Vision 2020: An artist responds to COVID
While she was undergoing therapy for depression, the celebrated American poet Anne Sexton explained why she kept doing what she did: “Poetry, after all, is the opposite of suicide.”.....»»
‘Anak Datu’ opens a rush of truth from ripples of trauma
A year after it premiered, Anak Datu is returning to the stage, opening the 37th season of Tanghalang Pilipino, the resident theater company of the Cultural Center of the Philippines. When it debuted, it immediately became a landmark production in several ways. It was one of the first plays to be mounted with a live audience after the lockdowns and restrictions of the coronavirus pandemic in 2020 and 2021. And it was the first play to be staged at the newly opened CCP Black Box Theater or Tanghalang Ignacio Gimenez. Anak Datu is one of the few plays on the Tausug and Moro people and cultures of Mindanao, portrayed with marked sensitivity and apparent diligence. It was lauded by critics and audiences, with former Vice President Maria Leonor “Leni” Robredo as one of the prominent people who trooped to CCP to watch the play on 1 October 2022. The play went on to win six awards at the 13th Gawad Buhay and five at the 35th Aliw Awards. [caption id="attachment_192618" align="aligncenter" width="2560"] the tausug pangalay dance is incorporated into the play.[/caption] Fine-tuned production Despite the accolades and being one of the most important theatrical events in 2022, the play was faulted by some for what was seen as its confusing storytelling, its shifts in timeline and milieus, and the cumbersome sets. The second staging afforded the creative team the opportunity to fine-tune these and other aspects of the production. According to director Chris Millado, former CCP vice president and artistic director, they were able to make the storytelling clearer and supply an elevated platform to make the designs of the light projections more visible. For Dennis N. Marasigan, current CCP vice president and artistic director, “[o]n its rerun, Tanghalang Pilipino's Anak Datu is tighter, its storytelling and technical aspects clearer and crisper, and its staging even more affecting, effectively overlaying story, myth and history.” The restaging marks another milestone in the journey of the play, which started in 2018 from talks that artist Toym Imao, son of the late National Artist for visual arts Abdulmari Asia Imao, had with Millado and veteran actor and TP artistic director Fernando “Nanding” Josef about making a stage adaptation of the elder Imao’s short story for children, written in 1968, the year Toym was born. The team recruited award-winning playwright Rody Vera to write the script. The plan became more concrete when Josef decided to make the project TP’s first original play after the pandemic lockdowns. By then, the play has evolved into something larger than the original story. Serving as Anak Datu’s set designer, Imao recalled the anxieties they felt during the first stages of production, especially the prospect of one of them getting sick and shutting down the show. “But we were able to tell an essential story that was important, especially for a nation that was coming out of the devastating election of May 2022 for a lot of people. It is something important for us na nakapagkuwento kami (we were able to tell a story),” he said. [caption id="attachment_192619" align="aligncenter" width="525"] Ramli Abdurahim as the pirate Jikiran.[/caption] Three stories Anak Datu tells three stories — Toym’s childhood with his father (Paul Jake Paule) and mother, Grace de Leon (Toni Go-Yadao); his father’s short story; and the recent history of his father’s people, the Muslim Tausug in Sulu Archipelago and the Moro, the collective Muslim ethnic groups, of Mindanao. The Imao family portion shows Toymie (Carlos Dala) growing up with Voltes V and other preoccupations of middle-class children in Metro Manila. Then there is the story of the disputed 1968 Jabidah Massacre, told through Jibin Arula (Gie Onida), the lone survivor — how young Tausug men, mostly illiterate, were recruited by the military, transferred to Corregidor and then massacred upon the discovery of a suspicious plot. Also dramatized is the 1974 Palimbang Massacre, in which the military allegedly murdered more a thousand Moro men inside the Malisbong masjid in the province of Sultan Kudarat, while 3,000 women and children were detained and about 300 homes were burned down. These incidents were said to have sparked the conflicts and armed struggle in Mindanao that would scar the region for decades. Along with the contemporary scenes is the retelling of the short story Anak Datu, set in a pre-colonial time and rendered in mythical mode, combining both the familial and the tragic. The Tausug village of datu Karim (Hassanain Magarang) and his wife Putli Loling (Tex Ordoñez-De Leon and Lhorvie Nuevo) is attacked by pirates, led by Jikiran (Ramli Abdurahim), who kidnaps the pregnant Putli Loling. She gives birth to Karim, who grows up knowing Jikiran as his father but later learns the truth. [caption id="attachment_192620" align="aligncenter" width="2560"] Artist Toym Imao taking a picture with the cast and creative team.[/caption] Graceful movements All throughout, the play shifts among these threads of stories, each one compelling and multi-layered. Counterbalancing the oral storytelling is the dramatization through graceful movements, choregraphed by Magarang using the pangalay or Tausug traditional dance, a shared art form with the Yakan (pamansak) and Sama (igal) peoples, thus rendering the stories more visual and adding allure and distinctive cultural flavor to the play. The dances are accompanied by a live kulintangan or gong ensemble. The stark interiors of the theater come alive and burst with colors courtesy of the lighting by Katsch Catoy and projection design of GA Fallarme, who uses Abdulmari Imao’s paintings and traditional Tausug and Meranaw motifs such as the okir as inspirations. Toym’s set pieces are highly movable to keep up with the constant shifts in storytelling, and the bigger ones are like art installations, contributing to the visual richness of the production. Harnessing memory, myth and history, Anak Datu is able to weave its stories into an enthralling whole, establishing interconnectedness and consolidating the story of a person, a family and a community into the very story of a nation, like three or more streams converging into a great river. Tanghalang Pilipino’s Anak Datu runs 29 September to 15 October at Tanghalang Ignacio Gimenez (CCP Black Box Theater). The post ‘Anak Datu’ opens a rush of truth from ripples of trauma appeared first on Daily Tribune......»»
