Hawaii-born Filipina confident of making it to WNBA
Having a chance to play for a spot in a WNBA roster can make anyone get cold feet. But for Filipina Chanelle Molina, it's just like any other day in the gym......»»
Katya Angara – The journey of a woman and artist
The promising artist that Katya is today is the latest phase in a lifelong journey that began at an early age when she began drawing characters from cartoon comics. All the while she was growing up in a home that nurtured her interest in the arts, as much as it prepared her for rigorous academic training. She read early in life, in a house filled with books. In this second part of our interview, Katya shares with us how she made a number of choices that would lead to where she is today. But once upon a time, for all that had been given to her on a silver platter, she was in a quandary as to what to do with her life. But when she finally decided on what she wanted, there was no stopping the talented and smart girl who, it turned out, possessed an intellectual prowess not unlike those of her parents, the lawyer, and senator Edgardo Angara, whose affinity for the land had been impressed on his daughter, and the lady educator Gloria Manalang Angara, who opened up her daughter’s eyes and minds to the wonders of world literature and the other arts. And it was in art that the young girl did not only find solace but also healing. Here is the final part of our interview: DT: After high school, did you immediately leave for London? KA: To be honest, and I don’t want filters here, I had mental health issues at that time. I was severely depressed. Before I went to London, I went through a tumultuous period of deciding where to go with my education. So, after Poveda, I went to Woldingham (boarding school). then I did half of my BA Psychology degree at UP Diliman from late 2000 to 2002. I loved my time at Diliman but it was a tumultuous transitional period for me, so I decided to revisit pursuing university in London. Central Saint Martins, to be precise, is one of the most prestigious and distinguished art and design schools in the world DT: Around what time was this? KA: It was in 2002. I was bouncing around like I couldn’t anchor myself to one thing. Like, okay, I’m here in London already. And then, okay I’m going to study Psychology in UP. So, what’s with the leap, the sudden jump, the sudden shift? I couldn’t make up my mind. And I think that frustrated my parents for the longest time. I was also being hard on myself because I ended up causing a lot of frustration for myself. And I think that depressed me. So, you know, I’ve been diagnosed with different things. I’m bipolar. And then, I had the hallmarks of ADHD. Let’s just say that my brain works differently DT: Well, one can never be sure about oneself. KA: No, you can never be sure about yourself. And I was questioning myself. For the longest time, all those years I thought, what’s wrong with me? Why am I making all these strange decisions? Why am I behaving this way? Why do I react to people this way?”. You know, parang I shouldn’t be talking or reacting to people like this in this kind of situation. And I’m not just saying with family or what. But with my classmates in school. What drew me to art was it being a place that has its own language e. It’s a place where I can express myself. Art is also a way of healing your own wounds. It’s also a way of revealing those aspects of yourself that you wouldn’t be able to otherwise. It really was a way of healing for me. And I didn’t even know that I needed it. Because again, I was a very quiet and introverted kid. I don’t know why. I couldn’t rely on people, talk to people the way I thought, or maybe people thought I should. So, you know, I kept to myself. I’d hide away in the library every recess or lunch. I didn’t want to talk to anyone. So, that carried on until my university years. Daily Tribune (DT): What did you finally take up in college? Katya Angara: Well, first I just wanted to do a purely art course. So, my foundation course to get me a degree was an Art and Design course. My first choice for this was Central Saint Martins, which continues to be ranked as one of the best art and design schools in the world. I was over the moon when I made it in. DT: What did you have to show to qualify? KA: I needed to show my work. I had some already since I was drawing a lot in my childhood and teenage years. DT: Your works are not the usual ones that use oil, watercolor, acrylic, and all that. KA: I was drawing mostly. And for some reason, I have always been more of a draftsman eh. I’m always more into drawing. I have more illustrating tendencies. DT: Like pen and paper? KA: Yes, pen and paper. Pencil, charcoal. I’ve always had a thing for dry media and pen and ink. It’s more about the control and the precision. That’s my personality. DT: That’s not easy ah. KA: It’s not easy. But you have an affinity for it. And your hands have to be steady. Which is unlikely for someone with pasmado hands like me. But that’s where I find my control eh. That’s why I like it so much. DT: So, what was it like when you showed your drawings at Central Saint Martin? KA: So, I showed my drawings because that was required during the interview. And so I went through the ropes. They asked questions like, "why do you want to do this course here?" DT: Your work must have been good to get you accepted. KA: They were fine. I think it was good enough. But there was a lot I had to improve on. I only knew that once I got into the school. Then, you told yourself, Ah, oo nga pala. There was so much I had to learn. That I could be taught. DT: How was your learning experience? KA: From the beginning, as a child, I always copied from cartoons. And they didn’t like that. They didn’t want to see any cartoons or anything like that. They wanted to see me. They wanted to see my work. My drawing from life. DT: So, how did you do that? It must have been challenging KA: So, I gave them the best of my life drawings. But when I showed them my other works, they weren’t happy with them. So, I learned from that. Being young, you got a bit crushed. But then, you realize it’s a different way of thinking. It’s a different way of doing things. Okay, there’s still