque Gallaga, Lawrence Fajardo, Jay Abello, and all the Ilonggo and Negrense directors......»»