‘Sinag’ and ‘Lupa’: Light that guides and land that nourishes
In late September 2019, the Cultural Center of the Philippines mounted the son et lumiere titled “Sinag: Festival of Radiance,” accompanied by a video projected on the façade of its iconic Brutalist Main Building, dancing fountain, performances and installations, as part of the celebration of the 50th anniversary of the establishment of one of the Philippines’ revered cultural institutions. The light show was staged again in the following years with different themes even during the imposed lockdowns in the first years of the coronavirus pandemic in 2020 and 2021, serving as beacon of hope during one of the most challenging times for the arts and culture sector. The “Sinag” light-and-sound show continued to be mounted this year, fast becoming a tradition for CCP, as it commemorated its 54th founding anniversary and signaled the sector’s embarking on the road to recovery. It also recognized the sector’s perseverance and determination to continue creating and healing with its theme, “Tuloy Ang Palabas”(The Show Continues).” This year, the Main Building has remained dark and silent as it closed down in January for a three-year rehabilitation and renovation, but it came alive again from 28 September to 1 October for “Sinag 2023: Tuloy Ang Palabas.” A short video was projected on the façade, showing snippets of productions, projects and performances in the past nine months, all held in different venues outside the Main Building. The main part was a spectacle of colors and moving patterns, conceptualized by CCP light designers Camille Balistoy, Danilo Villanueva, Louie Alcoran and Shantie De Roca. This was accompanied by music by Soundridemusic and Makai-symphony, spliced by Jerry Tria. Capping the show was a video showing CCP’s reach in the country, through a map created by Reily Villaruz, as well as glimpses of performances and projects in the planning, accompanied by Jed Balsamo’s “Rurok.” As the CCP Main Building highlighted art’s role as light giver, the park beside it, CCP Liwasang KaLIKHAsan, is venue for an exhibit of installations depicting popular creatures of Philippine folklore. [caption id="attachment_191675" align="aligncenter" width="525"] Kapre. | PhotoGRAPHS by Roel Hoang Manipon FOR THE DAILY TRIBUNE[/caption] The kapre, aswang and tikbalang often figure in horror stories told to children, but acclaimed artist Abdulmari “Toym” de Leon Imao, son of the late National Artist for visual arts Abdulmari Asia Imao, regarded them as nature guardians, thus the title “Tanod-Lupa.” “Tanod-Lupa” was first mounted in celebration of Earth Day on 22 April, but was brought back for the anniversary celebration, and it seems fitting for the Halloween and Christmas seasons. Imao was inspired by stories about these creatures, many of which most likely can be traced from pre-colonial times, during his childhood. “My mom is Kapampangan, and they have wonderful stories of mythology such as Apo Mallari god of Mount Pinatubo. My dad came from the South. He was a Tausug. Mindanao is also rich in stories. The Sarimanok itself is a mythical creature. My appreciation comes from a fascination from childhood and growing up with these stories and narratives from my parents,” he said. “I am very fascinated with tikbalang. There are some stories that tell that it is actually a friend. The tikbalang also has a masculine appearance, very heroic,” he added. Working together with lantern makers from San Fernando City, Pampanga, headed by Arvin Bondoc Quiwa, and using materials such welded steel, fiberglass, ropes and lanterns with LED lights, Imao reimagined the creatures to be cartoonish but still retaining some scary and mysterious qualities. [caption id="attachment_191676" align="aligncenter" width="525"] Manananggal.[/caption] [caption id="attachment_191674" align="aligncenter" width="525"] Duwende.[/caption] The bright installations of kapre, duwende, manananggal, aswang, nuno sa punso and tikbalang are scattered around the park — under a balete, in between coconut trees, among overgrown weeds and unkempt bushes — and accompanied by eerie sounds designed by TJ Ramos. The most prominent among Imao’s works is his large installation in the shape of the panolong, a decorative detail of the traditional house of the Meranaw people, and the sarimanok, a popular design motif of several Moro ethnic groups, frequently used by his father in his works. [caption id="attachment_191677" align="aligncenter" width="525"] Nuno sa punso.[/caption] “Tanod-Lupa” is a work in progress, and more installations are being planned to be added to the collection. “With themes like climate change and cultural promotion, it’s perfect for us to bring these creatures from folklore and mythologies to the forefront. We are not the only inhabitants of our environment. We share it with other beings and creatures. Our ancestors remind us that we take good care of our environment lest these ‘tanod-lupa’ come out to remind us of our shortcomings,” Imao said. The post ‘Sinag’ and ‘Lupa’: Light that guides and land that nourishes appeared first on Daily Tribune......»»
Experimental documentary focuses on railroads as political borders
A State in a State, an experimental documentary by Georgian artist, filmmaker, and essayist Tekla Aslanishvili, is being screened for free at Bacolod City’s Art District. The 2022 single-channel film traces the construction, disruption and fragmentation of railroads in the South Caucasus and Caspian regions. It studies the tracks as the technical materialization of the fragile political borders that emerged after the collapse of the Soviet Union. It likewise explores how the iron foundations of connectivity can be used for exclusion and geopolitical sabotage. A State in a State was developed through an artistic-scientific collaboration with Dr. Evelina Gambino, Margaret Tyler Research Fellow in Geography at the Girton College of the University of Cambridge. It was produced by the Han Nefkens-Fundació Antoni Tàpies Video Art Production Grant 2020 in cooperation with Art Jameel Dubai, Museum of Contemporary Art and Design Manila of the De La Salle-College of Saint Benilde, NTU Center for Contemporary Art Singapore, and WIELS Brussels. It was supported by the Berlin Senate Department for Culture and Europe. [caption id="attachment_191693" align="aligncenter" width="525"] Scene from ‘A State in a State’ by Tekla Aslanishvili. | photograph courtesy of MCAD[/caption] Stationed in Berlin and Tbilisi, Aslanishvili’s creations emerge at the intersection of infrastructural design, history, and geopolitics. She graduated from the Tbilisi State Academy of Arts in 2009 and holds an MFA from the Department of Experimental Film and New Media Art of Berlin University of the Arts. She is a fellow of the 2018–2019 Digital Earth, a nominee for the 2021 Ars-Viva Art Prize, and a recipient of the 2020 Han NefkensFoundation-Fundació Antoni Tàpies Video Art Production Award. A State in a State is an exhibition under MCAD Commons. Removed from the main gallery of the museum, it brings MCAD’s singular programming to a larger audience to allow for engagement with creative development, exchange of ideas, and support of the artistic process across the areas of research, art practice, and curatorial discourse. A State in a State runs 23 September to 23 October. Included in the line-up is an in-person artist talk with Aslanishvili, who will walk the audience into the process of A State in a State. She will likewise talk about Scenes from Trial and Error, her 2020 experimental documentary that examines the failed development of a port and city on the Black Sea shore. She will share her ongoing project on renewable energy infrastructures in the South Caucasus. It will be conducted on 22 October. The post Experimental documentary focuses on railroads as political borders appeared first on Daily Tribune......»»