so much to learn in terms of art. And it’s not the be-all and end of it all. And then, they said, “This is where you should be learning from.” And they showed me art books. They said, “Go to this gallery or this museum.” DT: How was it like living abroad? Back home, you were the daughter of a senator. KA: Which means nothing when you’re abroad. It meant nothing. Which I actually loved. It was something that I was looking for. Because I lived in a bubble back home. To my parents’ credit naman there’s a reason for that. I was very protected. They wanted to keep me safe and secure given my father’s position. So, I’d always lived in a bubble. I’d always have bodyguards and drivers and all that. And it just felt at times a little restrictive. DT: So, it was a welcome thing? KA: It was a welcome thing. Really, I felt different. I felt normal na parang my family name didn’t mean a thing. And that was refreshing. I could be anything I wanted to be. I could experiment and nobody would judge. Because in schools like that and abroad, especially in Europe, they’re so open-minded. They’re so liberal. DT: How were the teachers? KA: Oh, wonderful. Of course, you always have your favorites, right? Very varied. Depending also on what course you were taking up, whether industrial design or sculpture which I was horrible at when I tried it. I didn’t really get close to my tutors until I moved on to my actual degree. Funny enough, instead of ending up in a practical course. Which would have been like Fine Arts, Graphic Design, or even Illustration because I love drawing. You would think that I would end up in a more practical course like Fine Arts, Graphic Design, or even Illustration, I did a complete shift and I did a theoretical course. I did Curation, Art Criticism, and Art History. So, my training is as a curator and an art critic. DT: Wow, that was very intellectual. It’s good that you always read a lot. KA: Yes, I think that helped because you have to read a lot. You have to love reading. You have to like doing the research. And that served me well. Who would have known, right? But if you think about it, as long as you follow what you want to do in life, it just opens up even if you don’t intentionally seek it. Somehow it just finds you It just fell into place for me in that sense. This is not what I initially set out to do. But I think you have to allow yourself to change your mind. Parang whatever happens at the time, you change with it. You adjust to it. And it worked out beautifully for me. DT: So, were the teachers terrors? KA: Mabait naman sila. But they have very different personalities. My course leader was a lovely older lady who was really into Victorian arts and culture. As in, Victoriana lahat. She would tell you everything about English Victorian history. And she was very passionate about it. And you know, it involved a lot of writing and research. But my favorite tutor was someone who was writing about comic books. Comic books and Pop culture. So, for me, that was a revelation because I didn’t think you could take comics books and put them in the academe. You know, academic level like intellectual. Pwede pala e. Because he showed me a way. He took me under his wing and he showed me his work and from there I learned to write. And because I love comic books. I’m actually a huge geek. I’m a nerd, I’m a dork. DT: What was your thesis? [caption id="attachment_165427" align="aligncenter" width="463"] Roger Sabin was Katya's pop culture mentor at Central Saint Martins in London.[/caption] KA: Because I wanted Roger Sabin, my pop culture tutor, as my professor for my thesis, it was about a 1990s Japanese animated film called Ghost in the Shell 101. It was an animated film based on a very heavy graphic novel, a manga or Japanese comics, by Masamune Shirow. And for me, his work is revelatory. It wasn’t just the style of the Ghost in the Shell. And to think just one man could draw like this. I mean it was a very thick graphic novel. He could draw like that. And he wrote the story too. And to think you had the mental stamina to be able to write something like that and to draw. DT: You must enjoy doing comics. KA: Since I was a kid, I’ve made my own comic books. You know, I would sell my own comic books and people would actually buy them. I taught myself to draw in the comic book style. I learned them all. You know, there’s like Stan Lee of Marvel. DT: You really had it in you. KA: I had it in me. My love for comic books started by reading the ones my brother had collected over the years. He had a stash of them, so, I just devoured them. It was all very amazing to me. Kasi the drawings, the stories, these are worlds written by someone else. So, you have Marvel comics, DC comics, Dark Horse comics. [caption id="attachment_165417" align="aligncenter" width="2560"] With brother, Senator Sonny Angara, whose comic books she devoured for their cartoon figures.[/caption] Q: You didn’t idolize anybody? A: Well, I wasn’t particularly huge on the American comics. I think it was until I stumbled upon the Japanese comics or manga. That really piqued my interest to a degree I never felt before. Kasi it wasn’t just the style, which at first for me was very girly. I mean, I love the romantic comics. But I also felt myself leaning toward the darker stuff. DT: What did you like about Ghost in the Shell? KA: It’s a cyberpunk graphic novel. So, ang galing, ang ganda ng style. It was like, wow. You know, the sheer amount of detail that he puts into the drawings. I said I want to draw like this. I want to tell a story like this. But I don’t know if I was capable of telling if I had the stamina to tell something so intricate and complex. DT: When did you graduate? KA: In 2008. The BA in the UK is only three years. That’s why you take a foundation course. There’s a BA in Curation, and Communication, and criticism in Arts and Design. DT: I am told that you graduated at the top of your class. But you’re not telling me. KA: It sounds so funny kasi eh. Anyway, I graduated with first-class honors for my degree. So, basically, I was Suma Cum Laude in my batch in my year. So, that was what sealed the deal for me and my dad. Kasi for the longest time, I was kind of meandering. I was kind of flip-flopping. My mom knows this eh She goes, “You know Katya you have a tendency to be whimsical.” I am an artist eh, what can I do? Besides, I was young and I wasn’t sure. I knew what I wanted to do, which was to be in the arts but not where I wanted to go. I was asking myself if I had the stamina, the commitment, the fortitude to see it through. [caption id="attachment_165415" align="aligncenter" width="2560"] Katya and mom Gloria Angara, who first ignited her interest in the arts.