The standouts at Fashion Forte XVIII
After more than two decades in the United States, the enterprising fashion designer Nardie Presa came back to the Philippines. Though he had a lucrative practice in California, home is where his heart is. But then Presa saw that budding designers were relegated to showcasing their creations at malls or clubs. He thought that a hotel was a more proper venue for rising talents to present their collections. The idea not only became a clever business venture; it also became the irrepressible Presa’s advocacy. Together with his longtime friend Audie Espino as director and the Crowne Plaza Galleria as the host, more and more design upstarts are getting their breaks at Presa’s Fashion Forte series held at least four times a year. The lineup is usually composed of neophyte talents but established designers such as Presa also participate to show the newbies how it’s done. At the 17th staging, it was barong Tagalog designer Barge Ramos who gave a master class. At Fashion Forte XVIII, Albert Andrada displayed his universally loved designs of romantic and dreamy confections. Mikaela Rose Fowler, Miss Grand Australia 2023, gushed on her Instagram: “What an honor to not only walk for Sir Albert Andrada during the latest Fashion Forte runway show. I had the privilege of closing the show as the grand finale.” Here are some of the standouts and their thoughts: [caption id="attachment_188837" align="aligncenter" width="525"] TONI Kimpo recommends using local fabrics to promote the country to the fashion world. | photograph courtesy of Bert Briones[/caption] TONI KIMPO “The title of my collection is Rise of the Phoenix. My inspirations are the mystical bird phoenix while the emotion behind my creations is the power to rise again like a phoenix. “My materials are sourced locally. I used some indigenous material like pearls and shells. I recommend using local fabrics to promote the country to the fashion world. “I said yes to Nardie and Audie because of their integrity, and the high fashion production that only Fashion Forte can make. [caption id="attachment_188833" align="aligncenter" width="525"] Albert Andrada displayed his universally loved designs of romantic and dreamy confections. | photograph courtesy of Mike Zuniga[/caption] “When I was a child, I grew up being influenced by the works of Tito Albert Andrada. His first shop was in my grandmother’s building. I studied fashion at Slim’s Fashion School and worked at the Carolina’s fabric store.” [caption id="attachment_188834" align="aligncenter" width="525"] CARL Acusa’s latest collection speaks of political movement through fashion. | photograph courtesy of Bert Briones[/caption] CARL ARCUSA “Luncheon At The Palace is a political movement through fashion. A collection that is intended to raise awareness to the historical past and to not forget the mistreatment, injustices, killings and power abuse during the… regime. “The materials I used are silk, organdy, piña cloth, tulle, red Swarovski crystals, beads and metal religious emblems. [The challenge of procuring the materials] is their availability to suppliers because some are sourced out abroad and the piña cloth’s availability to the market. ‘My recommended remedy] is fast supplier-to-market transport and communications. “[I said yes to Nardie and Audie] because they are both professional and friendly. Their taste and professionalism established a good foundation of trust to us designers. “I’m a self-taught. I was mentored by Rocky Gathercole and Olé Morabe. My inspirations are Christian Dior, Alexander McQueen, John Galliano, Joey Samson, Ivarluski Aseron and various Filipino veteran designers. My celebrity clients include Andrea Brillantes, Kim Chiu, Vice Ganda, Sanya Lopez, Lea Salonga and Miss Glenda.” JEZELLE AMORADO “My collection is entitled Imprint. As a fashion designer, one of my primary roles is to create pieces for clients that reflect their identity and persona. It is very seldom that I get to create something that would reflect who I am as an artist. Thus, the ‘Imprint’ collection was born. “For this collection. I wanted to do away with traditional floral and lace details. Instead I focused on the idea of how I can imprint my own DNA as a designer into each piece. The hand-beaded details of each piece were carefully crafted to show my personal way of sketching, yarn and beadwork to mimic my fingerprints and the waves in various colors were created to represent my sound waves when speaking. The Jezelle Hautea Amorado signature book folded details can also be seen in the collection as a representation of my unfolding fashion design story. “The emotions that I wanted the collection to evoke is a sense of identity and self-love for who I am as an artist. I wanted the audience to see who I truly was as an artist and experience the same level of love and admiration I felt when I was allowed to be myself and create what my heart wanted. “I wanted to present a collection that would let people realize and feel that it is OK to be themselves, to love who they are and to not let society dictate who they should be. Imprint is a collection that focuses on the idea of ‘self’ and that no person could ever alter who you are as a person. “I wanted people, women in particular, to have that profound sense of acceptance despite what society would expect of us in terms of how we dress, talk and present ourselves. Hopefully, ‘Imprint’ was able to do that. “The materials that were used were a mixture of silk gazaar, fine crepe, organza and tulle. The finer details were crafted using multicolored yarns, crystals and multi-cut beads. All of my materials were sourced from both local and international vendors that I have worked with in the course of my career. “The main challenge that I face when procuring fabrics was the fear that another designer would be using the same thing as me. My solution for this is that I stay away from already pre-beaded or pre-printed textiles. “Instead of purchasing such textiles I have my team of skilled beaders craft custom prints or details that would guarantee me a unique piece every single time. At times, it is an unavoidable circumstance that I would have to use pre-detailed fabrics such as lace, so to address this situation I would deconstruct the said fabric and have my team rework it by creating new textures, or beading details to give my clients that unique look. “I have a Bachelor’s degree in Consular and Diplomatic Affairs from De La Salle College of Saint Benilde and an Associate’s degree in Fashion Design at Raffles Design Institute Singapore. I apprenticed under Albert Andrada, who is also my mentor and design influence along with Christian Dior, Coco Chanel and Iris Van Herpen.” [caption id="attachment_188836" align="aligncenter" width="525"] ‘Fashion Forte’ expresses Nardie Presa’s specialty and strength in conceptualizing clothes and designs. | PHOTOGRAPH COURTESY OF MIKE ZUNIGA[/caption] “To be invited back by Nardie Presa and Audie Espino was a wonderful experience and great honor. I had my first show with them back in 2020 before the pandemic and this would have given me another opportunity to work alongside two of the most-sought after personalities in the fashion industry. “Another reason for me to say yes was that Tita Nardie had informed me that this would be a wonderful opportunity for me to continue the Mentor-Protegee story that was unfolding between me and my beloved mentor and fashion father, Albert Andrada. “The period that I got the invite for Fashion Forte was when Sir Albert and I were preparing for our ‘Marry Me at Marriott’ show and it just felt like the perfect fit. Any chance I would get to work alongside Sir Albert and share the runway with him is an opportunity that I would never want to miss.” The post The standouts at Fashion Forte XVIII appeared first on Daily Tribune......»»
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......»»