[/caption] [caption id="attachment_165419" align="aligncenter" width="854"] Katya with her dad, the late Senate President Edgardo Angara from whom she learned to apply the principles of nature to her art[/caption] DT: College made you really bloom. KA: Yes. It was the environment. it was the people I was with. Because I was able to go into something I really enjoyed. I wasn’t just doing homework because I was told to do homework. I loved what I was doing. I was invested in it. DT: What did you do after you graduated? KA: Apart from community work, I also worked for some small galleries. I did some work for the Victoria and Albert Museum. I tried to have experiences in bigger institutions, bigger museums, and small independent galleries. I thought that experience would hone me and make me well-rounded. With the smaller galleries, I was able to practice my curatorial background. I was able to help a lot of young artists. They don’t know how to talk about their work or they’re not confident enough to do so. So anyhow, apart from helping them put together shows, I help them speak about their work. Or offer them a perspective they have never seen or thought about. And I feel that that was helping them and I think that’s where I have been able to engage with them. It was fulfilling to help them find their voice as an artist. DT: All the while, you were all alone in London? KA: I was married actually. To a Filipino who was born in the UK, in London. He’s an Englishman, for all purposes. It didn’t work out. We have a daughter. I had a beautiful little girl with him. She lives in London with her father. She’s been here. She lived here in her early years. After she was born in 2010, I decided to move back here. Then, after four years, we went back to London because it was what my husband wanted. He and my dad had a falling out. DT: When was your first exhibit? KA: Last year. Earlier, I did a group show at the Lethaby Gallery at Central Saint Martins. So, I did it with other emerging artists. My next group show was at The Crucible. But it was for a book that Sari Ortiga had commissioned me to do. He wanted to do a series of children’s books about Philippine artists. I did mine. Mine was about Anita Magsaysay-Ho. I did the illustration. It wasn’t new to me because I had been making my own books. I would staple them myself. Although up until that point I didn’t know how to really do it professionally. I found out it could be lucrative and fulfilling. This was in 2008 when I didn’t have a daughter yet. DT: Tell me about your forthcoming show. (The current show had yet to be opened). What paintings are you showing? KA: They’re not paintings, they’re not just drawings. They’re an amalgamation. They’re what you call a compendium of everything I’ve ever done as an artist. The book illustration, and then I dabbled a bit in black-and-white photography. I like the look of black and white photography. So, I do it with my phone or a simple camera. It’s also good for taking reference photos for my work. Because if you can’t sit in the park drawing people or objects, or subjects, the next best thing is you take pictures. And you can draw from those pictures. Kaya maganda siya for reference. So, my work is that, actually. DT: So, what about your subjects? KA: Well, I’m a very central person. We live in a very conservative culture. And I have subjects that would make people say ay, you know, you shouldn’t talk about that. So, there’s no filter, it’s very raw, very natural. In London, I was able to talk to people about things like BDSM or Bondage Sado-Masochism. And you know, that can get a bad rap. Because if you do it wrong, it would look strange to anyone who is not familiar with it. Among the Japanese, there is a subculture that does that. DT: Do they consider BDSM an art form? KA: There’s a particular Japanese artist whose work I used to admire. He’s a photographer. And his subject is BDSM. There were pictures of women tied up and then there were flowers and reptiles. So it was very sexual. I found myself drawn to that because there’s the element of the dark side. Carl Jung, the psychoanalyst, talked about how we have to make our unconscious conscious. The darkness in us is unconscious. And if you don’t make your darkness conscious, it’s going to come out in other ways at some point. Meaning to say, you shouldn’t repress those sides of you. I think it is a side that’s intertwined with the creative side of me. I can’t be an artist without being sensual. Without that aspect, all that would be macabre. Which brings me to my mom again. She used to chide me for reading Stephen King when I was a kid. I’m a huge Stephen King fan. She was like, “It’s so macabre, so dark.” And I’m like, “I like it, I like his work.” He’s such a skilled writer. And I like how he could take something so mundane and make it terrifying and frightening on all levels. Stephen King said that he writes two thousand words every morning. I’m not sure if I can do that. I wanted to write na rin eh because the natural partner of my art is my writing. Because as a curator, I didn’t just read. I had to write a lot. And that’s where I honed my skills. Kasi siyempre, it’s a sword that you have to sharpen every now and then. So, for the show. I did a lot of writing. I did my own writing. DT: While we're on the talk of artists, what about the Filipino artists? Who among them do you admire? Do you have any mentors and idols? KA: Among Philippine artists, Junyee is my second father and my first artistic mentor. He is my OG sage and shaman of Philippine art, the Father of Philippine Installation Art. I'm actively lobbying for him to become National Artist soon, as no one deserves it more than he does, with his magnificent oeuvre. I'll always remember how, in a fleeing moment of impostor syndrome, he consoled me by saying that making art for myself always comes first. Love the process and the rest follows. The maverick attitude is very Junyee! And yet, he lives a modest life in the forest-like setting of his home in Los Banos, echoing the nature-loving ethos of our favorite Japanese animator, Hayao Miyazaki, creator of Toroto, Nausicaa, Spirited Away, among many other magical films. Since I was a child, Junyee saw my potential and continued to push me to have my own gallery shows, as did his longtime friend and one of my other mentors, Sari Ortiga. Sari's daughter Yasmin is a good friend and batchmate of mine from Poveda. Sari owns and runs the distinguished Crucible Gallery, and he hired me to illustrate one of the children's books for his series "Growing up with Philippine art" in 2009. It's thanks to Sari that I pushed myself to evolve as an artist, to grow outside of my comfort zone. The acclaimed visual artist and sculptor Jinggoy Buensuceso is something of a bad boy du jour of the Philippine art scene, and his dissident attitude is something I can identify with. I love the unorthodox, the sensual, the macabre, the dark stuff that delves deep into the psyche. I'm so bored of the "covers" or "riffs" of the countless Amorsolo, Basquiat, Picasso, or Rothko-type artworks that I see so much of in the local art scene. As wtih Junyee and Sari, Jinggoy has taught me how to navigate the perilous seas of art and life, echoing Junyee's advice to remain myself, in a world that often pushes us to be someone else. My three mentors, by example, taught me how to be original. DT: How many are you exhibiting? How many works? KA: Now, I have 9 complete pieces. I’d like to add another one. Honestly, medyo cramming ito because I only had two months to do the show. Normally for this kind of work - especially with the big piece I am doing - it’s a seven-foot piece. I would need, preferably to be comfortable, at least four to six months to do all this work. Kasi, there is so much nicer when you give it time to compost. To come together, to become fertile. DT: Is there enough time for one more work? A: Yes. I have one more work that I want. Because I feel that it rounds it up eh. If I do ten, I love the work that I’ve already done. Again, it’s not a painting, it’s a collage. So, I’d call it a photographic collage with paper cuttings on canvas. I wanted to treat canvas in a way that is not painting DT: Shouldn’t someone curate for you? KA: For now, I’m happy to have to do it myself. Because I feel that I’m the only one who can portray myself in a way that I feel I should be portrayed. Kasi it’s art eh. You’re trying not so much to explain yourself as you’re trying to convey who you are to somebody without being obvious. That’s art. DT: Where does Stephen, your partner, come in? [caption id="attachment_165418" align="aligncenter" width="2560"] With her partner and anchor, Stephen Lu.[/caption] KA: Stephen is somewhat of an anchor for me. So, I feel comfortable, I feel more confident when he’s around. But I guess I’m okay. DT: Now, as we wind up, let’s talk about how you are like your parents and not like them. You said that your interest in the arts came from the exposure that you received from your mother, and of course, the presence of books at home. Tell me more about your father’s role in your becoming the person that you are. KA: One of my fondest memories of my father was his love of nature, gardening, and farming, which I learned from him. He was at his best and calmest when he was at his farm in Nasugbu and Baler. Whilst my father was a “man of the soil”, I learned to be an “artist of the soil”, a gardener who applies the principles of nature to my art. Hence the overlying themes of nature in my oeuvre of artwork. And the most resonant themes of philosophy (which my father also studied and applied in his life) are the themes relating to lessons learned from nature: patience, fortitude, temperance. From this I’ve become more acutely aware of life’s transience, making our time all the more precious, being grateful for small and simple pleasures, and the opportunities that come my way. The naïveté of my younger years meant that I didn’t have a complete grasp of the opportunities presented to me by my father, I took much for granted. Now I see why he did what he did, he gave me the tools to be able to achieve my full potential. Only now that I’m embracing that fire and heading in a direction that makes the most of my talents. I had impostor syndrome for the longest time. Always questioning and doubting myself. Now I can fully embrace who I am and it is cathartic. DT: In what way are you like them? KA: I have the different strengths of my parents. I’ve inherited their academic minds and cultured tastes, with an eye for detail and beauty. I have many mannerisms and behavious in common with my mum, in terms of poise and self-possession. But, she is like Audrey Hepburn and I am infinitely more of a Marilyn Monroe. Marilyn was also a very private person and something of a poet and writer. I guess it’s no surprise that I am drawn to art and writing; I am highly introspective, painfully self-aware and attuned to my moods and to the moods of others; like my Dad, I’m intuitive and know how to read people. DT: My last question is, how has art influenced you in your direction in life? And where are you going from here? KA: Being an introvert, I don’t always translate into easy social interactions with most people. So I channel it all into my art. It’s a language that best expresses my psyche, thoughts, and emotions. Working with my hands is healing and consolation for the isolation, depression, and anxiety attacks that grip me on bad days. That’s why as an artist of the soil, gardening and art go hand in hand. In the future, I can see myself tending to the land and becoming a farmer as my father was. It’s like coming home. The post Katya Angara – The journey of a woman and artist appeared first on Daily Tribune......»»
Hawaii-born Filipina confident of making it to WNBA
Having a chance to play for a spot in a WNBA roster can make anyone get cold feet. But for Filipina Chanelle Molina, it's just like any other day in the gym......»»