Focusing on the beauty of daily life
The paintings on display at the ongoing exhibit at ARTablado in Robinsons Galleria are by an artist with a strong faith in a higher power. In fact, when asked who her favorite artist is, Marie Claire Olondriz chose God. “He’s the ultimate artist who created everything… matter, space, time, the entire universe.” In the years that she has spent honing her painting style, she has come up with canvases awash in color and light. Some of them are of Marian images like Our Lady of Aranzazu and Our Lady Star of the Sea but there are also her floral paintings including a beautiful one of a magnolia flower in full bloom. Another theme is the Madonna and Child although the artist opts to leave their faces blank, inscrutable. When she was younger, she would grab a sketch pad and her pencils and draw whatever caught her eye — sketching and coloring based on how she felt. [caption id="attachment_185923" align="aligncenter" width="525"] 'Floracion.'[/caption] Marie Claire came up with her style of painting when she was confined in the hospital. She started out scribbling in her sketch pad which led to continuous circles that initially seemed directionless. “Later, I expanded this to my paintings, using contrasting colors against the backdrop to create a textured look. What I enjoy is the sense of playfulness these scribbles bring to my art,” she said. “Amidst the sea of realist styles in my art group, mine feels unique. That’s why I began calling it ‘olondrizism,’ after my own name. It reflects my heart and soul when doing art.” When the time came to pick a title for her ARTablado exhibit, she chose Obra ni Maria Clara. Coming up with new paintings for the exhibit, however, took a while as she struggled with tennis elbow as well as carpal tunnel syndrome, the latter afflicting both hands. “On top of that, fibromyalgia would give me pain every single day,” she recounted. [caption id="attachment_185922" align="aligncenter" width="525"] 'Amor Y Cuidado.'[/caption] She took a break for a while and entertained thoughts she might not be able to meet the deadline. “Instead of having an operation, I tried therapy and kept trusting in God, believing He’d bless this exhibit somehow. I couldn’t let the doctors operate on my hands [because] that would mean no painting for over a month, or maybe even no more painting at all.” The exhibit that runs until 15 September will highlight Marie Claire’s take on “the beauty of everyday life, of common things we seldom appreciate.” The artist is grateful to Roseann Villegas, corporate public relations director of Robinsons Land Corporation for approaching her after spotting a painting Marie Claire had made for a group show. Established in 2020, Robinsons Land ARTablado, a portmanteau of “art” and “entablado” is Robinsons Land’s very own stage in showcasing the Filipino ingenuity and creativity. The post Focusing on the beauty of daily life appeared first on Daily Tribune......»»
Rolling Stone magazine co-founder axed from Rock hall of fame board
The co-founder of Rolling Stone magazine, Jann Wenner, has been ousted from his seat on the board of the Rock and Roll Hall of Fame Foundation for comments blasted as racist and sexist, US media reported Saturday. Wenner's removal from the foundation board came only a day after his remarks were published in The New York Times, generating wide criticism. "Jann Wenner has been removed from the board of directors of the Rock & Roll Hall of Fame Foundation," a short statement from the foundation said, according to industry sheet Variety. The 77-year-old Wenner co-founded Rolling Stone magazine in 1967, and in subsequent decades he celebrated a multitude of rock legends in its pages in lengthy interviews. Wenner also set up the Rock and Roll Hall of Fame Foundation, which selects artists to be honored and served as its chairman until 2020. In the Times report published Friday, Wenner was asked why he didn't feature any interviews with people of color or female musicians in his new book, "The Masters," now in print. Wenner said the seven subjects in the book "were the kind of philosophers of rock" who had deep things to say about the spirit of their generation. "These are the ones that could really articulate it," Wenner said. The subjects whom Wenner profiles are Bob Dylan, John Lennon, Mick Jagger, Pete Townshend, Jerry Garcia, Bono, and Bruce Springsteen, all white men. On women, Wenner said, "Just none of them were as articulate enough on this intellectual level." "Of Black artists -- you know, Stevie Wonder, genius, right? I suppose when you use a word as broad as 'masters,' the fault is using that word. Maybe Marvin Gaye, or Curtis Mayfield? I mean, they just didn't articulate at that level." Wenner voiced awareness in the interview that his remarks would grate on some. "Just for public relations' sake, maybe I should have gone and found one Black and one woman artist to include here that didn't measure up to that same historical standard, just to avert this kind of criticism," Wenner said. Rolling Stone became the leading music magazine of its time, later expanding into cultural affairs, conducting interviews of top politicians and fostering a style of "new journalism" that brought techniques of fiction writing to the reporting of stories. Wenner sold a controlling stake in Rolling Stone magazine in 2017 in a deal that valued the publication at a reported $110 million. The post Rolling Stone magazine co-founder axed from Rock hall of fame board appeared first on Daily Tribune......»»
Dutch ‘Indiana Jones’ art sleuth recovers stolen Van Gogh
A Dutch art detective has recovered a precious Vincent van Gogh painting that was stolen from a museum in a daring midnight heist during the coronavirus lockdown three-and-a-half years ago, police said Tuesday. Arthur Brand took possession of the missing painting, the 1884 "Parsonage Garden at Nuenen in Spring", worth between three and six million euros ($3.2 and $6.4 million), at his Amsterdam home on Monday, stuffed in a blue IKEA bag. Brand, dubbed the "Indiana Jones of the Art World" for tracing a series of high-profile lost artworks, told AFP that confirming the painting was the stolen Van Gogh was "one of the greatest moments of my life." "Arthur Brand, in cooperation with the Dutch police, has solved this matter," Richard Bronswijk of the Dutch police arts crime unit confirmed to AFP. "This is definitely the real one, there's no doubt about it." Brand told AFP that frequent calls by him and the Dutch police to hand back the stolen artwork finally paid off when a man, whose identity was not revealed for his own safety, handed Brand the painting in a blue IKEA bag, covered with bubble-wrap and stuffed in a pillow casing. A video clip supplied by Brand showed him unpacking the painting in his lounge and gasping in astonishment when he realized what it was. "I couldn't believe it," he said. 'Massive headache' The painting was burgled from the Singer Laren Museum near Amsterdam on 30 March 2020 in a heist that made headlines around the world. Dutch police released video images shortly after the burglary showing a thief smashing through a glass door in the middle of the night, before running out with the painting tucked under his right arm. In April 2021, police arrested a man named in Dutch media as Nils M. for the theft. He was later convicted and sentenced to eight years behind bars. M. was also convicted for stealing another masterpiece by Frans Hals called "Two Laughing Boys" in a separate heist. "After a few months I heard from a source in the criminal world who had bought the Van Gogh," from Nils M, said Brand, who has gained fame for his remarkable recoveries of stolen art, including the "Hitler's Horses" bronze statues, a Picasso painting and a ring that once belonged to Oscar Wilde. This man, identified by Dutch media as Peter Roy K., was currently behind bars for a separate case involving the large-scale import and export of cocaine, Brand said. K. wanted to use the painting as collateral to negotiate a reduction in his sentence. Brand confirmed Peter Roy K.'s identity, stressing he had said before that "no deal for a reduced sentence would be made." The whereabouts of the Van Gogh however remained unknown until two weeks ago when a mysterious man contacted Brand saying he wanted to return it. After some negotiation, Brand persuaded the man -- who had "nothing to do with the theft", according to the art detective -- to hand back the artwork. "The man told me 'I want to return the Van Gogh. It has caused a massive headache'" because it could not be used as a bargaining chip, Brand said. "In an operation done in close coordination with the Dutch police, we got the painting back," he said. The painting, which comes from relatively early on in Van Gogh's career, before the prolific artist embarked on his trademark post-impressionist paintings such as "Sunflowers" and his vivid self-portraits, has already been handed back to the director of the Groninger Museum, from where it was on loan to the Singer Laren Museum. "At first there was disbelief. Staff were asking themselves 'can this be true'?" said Karina Smrkovsky, head of communications at the Groninger museum. "Then, when it was confirmed, our disbelief turned into delight. We are incredibly happy that it has been been returned," Smrkovsky told AFP. "We are incredibly thankful to Arthur Brand for getting it back." Smrkovsky said however that the painting would not be on public display immediately, most probably only next year. "We are delighted that art lovers from all over the world once again will be able to see this wonderful painting," said Evert van Os, museum director at Singer Laren. Meanwhile Frans Hals' "Two Laughing Boys" remains missing -- but Brand said he hoped it would also be returned soon. The post Dutch ‘Indiana Jones’ art sleuth recovers stolen Van Gogh appeared first on Daily Tribune......»»
ManilArt 2023: From 2020 vision to ‘a new contemporary’
ManilArt celebrates15 years with the theme “A New Contemporary.” This marks the culmination of a series of themes that the art fair explored in recent years, emphasizing the legacy and tradition of Philippine art, while embracing new perspectives and the incorporation of new media. In 2020, the art fair faced unprecedented challenges head-on with the theme “2020 Vision for a Future Reimagined,” ready to take on the country’s evolving artistic landscape. In 2021, the theme, “Continuing Legacies,” highlighted the art fair’s journey as a platform for the arts, celebrating tried and tested methods and paying homage to the artists behind its success. Last year, “Forging Futures” captured the spirit of progress as the fair began to navigate a post-pandemic world, ushering in a new era of artistic exploration. ManilArt continues to be commited to excellence, built upon each iteration of its evolving journey — bridging the traditional and the contemporary, providing a space for an ever-expanding spectrum of old and new media expression in the visual arts. Offerings At ManilArt 2023, there’s something for everyone. The art fair will showcase a diverse range of exhibits, featuring both traditional and interdisciplinary expressions. Attendees can explore captivating canvas-based and sculptural works, as well as delve into the world of functional and technology-based art. The fair also embraces various media, including automotive art and design, digital art, sound art and emerging forms like non-fungible tokens (NFTs) and phygital media. [caption id="attachment_180069" align="aligncenter" width="2048"] Different galleries and their booths.[/caption] ManilArt also returns as a festival and fellowship for all art lovers via the grand gala opening, as well as VIP vernissage, artist’s night and various planned social and artistic engagements for collectors, artists and art aficionados. The milestone 15th year also celebrates the fair’s uninterrupted annual staging and having come out more responsive to the times. Interconnectivity Having gone through the crucible of global challenge, ManilArt 2023 retains the gains of being thrust onto the online sphere and continues to develop its online viewing platform and portals. These digital spaces allow for simultaneous, multi-location and satellite exhibitions, offering a larger showcase that brings art to wider audiences, allowing them to engage with art from the comfort of their own spaces. ManilArt 2023 will continue to have satellite exhibitions around the country as well as expand its onsite offering through collaborations. These include projects with Museo Orlina, The Estate, Silangan Art Fair, Barasoain Church and the Manila Clock Tower. As the flagship project for the Museums and Galleries Month of the National Commission for Culture and the Arts, ManilArt 2023 continues to abide by its mandate to strengthen creative economy and promote Philippine visual artistry through supporting art galleries, museums and associated institutions. This year’s participating exhibitors are OMV Art Gallery, Galleria Nicolas, M Gallery MNL, Ysobel Art Gallery, AT Gallery, Renaissance Art Gallery, Artologist, Art for Space, Gallery du Soleil, Portrait Artists’ Society of the Philippines, Inc., Galerie Raphael, Gallery Nine, Annual Sculpture Review, Espacio Manila, Artes Orientes, Historia Arts, 371 Art Space, Village Art Gallery, Drybrush, Art Circle, Rayos Del Sol Gallery, Galerie Banez, NAMI, Galerie Artes, G9Online, Daloy Likha, Artalyer, and VCM. Manila ART’23 will be held from 11 to 15 October at the SMX Aura Convention Center, Taguig City. Call (0977) 807 3369 or visit www.manilartfair.com for details. The post ManilArt 2023: From 2020 vision to ‘a new contemporary’ 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......»»
CLASSIC ROCK OPERA BALLET ‘RAMA, HARI’ RETURNS
Rama, Hari, the acclaimed Filipino rock opera ballet, returns to the stage this September, with performances at the Metropolitan Theater on 15 to 16 September and at the Samsung Performing Arts Theater on 22 to 23 September. The production holds the prestige of being the only collaboration that features the masterful works of five National Artists: Alice Reyes for direction and choreography, Ryan Cayabyab for music, Salvador Bernal for production Design, and Bienvenido Lumbera for lyrics and libretto with English translations by Rolando Tinio. Presented by the National Commission for Culture and the Arts in partnership with the Metropolitan Theater and the Cultural Center of the Philippines, with the generous support of Birch Tree Adult Boost, the production features artists from CCP’s Professional Artist Support Program and Alice Reyes Dance Philippines. Inspired by the ancient Sanskrit epic Ramayana, the ballet tells of the adventures of Rama, prince and incarnation of the god Vishnu, who comes down to earth to save the world from Ravana, the most powerful of demons, and in time falls in love with Sita, daughter of the king of Mithila, Janaka, and eventually marries her. The evil Ravana attempts to tear the two apart, only to find himself defeated. In the late ‘70s and early ‘80s, a new musical genre was born, referred to as OPM, or Original Pilipino Music. Rama, Hari has the distinction of being the first OPM music and dance theater masterpiece. Rama, Hari was last restaged in 2012 and won 14 Philstage Gawad Buhay Awards. It was intended to be restaged once more in 2020 but was canceled due to the pandemic lockdown. The 2023 cast features Arman Ferrer in the lead role of Rama, with Vien King alternating. They will perform alongside dancers Ronelson Yadao and Ejay Arisola. Karylle Tatlonghari, Shiela Valderrama-Martinez and Nica Tupas alternate in the role of Rama’s beloved wife Sita, with dance counterparts, Monica Gana and Katrene San Miguel. Rak of Aegis Star Poppert Bernadas takes on the role of the demon King Ravana, alternating with Los Angeles-based musical theater actor Matthew San Jose (making his Manila debut) and Jonel Mojica. Dancing the role are Richardson Yadao and Tim Cabrera. Theater icon Audie Gemora takes on the role of King Dasaratha. Also joining the cast are Katrine Sunga and Maron Rozelle Mabana in the dual role of King Dasaratha’s Third Wife, Kaikeyi, and the Golden Doe, while Miah Canton and Raflesia Bravo take on the dual role of Kaikeyi’s evil adviser Kooni and Ravana’s demon sister Soorpanakha. Paw Castillo and Jon Abella do double duty as Monkey Army General Hanuman, and Rama’s brother Lakshmana. Certain performances of Rama, Hari will have live music performed by The Orchestra of the Filipino Youth. The post CLASSIC ROCK OPERA BALLET ‘RAMA, HARI’ RETURNS appeared first on Daily Tribune......»»