Lady Gaga, car horns trumpet Biden’s grand campaign finale
PITTSBURGH (AFP) – Honking horns, huge American flags, and pop superstar Lady Gaga: on the eve of the presidential election, Joe Biden brought an air of spectacle to workers’ stronghold Pittsburgh as he capped a campaign largely curtailed by the Covid-19 pandemic. US singer Lady Gaga performs prior to Democratic presidential candidate Joe Biden speaking during a Drive-In Rally at Heinz Field in Pittsburgh, Pennsylvania, on November 2, 2020. (Photo by JIM WATSON / AFP) “The power’s in your hands, Pennsylvania!” the Democratic White House nominee thundered late Monday to several hundred supporters gathered for a drive-in rally in what has become the pivotal state in Biden’s battle against President Donald Trump. “It’s time to stand up and take back our democracy,” the 77-year-old added, prompting a crescendo of car horns outside the stadium that is home to the Pittsburgh Steelers American football team. In the biting November cold, Biden took up the clarion call of a campaign that he launched 18 months ago: “This is a battle for the soul of America,” he said. “We have to win this.” Lady Gaga, clad in a white sweatshirt with “Joe” printed on the front, listened and applauded from her stage. Minutes earlier she had peeled off her gloves and sat down at a white piano to give a short but inspired musical warmup to the Biden headliner. “Gloves off because it’s a fight — a fight for what you believe in,” she said before launching into her hit “Shallow.” The 34-year-old Grammy winner called on the audience to vote for Biden because “we needed somebody that was going to bring us all together for this moment, for this very important moment.” “No matter who wins tomorrow, we’re going to have to do this together. Tomorrow’s got to be peaceful,” she added somberly, in an allusion to the tensions that have swelled in the United States ahead of the poll. The singer, who once lived in Pennsylvania, has been in this position before. In 2016, she helped close out the campaign of Democrat Hillary Clinton, who lost in a shocker to Trump. ‘End of Trump era?’ Dancing in the parking lot was Jamie Scafuri, a 26-year-old hairdresser, who came with friends invited by someone who works for the campaign. “We’re hoping that it’s the end of the Trump era,” Scafuri told AFP. “We’re hopeful. That’s why we’re here.” These drive-in rallies have become a staple of the Democrat’s mostly low-key campaign, which has scrupulously adhered to social distancing and mask-wearing guidelines to guard against the coronavirus, which has already killed more than 230,000 Americans. But despite efforts to put on a show at least partly resembling concert-infused mega-rallies that have traditionally marked the end of a campaign, the cars parked at distance, sparse spectators and few journalists allowed to enter makes it clear: the pandemic has upset the face of American politics in 2020. “Stay close to your cars!” urged an announcer as fans rushed forward for the arrival of Lady Gaga, in scenes far removed from the massive Trump rallies that often bring thousands of supporters packed together, very often without wearing masks. But here, Biden’s supporters understand the constraints. “I feel safe being here around our car with masks on, but it’s a great opportunity to celebrate life for sure,” Scafuri said. Biden is “a pro-science, pro-healthcare candidate, so it makes sense that he would want to protect his constituents,” added Scafuri’s friend Katie Soulen, 32, who owns the salon where they work. Trump ‘don’t care’ about us Biden is coming full circle with his campaign. The former vice president launched his White House candidacy — his third, following disastrous bids in 1988 and 2008 — in April 2019 in this blue-collar city. Even then, in the cradle of the American steel industry now remaking itself as a tech hub, Biden predicted that a victory against the Republican president would “happen here,” in Pennsylvania. Biden has a slight lead in the pivotal state, which Trump won by less than a percentage point in 2016. But the polls have tightened in recent days, and after the brash billionaire’s shock victory four years ago, some Democrats are nervous. But Bob Wilson, born and raised “right where we stand” in Pittsburgh, is confident that Trump will be defeated. “No, we’re gonna crush him… We’re gonna beat him in every state,” the 68-year-old retired truck driver, now a union official, said as he waited for Biden in the large parking lot at Heinz Field, named after the giant food processing company founded here in the 19th century. Trump is “not qualified” and “don’t care about nobody but himself,” he added......»»
FIBA: Mighty Jimmy and the shot that introduced Gilas to the World
This story was originally published on Feb. 24, 2019 It’s Saturday night at Mall of Asia and the arena is absolutely rocking. Eternal basketball rivals in the Philippines and South Korea are delivering another classic. Gilas Pilipinas is down to the final minute of regulation against its longtime tormentor in the second of two semifinal games. The national team is up by two, 81-79. The Philippines is hosting the 2013 FIBA-Asia Championships where three tickets to the 2014 World Cup are at stake and the winner of this particular game gets one of those tickets. Given the rich history of both teams and what it would mean to the winner, this pivotal game has gone down the wire as everyone pretty much expected. Also knowing the history of both teams in international play, Gilas’ precarious two-point lead was not safe at all. A ghost was lurking in the background and a dreaded curse felt almost inevitable. Down to the final minute of the crucial grudge match between the Philippines and South Korea, guard Jimmy Alapag has the ball and a two-point lead. What he will do will help define not only his career but the legacy of the Gilas name as a national team. WAKE-UP CALL Even before the Philippines-Korea game, Gilas Pilipinas already had to go through one emotional game early in its homestand for the Asian Championships. In a preliminary round showdown against Chinese Taipei, the Filipinos collapsed in the fourth quarter, allowing the Taiwanese to steal a morale-boosting 84-79 win. In 2013, the relationship between the two countries hit a rough patch over the death of one Taiwanese fisherman. In an updated May 17 report by CNN’s Jethro Mullen, “Taiwan has reacted angrily after one of its fishermen was killed by a Philippine coast guard vessel.” Taiwan had frozen applications from OFWs seeking jobs in its territory and the government of then President Ma Ying-jeou demanded an apology, among other things, from the Philippines. While the national basketball teams of both countries never really had any prior animosity with each other, tension was naturally present as both teams squared off in Group A action. Gilas Pilipinas and Chinese-Taipei both entered the showdown with identical 2-0 records and the winner would take control of solo Group A lead heading into round 2. Taking a good lead into the fourth quarter, the Philippines was outscored by 18 in the last 10 minutes and the national team took its worst home loss in quite some time. “At the time, it was a huge game for us. We understood what was happening in Taipei during that particular time. We really wanted to win for what our kababayans were going through at that time,” guard Jimmy Alapag said on that first home loss in the 2013 Asian Championships. “We didn’t get the job done, and it was tough especially to lose a game like that, it was a very emotional and it was a game that we knew we needed,” he added. The crushing loss meant that the Philippines had little room for error in round 2. While Gilas didn’t have any world beaters lined up in the second round, anything less than a perfect run would have meant an early clash with Asia’s established powerhouse teams in the knockout stages. On the other side of the bracket, defending champion China, Iran, and South Korea were battling for position and were expected to finish in the top-3. That means if Gilas Pilipinas failed to finish no. 1 in its group, the national team would have faced one of those teams in the quarterfinals. Gilas picked up a crucial win over Qatar in the 6th of August and the day after, the Philippines got some help from those same Qataris as they beat Taipei in a close decision. At the end of round 2, all teams finished with identical win-loss records but Gilas Pilipinas would take over first place after all tiebreaks were considered, barely edging out Taipei. The Philippines ended up avoiding defending champion China, Iran, and South Korea and instead got Kazakhstan in the quarterfinals. No. 2 Taipei drew China and the third-running Qataris were matched up with the South Koreans. “I think that was the moment we grew up and grew closer. I think that was the lowest of the lows, just because of the atmosphere and what was going on between both countries. It kind of felt that we let our end of the bargain down, you know what I mean? We’re on our home soil and we didn’t take care of business. I think that was one of those moments where we had to really check ourselves and find a way to make it right,” forward Gabe Norwood said of the Taipei loss. “But it turned out to be a blessing in disguise. In tournaments like FIBA-Asia it’s important that you have short-term memory whether it was a win or a loss. We needed to let go of that game and continue to stay the course, keep our focus in the tournament,” Alapag added. On August 7, four days after Gilas lost to Taipei, the rift between the Philippines and Taiwan would reach a resolution and the latter country lifted its freeze hiring and other sanctions on the former. The Philippines also did issue on official apology over the death of the Taiwanese fisherman a couple of months prior and the National Bureau of Investigation in Manila recommended the pressing of homicide charges to erring members of the Philippine Coast Guard. DARK HISTORY If the word “rival” is to be defined as a, “person or group that tries to defeat or be more successful than another person or group” then sure, the Philippines and South Korea are rivals. Both countries are rivals in the Asian basketball scene and they have been going at it for a very long time. But if the word rival can also mean “equal” or “peer,” is the Philippines really a worthy basketball rival to South Korea? The Philippines’ history with South Korea in terms of basketball is dark. Very dark. Consider the most high-profile matches between the two countries and you’ll see that the Philippine national team is just not at the level of South Korea. Or at the very least, Koreans always seem to reach 120 percent of their potential when they play Filipinos and we barely bring out 80 percent of our abilities when matched up against our East Asian neighbors. The 1998 PBA Centennial team, arguably the greatest Philippine team ever assembled, was demolished by South Korea in the Asian Games. A national team set up for gold only settled for bronze. Speaking of a bronze medal game, the original Gilas Pilipinas team lost a podium finish to South Korea in the 2011 FIBA-Asia Championships. That team squandered a double-digit lead and collapsed late. Of course, who can forget the semifinals of the 2002 Asian Games in Busan when Olsen Racela had the chance to put the Philippines up four but missed two free throws. South Korea would win with a booming triple at the buzzer off a broken play and would later take down China to capture the gold medal. South Korea is the Philippines’ basketball nemesis for all intents and purposes. A worthy adversary that always seem to emerge victorious at our expense. Still, all that previous disappointment didn’t seem to bother Gilas Pilipinas six years ago. The team was not scared and instead, they were excited even. One factor to greatly consider was that fact that the game was in Manila. It makes all the difference to play at home. “We understood the bad history that we had with Korea. We haven’t been very successful with them in quite some time but we knew from Day 1 that if ever we got an opportunity to play them at home, then we have a great chance,” Alapag said. “Man, pre-game, it was just the focus. Everybody was up for the challenge, I don’t think anybody was really nervous, I think it was just the anxiety... we wanted to get out there and do it already,” Norwood added. Playing at home had its perks for sure, but it also had its drawbacks. For all the painful losses the Philippines suffered at the hands of South Korea, it would have been devastating if Gilas actually took a beating in Manila. Stakes were extra high in this particular chapter of this long, ongoing saga. “There was always pressure, it was something that we acknowledged early. Playing at home, it’s great having that support but at the same time, there is some added pressure because you wanna make sure that you make our home crowd proud of the team that they watch and ultimately, win games,” Alapag said, making sure to note that the national team knew of the disadvantages of playing at home even before the Korea game. “It was there but it was something