Annyeonghaseyo, Philippines! Manila to host Asia Artist Awards 2023
Get ready to say “Annyeonghaseyo” as the Philippines prepares to host the prestigious Asia Artist Awards on 14 December at the Philippine Arena. Organized by Money Today, StarNews and MTN, the Asia Artist Awards have honored outstanding accomplishments in the entertainment sector every year since 2016. The awards have traveled to South Korea, Vietnam and Japan, and the eighth edition is about to make its debut in the Philippines. Hallyu fans all over the nation are in for a treat as Asian stars converge for this vibrant celebration. The event will be orchestrated by the AAA organizing committee, TONZ Entertainment and PULP Live World. Happee Sy-Go of PULP Live World confirmed the exciting development on her social media platform and expressed appreciation for PULP’s selection as the Philippine partner to host this year’s awards. The event serves as a tribute to Asian artists working in music, television and film, with a focus on South Korean idols in particular. Prizes like the Grand Prize, Asia Celebrity, Idol Plus Popularity Award and Rookie of the Year will be given to the best in the business. Famous Korean idol groups, musicians and actors have graced the awards’ stage to accept accolades, host segments and give dazzling performances. Last year’s star-studded event saw NewJeans, SEVENTEEN, TREASURE, IVE, Han Sohee, Bona, Lee Jae Wook and many more. Legendary performers like BTS, SEVENTEEN, Lim Young-woong, TWICE and Kang Daniel are on the list of musicians who’ve been feted at the awards, along with international artists such as MAX and Anne-Marie, who won the Best Pop Artist Award in 2020. The Philippine Arena has a 50,000-seating capacity, so the Asian Artist Awards evening will certainly be a monumental event celebrating Asian heritage — all set to unfold right here in the Philippines. The post Annyeonghaseyo, Philippines! Manila to host Asia Artist Awards 2023 appeared first on Daily Tribune......»»
Musk says X will scrap ‘block’ feature
Elon Musk said Friday that his social media company X would scrap a feature that allows users to block posts from specific accounts. "Block is going to be deleted as a 'feature', except for DMs," Musk posted, indicating the option would still be available for "direct messages" between users of the social media platform, formerly known as Twitter. The feature is used to restrict interaction with specific accounts on the platform. Musk has repeatedly cited a desire for free speech as motivating his changes and lashed out at what he sees as the threat posed to free expression by changing cultural sensitivities. Since the tycoon bought the social media platform for $44 billion last October, its advertising business has collapsed, in part because of its looser approach to blocking hate speech, and the return of previously banned far-right accounts. According to the nonprofit organization the Center for Countering Digital Hate (CCDH), hate speech has flourished on the platform. X has disputed the findings and is suing the CCDH. In December, Musk reinstated former US president Donald Trump's Twitter account, although Trump has yet to return to the platform. The ex-president was banned from Twitter in early 2021 for his role in the January 6 attack on the US Capitol by a group of his supporters seeking to overturn the results of the 2020 election. X recently reinstated rapper and designer Kanye West around eight months after his account was suspended, according to media reports. Last fall, West, who now goes professionally by Ye, posted an image that appeared to show a swastika interlaced with a Star of David, and Musk suspended the artist from the platform. The post Musk says X will scrap ‘block’ feature appeared first on Daily Tribune......»»
‘Art you can carry’
This is what homegrown brand FINO Leatherware calls its first collaborative artist-led project featuring the works of Kara Pangilinan. [gallery columns="2" size="full" ids="172271,172272"] Kara Pangilinan at work. [gallery columns="2" size="full" ids="172270,172273"] FINO Leatherware has always grounded its brand philosophy on Filipino artistry. FINO x KARA is a one-off collection of bags that features the artist’s hand paintings, dated and signed, and accompanied by a certificate of authentication. The 30-piece series is an ode to heritage with Pangilinan expressing the themes of local flora and fauna alongside the Filipina’s evolved identity. Slender palm fronds, gumamela and sampaguita flowers emerge from the bags’ panels, the leather’s varying colors from bright red to pastel hues setting off Pangilinan’s black and white strokes. The artist’s portraits of womenin traditional garb bridge generations, with one in particular revealing the gaze of a strong, modern Filipina. Since its founding back in 1992, FINO Leatherware has always grounded its brand philosophy on Filipino artistry, from the craftsmen to the creatives who’ve conceptualized collections. Its most recent campaigns paid tribute to Filipino culture, to include a wrist purse called Sipa, which is inspired by a local game, the Vinta bags and clutches that evoke the sailing tradition of Mindanao, and the Puso bags which takes its shape from a staple of Cebu’s street food — rice wrapped in banana leaves. Pangilinan was a student of architecture at the University of the Philippines when she began to try her hand at art. After earning her degree, she worked in an architectural firm for a few months before deciding on becoming a full-time artist. Murals and commercial works for brands such as Heineken, Globe and YouTube defined the early phase of Pangilinan’s journey. Simultaneously, she was developing a more personal practice, exploring various thematic concepts and her favored medium at that time, ink on paper. In the years that followed, Pangilinan diversified into acrylic painting to exploit the full color spectrum of the medium. For her collaboration with FINO, however, the artist returns to the palette that has defined the early phase of her career. The collection is introduced by none other than Miss Philippines Universe 2020 first runner-up Bella Ysmael, who epitomizes FINO’s ideal Filipina. She graces the FINO x KARA campaign which announces the release of the collection, available by the end of September in FINO’s flagship store in Rockwell’s Power Plant Mall. [gallery columns="2" size="full" ids="172279,172280"] “Having Bella on board was important for us,” says FINO co-founder Rose Ann Bautista. “We wanted the right woman to represent not just the new collection, but our new direction as well.” The post ‘Art you can carry’ appeared first on Daily Tribune......»»