that we acknowledged and we wanted to make sure that we took advantage of the opportunity playing at home,” he added. ALL FILIPINO, ALL HEART Once it was go time, the Philippines-South Korea game went about pretty normal, as you would expect any game from these two national teams. But even before halftime, an injury to Gilas center Marcus Douthit changed the complexion of the semifinals showdown. All of a sudden, the Philippines was without its anchor, without its best player. Sure, there were players on the Gilas bench that can come in and replace Douthit’s size but there was simply no one on the Gilas bench that can come in and replace his talent, production, and just overall presence. June Mar Fajardo was in that Gilas bench but it 2013, the would-be five-time PBA Most Valuable Player was just not at that level yet. It would have been easy for Gilas Pilipinas to fold like cheap furniture and succumb to the overwhelming pressure of trying to overcome South Korea to reach a stage very few Filipinos have reached before. Gilas didn’t fold and instead, the Douthit injury rallied the team even further. “Alam mo sa totoo lang, puso na lang yun eh. Nung nawala si Marcus talaga, sabi ni coach kailangan doble kayod tayo. Dahil sobrang dehado tayo kumbaga, wala na tayong import, wala tayong malaki,” forward Marc Pingris said. With Douthit gone, Ping ate up all of his minutes and worked by committee with guys like Ranidel De Ocampo and Japeth Aguilar to fill in the gaps. “As a player naman, kami nagusap-usap kami na kahit anong mangyari, lalaban kami. Yung time na yun, talagang patay kung patay,” Ping added. Despite losing its best player to an untimely injury, Gilas Pilipinas’ confidence in winning never wavered. With their collective backs against the wall, the Philippine national team played even better. Unlike the later iterations of Gilas Pilipinas, the 2013 team, aptly called Gilas 2.0, had the luxury of having actual preparation before the FIBA-Asia Championships. The amount of work that came before the tournament and the Korea game, the bond built over countless hours of training, all of that helped the national team avoid a monumental meltdown in front of a rabid Manila crowd. “We were such a close-knit team in terms of our chemistry, in terms of the talent that we had, so we felt confident even when Marcus went down early in the game. If you looked at our huddle, you had 11 more very confident guys, not just in themselves but more importantly, in each other,” Alapag said. “That just boiled down to the chemistry that we had. I don’t think any of us panicked, we were all confident in each other. We’ve all been into that situation with our PBA teams, having the ball in our hands and making a play. Knowing that we had five weapons on the floor that could make the winning play, I think it made us very confident and we were able to sustain our composure,” the former Gilas captain added. THE GHOST AND ITS CURSE Shin Dong Pa, Hur Jae, Lee Sang-min, Oh Se-Keun, TJ Moon, and Cho Sung-min are just some players from the South Korean national team that inflicted incredible damage to the Philippines over the course of decades. The dreaded Ghost of South Korea takes form in these players and its curse is to give Filipinos the most heart-crushing loss possible. In 2013, the Ghost was Kim Min-goo and his curse was to beat Gilas Pilipinas in Manila. Despite losing Marcus Douthit and trailing by three points at the break, the Philippines started to turn the tables in the second half. Gilas Pilipinas unleashed Jayson Castro and the Blur led a blazing offense in the third quarter, finding a way to take a 10-point lead over South Korea, the Philippines’ largest of the night. But as the dust settled and Gilas holding a 65-56 lead entering the final period, an ominous figure would make his presence felt. The Korean Ghost has arrived and his name was Kim Min-goo. His curse? Beat Gilas Pilipinas in Manila. Kim was 22 and a senior in college when he made the South Korean national basketball team as a backup shooter in 2013. In nine games in Manila, Kim would play well enough to make the tournament’s All-Star team, averaging 12.7 points, 4.1 rebounds, and 2.7 assists. He led Asian Championships with 25 three-point field goals, 10 came in the last two games and five came against Gilas Pilipinas. Kim drilled back-to-back triples to open the fourth quarter against the Philippines. Later, his fifth triple — a four-point play at that — pushed the Koreans to within a point, 72-73. South Korea would take over soon after as Lee Seung-jun dunked the basketball on a fastbreak. The Ghost has arrived and his curse is in effect. “Ako pumasok sa isip ko yun nung lumamang Korea, na putek ito na naman,” Pingris said. “Pero ang sabi ko, sayang yung opportunity, kaya naman eh. So sabi ni Jimmy samin, no matter what happens wag kami gi-give up. Pinaghirapan natin to at may goal tayo, this year aalis tayo,” he added, noting the team’s goal to get into Spain and compete with the world’s best national teams. Faced with the possibility of dealing with a devastating defeat, Gilas had enough mental fortitude to keep things going. Trust your system, trust your preparation, trust your crowd, trust your teammates, and more importantly, trust yourselves. “You’re never out of the game if you’re playing at home,” Norwood said as they stared a deficit late against their destined rivals. “I think that was our mindset, keep it close and just find a way,” he added. Jimmy Alapag found a way. BORN READY Down 73-75, Jimmy Alapag was under heavy duress when he let go of a three-pointer from the left wing just in front of his bench. It was good to go. The Philippines was back on top by one as Alapag somehow managed to get his team to snap out of an initial shock following Korea’s strong fourth-quarter rally. The stage is now set for a wild finish and Jimmy will star in the final act of what has been an incredible show by Gilas and South Korea. “In situations like that, as an athlete and as a pro, that’s the situations that you dream about,” Alapag said. “Those are shots that you practice when you were a kid. When the shot clock is winding down, to have an opportunity to knock down a shot. It’s a shot that I practiced thousands of times,” he added. After the Philippines and South Korea traded baskets for the lead, Alapag made perhaps the most underrated play in this crazy and emotional encounter between two basketball rivals. Tasked with inbounding the ball just near underneath his own basket, Alapag found his Talk ‘N Text teammate Ranidel De Ocampo for an open look at