Logo redesign cheapest, says PAGCOR chair
The once-controversial redesign logo of the Philippine Amusement and Gaming Corporation that drew criticism from the public for costing P3 million in government funds is already the “cheapest,” said its chairperson Alejandro Tengco on Monday. Responding to Kabataan Rep. Raoul Manuel’s query during PAGCOR’s briefing on the 2024 national budget before the House Committee on Appropriations, Tengco justified the agency’s spending of P3 million for rebranding the logo was already a steal. In fact, he said, the graphic artist’s act of rebranding the old PAGCOR logo design for P3 million could be perceived as an act of charity. “That’s why that P3 million was very cheap,” Tengco said. During his interpolation, Manuel asked the top PAGCOR official why there was a need to spend such a vast amount, given that other international top brands such as Coca-cola, Twitter and Nike do not spend millions of dollars for such redesigning. “We, in the government, shouldn’t be saving more? And we claim we don’t have fiscal space for other budget items, but for that logo, there is,” Manuel said. The Makabayan lawmaker further noted that the Bangko Sentral ng Pilipinas, which is also a part of the bureaucracy, did not spend millions of funds to redesign its 10-year-old logo, released in 2020. Manuel also said that the country has many graphic artists that could come up with logos that would not cost much. Tengco, on the other hand, countered that the P3 million paid by PAGCOR not only accounts for the logo itself since the graphic designer also has other deliverables, such as traveling the country to examine various divisions and departments of the agency to install the new logo. Moreover, the PAGCOR chief disclosed to the panel that the modification of their logo was to counter thousands of counterfeit licenses now in circulation. Tengco bared that there have been reports from various regions in the Philippines and other international jurisdictions that there are close to a thousand fake licenses going around now. These fake licenses, he said, are being used for illicit operations worldwide, particularly in London, Turkey, Curacao, and also within the country’s borders. “So we decided to redesign the logo immediately to be able to counter such,” Tengco said, brushing off allegations that the revision of the logo was solely for the luxury of the chairman and the board. “So we have to rebrand. When you rebrand, that means you don’t just do a logo specifically. One, the graphic designer, who was awarded the design, has to ensure that the said logo’s implementation and use will be properly done,” the PAGCOR chief told the panel. Meanwhile, Cagayan de Oro Rep. Rufus Rodriguez raised concerns that PAGCOR’s new logo could have infringed on the copyrights of Petron, which many believe have comparisons to PAGCOR’s logo. “It’s not only about the expedite of P3 million, but the fact that the logo that you have has a big similarity to the Petro logo. It looks the same,” Rodriguez said. Tengco, however, confidently answered Rodriguez that he himself examined the logo and denied claims that there was intent to duplicate Petron’s. “I have asked the artist, and we have also asked the artist of Petron. So far, nothing. Actually, eight logos were presented to the board,” he said. “Unfortunately, for some, that’s what the board chose. But definitely, the graphic artist had assured us that there was no infringement and there was no attempt to copy such,” Tengco added. The post Logo redesign cheapest, says PAGCOR chair appeared first on Daily Tribune......»»
Cinemalaya acting winners mostly first-timers
The Cinemalaya Independent Film Festival, which this year had the theme “IlumiNasyon,” concluded its 10-day run on 13 August with the awarding ceremony held at the grand lobby of the Philippine International Convention Center in Pasay City. Jasmine Curtis-Smith hosted the ceremony and sweetly reminded everyone of the goal to conclude it in less than two hours. Iti Mapupukaw made history in Cinemalaya's 19 years of operations by being the first animated entry and winning Best Film in the full-length category. “Gusto kong ibigay ito sa lahat ng mga Eric na inalisan ng bibig at hindi nakapagsalita,” said the movie’s director, Carl Joseph Papa, in his acceptance speech. He was referring to the lead character named Eric (played by Carlo Aquino) who literally has no mouth and can’t speak but goes on to overcome a traumatic experience. In the short film category, Januar Yap’s Sibuyas ni Perfecto was named Best Film for its “quiet but coruscating take on social iniquity and how the poor’s exploitation by the rich is driven by their own denigration and self-abasement.” The top-grossing Iti Mapupukaw also won the NETPAC (Network for the Promotion of Asia Pacific) award for “its finely nuanced, masterfully crafted tale of healing, friendships and young love, effectively utilizing state-of-the-art technology that is integrate to its storytelling.” The NETPAC for short film went to Hinakdal for “its pithy, layered and strong social commentary lace with dollops of humor.” Dolly de Leon, who plays Eric’s mother Rosalinda, won Best Performance of a Supporting Actress. She thanked Papa “for your beautiful script, your beautiful story,” adding“Kung hindi dahil sa ’yo, talagang hindi ito mangyayari.” The internationally acclaimed actress also thanked the movie’s producers Antoinette Jadaone and Dan Villegas of Project 8 Projects film production company, as well as costars Carlo Aquino and Gio Gahol. She then exclaimed, “Grabe, first time kong makatanggap at magsalita ng award dito sa Pilipinas. Ang sarap pala ng feeling.” She later clarified to media outlets covering the event that she meant giving an acceptance award here in the Philippines. She wasn’t able to do that when she won the Famas Best Supporting Actress award in 2020 for the film Verdict. Newcomer Pat Tingjuy, who played the lead role in the coming-of-age volleyball movie Rookie, bagged the award for Best Performance of an Actress in first-ever acting project. She was understandably speechless when she accepted her award. “I don’t know what to say,” she said, but went on to thank the producers, who are also from Project 8 Projects, and then admitted, “Naiyak ako.” Tingjuy’s costar Mikoy Morales won the award for Best Performance of an Actor for his other entry, the sexually charged Tether. “This means so much to me,” said the GMA-7’s homegrown artist in his acceptance speech. Rounding up the acting awards was Bon Andrew Lentejas for Best Supporting Actor, who was singled out for his “engaging portrayal of a young man trying to under his best friend’s difficult ways” in another coming-of-age movie, Huling Palabas. Tingjuy, Morales and Lentejas are all first-time acting award winners. The stellar cast of Ang Duyan ng Magiting — including de Leon, Agot Isidro, Bituin Escalante, Joel Saracho and Paolo O’Hara — was given the special award for Best Ensemble Acting. Dustin Celestino’s full-length feature film got the Special Jury Prize for presenting, among others, a “trenchant portrait of the wages of political violence.” Its counterpart in the short film category went to Sam Villa-Real and Kim Timan’s Hm Hm Mhm for “its boldly experimental verve to depict a woman revisiting the darker aspects of her childhood.” The Best Director awards were bestowed on Ryan Espinosa Machado for Huling Palabas (full-length feature) and Mike Cabarles for Makoko sa Baybay (short film). Machado was commended for effectively harnessing “the resources of art to come up with a deeply personal film that evokes fond memories of pre-digital cinema while paying homage to one’s small-town roots, and how all of this contributes to fashioning self-respect and self-identity.” Cabarles was lauded for employing “the resources of cinema in effectively evoking the loneliness of two brothers missing their mother whom they have lost to the sea.” The awards for Best Screenplay were given to Jopy Arnaldo, who also directed Gitling (full-length feature film), and Arvin Belarmino, the cowriter, along with Kyla Romero, of Hinakdal (short film). Gitling was cited for “its very tender tale of two persons bridging the divide between races and cultures and, through constructed language and through silence and even evasion, coming to a poignant understanding of the heart.” On the other hand, Hinakdal got the jury’s nod for the “very striking narrative that remakes the horror genre while humanizing and endowing them with heart and soul.” Kevin Mayuga’s When This Is All Over won three technical awards: Best Cinematography for Martika Escobar, Best Production Design and Best Original Musical Score for Kindred. Kindred is composed of Justin Punzalan, Vince Dalida, Luis Montales, Jaime San Juan, Moses Webb, Fern Tan, Jorge Juan Wieneke V, Othello Intia. Samatha Lee’s Rookie nabbed the Best Editing award for Ilsa Malsi while Gian Arre’s Tether got the Best Sound for the filmmaker who’s also responsible for this technical aspect. Rookie also received the Audience Choice award for full-length feature film, along with Hinakdal in the short film category. The post Cinemalaya acting winners mostly first-timers appeared first on Daily Tribune......»»