three. Swish. Gilas leads, 81-77, with 91 seconds to go. “Ranidel was my favorite target for a very, very long time in my career,” Alapag said on the play that most people probably don’t even remember. “Once I saw that he got open, I wanted to make sure that I gave him as great a pass as possible and Ranidel has been known for a long time to take care of the rest,” he added. THE EXORCIST “Yeah, I was right under the basket,” Gabe Norwood says with a laugh when asked if he remembers the shot that changed the course of Gilas Pilipinas as a national team. Late in the fourth quarter of what was essentially a heavyweight bout, the Philippines just landed two strong haymakers but South Korea would refuse to go down without a fight, beating the count of 10 each time. Down to the final minute of a crucial grudge match with a World Cup berth on the line, Jimmy Alapag had his hands on the basketball as Gilas would go to its halfcourt set. Jimmy will never let go of said basketball. Up two, Jimmy did what Olsen wished he could 11 years prior. Up two against South Korea in a pivotal semifinal game, Alapag received a screen from Marc Pingris, which was enough to momentarily shake off Kim Tae-sul. With some room, Alapag drifted to his left and let a three-point shot fly. Boom. Gilas leads, 84-79, with 54 seconds to go. The shot would later be remembered as the one that ended the Korean Curse, the one that finally exorcised the Ghost. “The first thought that came to my mind was don’t miss,” Jimmy said of the clutch jumper. “That last one, Ping sets a good screen and I got a clean look. It’s a shot that myself, and Jayson [Castro], and Larry [Fonacier], and Gary [David], and Jeff [Chan], all of us, we practice that shot time and time again after practice. So you know, it was a shot that I was confident in but in that moment, all you’re thinking about was don’t miss,” he added. It’s one thing to be confident in yourself and to be confidednt in your preparation. It’s a different thing to actually perform under such pressure. As soon as Alapag managed to shoot his shot, Gabe Norwood did what any other good teammate would do and got in position to get the offensive rebound. You know, just in case. Gabe got the ball alright, but he got it after it swished through the rim. “When he put the shot up, I tried to crash for the rebound but I basically knew that it was going in,” he said. “I had probably the best view, I was right under the basket. I think caught it after it went through too,” Norwood added. Alapag checked out moments later as the Philippines went to its defensive lineup in order to stop another Korean comeback. South Korea turned to its most effective shooter in Kim and as he rose up to try and answer Alapag’s triple, Norwood met him at the apex for the game’s most dramatic stop. Gabe blocked Kim and Gilas would finish things off with a final Marc Pingris basket on the other end. A historic 86-79 win was complete. “I still get chills thinking about it, to look up and see grown men just breaking down. My wife was trying to hold my kids and she was holding back tears. It was just an awesome moment, the bond that we had on that team, the stuff that we did to get prepare, I think we poured it all out in that game,” Norwood said on the monumental victory. “I think it probably didn’t hit me until the final buzzer sounded. Not just for me but for the entire team, when that final buzzer sounded, it was such a special group of guys and the fact that we could share that moment with not just with each other but the entire country, it’s something I’ll remember for the rest of my life,” Alapag added, savoring the moment of a Philippine win over Korea 28 years in the making. THE INTRODUCTION Gilas Pilipinas would lose to Iran the next day in the Finals of the 2013 FIBA-Asia Championships. The Philippines put up a fight but Hamed Haddadi would prove to be too powerful to stop. It would take another two years for Gilas to beat Iran but that didn’t really matter in the moment. The Philippines is headed to the World Championships for the first time in three decades. The Philippines has beaten South Korea and one singular shot has allowed the Gilas name to be known around the world. Jimmy wouldn’t say that though. At least not directly in that way. “For me, that shot was the biggest for my career. But really, it was our entire team. We’ve gone through so much and that was just one particular play that really culminated the entire game and all the contributions from other guys from Gabe’s defense, to Ping’s rebounding, to Japeth’s rim protecting, to Jayson and LA doing a lot of the legwork,” Alapag said. “Everybody had their part in contribution to the game. After the shot, after the buzzer sounded, it was just a very special moment for us as a team and for Philippine basketball to show that all of the sacrifices, all of the hard work, now it’s given an opportunity to re-introduce ourselves to the world,” he added. Jimmy wouldn’t say it, but his teammates would. That shot of his that beat South Korea in the 2013 FIBA-Asia Championships introduced the Gilas name to the world. It announced that the Philippines has finally arrived. Gilas’ breakthrough overtime win a year later in Spain against Senegal — a game Jimmy pretty much decided late as well — made it known that Filipinos are here to stay on the World stage. “I would say so, it got us to where we wanted to be in the World Cup. I think we shocked some people there as well. But just the work that went in, I think it showed the country that we can get back to where we want to be as long as you work together,” Norwood said. “Yung puso ni Jimmy, grabe naman. Makikita mo maliit pero gusto lang niya talaga manalo. Ang liit pero parang lion pag nagalit eh, nandoon yung tiwala namin sa kanya. Ano pa ba masasabi mo, Jimmy is Jimmy Alapag,” Pingris would add. [NOTES: At the time of original publishing, Gilas Pilipinas was fighting to make a return trip to the FIBA World Cup, this time in China in 2019. To secure its slot, the the Philippine national team needed to beat Kazakhstan in Astana plus a loss from Japan, Jordan, and/or Lebanon. One of the teams that can help Gilas is South Korea... ironically. Jimmy Alapag retired from national team play in 2014 and retired playing for good in 2016. He has since made himself a champion basketball coach in the ABL. Marc Pingris suffered an ACL injury in 2018 and is in the process of returning for his PBA team in the current 2019 season. Gabe Norwood is still in Gilas. He’s still an effective two-way weapon. 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