Tory Lanez sentenced to 10 years for shooting Megan Thee Stallion
Canadian rapper Tory Lanez, convicted of shooting US artist Megan Thee Stallion in the feet during a drunken argument after a Hollywood party, was sentenced Tuesday to 10 years in prison. A Los Angeles judge handed down the sentence after hearing how Lanez had ordered the hip-hop star to "Dance, bitch" as he shot at her several times while she stood on the road. The sentencing follows Lanez's conviction in December for assault with a semiautomatic firearm, discharging a firearm with gross negligence, and carrying a loaded, unregistered firearm in a vehicle. Prosecutors had requested a 13-year sentence, claiming Lanez had caused physical and emotional scarring to the "WAP" performer. Lanez's attorneys had asked for him to be given probation or three years in prison, and mandatory rehab, including for alcohol addiction. In a protracted sentencing hearing that began Monday, Judge David Herriford said he had received more than 70 letters on Lanez's behalf, including from his celebrity friends. One was from musician Iggy Azalea, whom he said had requested a sentence that was "transformational, not life-destroying." Another came from Lanez's young son. But the judge ordered Lanez -- who has been in jail since his conviction -- to serve a decade behind bars. He said the prosecution had proven two aggravating factors, involving the use of weapon and a particularly vulnerable victim, but had not proven that the crime involved a high degree of cruelty, viciousness or callousness. Megan Thee Stallion -- whose real name is Megan Pete -- had been in a car with Lanez, his bodyguard and her friend Kelsey Harris after a party at Kylie Jenner's luxury home in July 2020. She and Lanez -- whose real name is Daystar Peterson -- had developed an intimate relationship in the months before the incident. Harris, who only learned of the sexual relationship that night, had a "crush" on Lanez, she told the court, and an argument then erupted in the car, with Megan Thee Stallion demanding to be let out of the vehicle. The "Savage" rapper said she saw Lanez pointing a gun at her and opening fire "after he said, 'Dance, bitch.'" Megan Thee Stallion told the court during the trial she felt she had "been turned into some kind of villain," in the wake of the shooting, with the male-dominated rap world frequently seeming to be against her. In a statement read in court Monday, she said she had not experienced "a single day of peace" since she was shot in July 2020. "He not only shot me. He made a mockery of my trauma," she said. The post Tory Lanez sentenced to 10 years for shooting Megan Thee Stallion appeared first on Daily Tribune......»»
Jing Sararaña’s way to healing through art
Angeles City-based visual artist Jaysil “Jing” Sararaña has already established a name in the art scene despite being a “late bloomer,” having started her artistic career only in 2020 during the lockdowns and restrictions imposed because of the Covid-19 pandemic. Born in Tulunan, in the province of North Cotabato, Sararaña, with her own family, now lives in Pampanga, the province that first embraced her as a visual artist. Her parents are originally from the towns of San Joaquin and Miag-ao in Iloilo but moved to Mindanao in search of better opportunities like other migrants from the Visayas and Luzon. Sararaña is an abstractionist, a self-taught artist influenced by Pampangan visual artists Arnel Garcia and Aurelio de Guzman and abstractionist Kenneth Montegrade. She describes her style as “hyper creative and spontaneous,” her subjects inspired by her emotions, the poems she writes and her stories. “I paint as I go,” she said. “I usually just create a sketch of an idea but the details come after I’m done with the background.” Sararaña further explained that her art is “exactly how I feel at the moment. I like to be in my art.” “My art is me [and] it usually shows my character, my feelings, my story or my dreams,” she explained. [gallery size="full" ids="167793,167792,167791"] [caption id="attachment_167789" align="aligncenter" width="525"] ‘Dancing On My Own’ (2022).[/caption] [caption id="attachment_167788" align="aligncenter" width="525"] ‘A Woman Who Weaves Life’ (2022).[/caption] Saved from depression For her, art is heart, which is the most important factor in creating works. Art also saved her from depression brought about by many things including the Covid-19 pandemic lockdowns. “Art saved me from the shambles of depression. If you feel alone and misunderstood, let art make them hear. Let art explain your emotion,” Sararaña said. Her art journey was accidental, and friends are calling her an accidental artist. “I never really thought of making art as a career as I wanted to study abroad to be a lawyer but it’s very difficult when you have no means and opportunities especially for a mom like me,” she said. “And I met art accidentally. The art community here in Angeles has been very welcoming. I enjoyed the new family I made through art, and I want to keep them so I continue making art.” Big break In March 2021, a big break came when she joined the art group Pilipinta, which mounted an inaugural exhibit at Robinsons Galleria’s Artablado that year. She mounted a mini exhibit at Okada Manila in October the next year after her collaboration with a fashion designer for the Manila International Fashion Week, where she painted a barong Tagalog worn by a participant from Singapore. She had her first solo exhibit in December 2022 in Pampanga. Sararaña is now a full-time mother of two while juggling being an artist after working in the business process outsourcing industry for years. “We transferred here in Pampanga five years ago for a new beginning, and we had to start from scratch,” she revealed. “I did not know anybody here, I don’t have someone to talk to and that is also the reason why I got depressed.” But it “made me discover art.” “I talk a lot but at the same time, I am also a loner and those undisclosed stories in my mind that I used to write in a blog, made a big impact in my works,” she said. The post Jing Sararaña’s way to healing through art appeared first on Daily Tribune......»»
Musk offers monetary legal aid for users in trouble at work over X posts
Elon Musk on Saturday said his social media company X would provide monetary legal aid to users who face blowback from their bosses over posts on the platform. Users, including many celebrities and others in the public eye, have occasionally found themselves in hot water with their employers over controversial things they have posted, liked, or retweeted on the platform, which was formerly known as Twitter. "If you were unfairly treated by your employer due to posting or liking something on this platform, we will fund your legal bill," he wrote on the site. "No limit. Please let us know." Musk gave no details on how users could claim their money. Since the tycoon bought the social media platform for $44 billion last October, its advertising business has collapsed, in part because of its looser approach to blocking hate speech, and the return of previously banned far-right accounts. Musk has repeatedly cited a desire for free speech as motivating his changes and lashed out at what he sees as the threat posed to free expression by changing cultural sensitivities. According to nonprofit organization the Center for Countering Digital Hate (CCDH), hate speech has flourished on the platform. X has disputed the findings and is suing the CCDH. In December, Musk reinstated former US president Donald Trump's Twitter account, although Trump has yet to return to the platform. The ex-president was banned from Twitter in early 2021 for his role in the January 6 attack on the US Capitol by a group of his supporters seeking to overturn the results of the 2020 election. X recently reinstated rapper and designer Kanye West around eight months after his account was suspended, according to media reports. Last fall, West, who now goes professionally by Ye, posted an image that appeared to show a swastika interlaced with a Star of David, and Musk suspended the artist from the platform. The post Musk offers monetary legal aid for users in trouble at work over X posts appeared first on Daily Tribune......»»