ART ARCHIVE 03

CONTENTS

The Japan Foundation, Manila

ART ARCHIVE 03

Music
EDITOR’S NOTEINSIGHT:Why Music Matters to the Communities
by José S. Buenconsejo, PhD

08

RetracingHistories
RECONTEXTUALIZING OPM
IN THE 21st CENTURY
by Krina Cayabyab

12

BEYOND MUSICAND SOUND ART
by Agnes Manalo

22

VARIETIES OF CONTEMPORARY FILIPINOSONG MASHUPS (1970s TO PRESENT)by José S. Buenconsejo, PhD

32

PINOYS AND BATTLE RAP:
Handog ng Pilipino sa Mundo
by Lara Katrina T. Mendoza, PhD

44

SITUATING MUSICIN THE CONTEXT OF RECENT TRENDS
IN ORIGINAL PHILIPPINE MUSICAL
THEATER PRODUCTIONS
by Aileen dela Cruz

58

POWERFUL MOVE:
The Influence of Budots
in Philippine Society
by Desiree Peralejo

68
Movement& Performativity
MUSIC FESTIVALS IN THE PHILIPPINES:
Tropicality, Identity, Cosmopolitanism
by Tusa Montes

78

DesignEDITOR’S NOTENARRATING SUSTAINABILITY, BY DESIGN:
Stories of Responses to Sustainable Futures
by Ar. Leonido Gines, Jr. and Ar. Gerry Torres

86

UNDERSTANDING MUTUAL SUPPORT:
Creating More Meaningful Spaces
by Sudarshan V. Khadka Jr.
and Alexander Eriksson Furunes

96

BAMBOO ARCHITECTURE
AND ITS SUSTAINABILITY
by Rosario Encarnacion Tan

102

INTUITION AND FASHION INNOVATION
by Lulu Tan-Gan

114

Redefining Contemporary
WADING IN
PLASTIC:
VisualArt

A Graphic Design Packaging Dilemma
by Dan Matutina and Dang Sering

124

ZINE FAST, DIY YOUNG,LEAVE A GOOD-LOOKIN ‘ROX:
Disruption by Design Starring the Punks,
Poets, and Poseurs of the Philippine
Zine Community
by Adam David

132

Contributor Biographies

142

Directory of Philippine
Music and Design
Institutions

146

P R E FA C E

ART ARCHIVE 03

The Japan Foundation is Japan’s only institution dedicatedto carrying out comprehensive international cultural exchange
programs throughout the world. With the objective of cultivating
friendship and ties between Japan and the world through culture,
language, and dialogue, the Japan Foundation creates global
opportunities to foster trust and mutual understanding.
The 18th overseas office founded in 1996, The JapanFoundation, Manila is active in three focused areas: Arts andCulture; Japanese Studies and Intellectual Exchange; and Japanese
Language Education.
This book is the third volume of the ART ARCHIVE series,
which explores the current trends and concerns in Philippine
contemporary art, published also in digital format for accessibility
and distribution on a global scale. This volume features sixteen
contributors, putting forth a diverse set of perspectives about
contemporary music and design in the country. Both genres havebeen drawing much attention locally and globally but there is little
publication to give outline of their current states and interpret theirbackground for the global readers.
We hope that this publication will serve as a resource for ourreaders thereby contributing constructively to the dialogue andpromotion of contemporary art in the region. We would like toexpress our gratitude to the editors, Prof. José S. Buenconsejo of
the Music Section and Ar. Gerry Torres and Ar. Leonido Gines Jr. of
the Design Section for their curation and advice. And we thank all
the contributors and the editorial team for their painstaking laboron this publication.
The year 2020 has been a challenging time for everyone. Amidst
the global pandemic and socio-civic campaigns, we believe thatinternational collaboration has much more importance in opening
avenues for idea exchange in finding innovative ways to solve theadversities we are facing. Our strength is in our unity.

The Japan Foundation, Manila
6

The Japan Foundation, Manila
September 2020
7

ART ARCHIVE 03

The music section of this volume contains seven essays, each of which isdevoted to a particular type of music that is fully practiced at present and therefore
significant to a community. These musics—pop song, sound art, mashup,
battle rap, music for theater and film, festival music, and budots dance—are allcontemporary in the true meaning of the word. They were selected because wewere keen in driving home the point that there is a plethora of musical practices in
the Philippines, and that there is a dire need to pay attention to them as singularexpressions within highly specific contexts of musical communicative use. In
short, in the spirit of celebrating music diversity, we wanted to be as inclusive
as we can so that the expressions are each understood in its own terms and notjudged with labels that are outside of it.
As students of culture, we wanted to write a wider range of music
making in the country (from highbrow to lowbrow), an act of recognizing the

INSIGHT:Why Music Mattersto the Communities

heterogeneity and plurality of the musical worlds one chooses in the current age
when everything is entangled with other things in a globalized yet resolutely local
environment. There are, of course, many other music subcultural genres—suchas jazz, varieties of rock, indigenous music, heavy metal music, TV-mediatedgenre of singing—that beg for inclusion in this music section. But the practicalityof including them all is not possible due to lack of space. The stance that we wish
to do in this section is to debunk the older intellectual paradigm in which music
genres are judged according to fixed elitist standards (canon) and legitimacy(what ought to be written based on that canon). The main assumption that drives

words byJOSÉ S. BUENCONSEJO, PhD
8this group of essays thus hinges on the concept of culture being an important
process behind any music making. We deal here with a value for music as acultural production that is materially situated within various ecologies of listening.
9

INSIGHT:ART ARCHIVE 03

WHY MUSIC MATTERS TO THE COMMUNITIESThe contemporaneity of the genres in the music

about notations that render the experience into abstract

This bonding creates a moment of forgetfulness ofsection can be gleaned at the attention that all theterms but in the body, which has the faculty of memory

the true material conditions. Peralejo argues that thiscontributors

towards

and imagination that can generate new creations.

worked in the case of the politician who danced his

considering the recent material conditions that have

of

this

section

have

made

Buenconsejo details the major musical processes

way to winning in 2016, even if there was the seething

impacted on recent music making. These conditions

in a wide variety of mashups that reveal remarkableevidence of corruption. This forgetfulness of the

speak to the availability of sound technology and visualmusicalities among the people who are grounded inpresent can also apply to an art choreography in whichmedia, travel and tourism, affordability of electronic

an acoustic ecology that is filled with recorded sounds

the human rights of the poor people are trampled,gadgets, and global interconnectivity via the internet.

emitted from videoke screens and YouTube. Mashups

leading to disappearance and mass murder.

These developments were not easily available to Filipino

could not have come about had not the music oozing

Outside of this sad note, recent decades have seenmusic makers before the 1970s and, it seems to me, thisfrom the screens triggered the artistic impulses of thethe rise of urban, non-governmental, entrepreneurial

decade can be a good starting point to clarify when theviewers who then transformed their sound experiences

festivals where global pop and fusion musics areword “contemporary” begins, if indeed we are to construe

into new ones.

celebrated. Tusa Montes discusses the outlook of thethe historical period when the major transformations of

The phenomenon of experiencing physical andorganizers and sponsors of these recent events that

Philippine music were felt. The materiality of the decadevirtual images is also manifested in the sensational

attract international travelers, who have—through their

was the enabling environment in which subsequent music

FlipTop “battle rap” that Lara Mendoza writes about.

openness to other peoples’ cultures—acquired thegenres were nurtured.

From the point of view of the MCs who get to show off

attitude of cosmopolitanism. This is another sign of the

The rise of the local music industry in the 1970s istheir skills in rhymed rapping in the series of agonic andtimes, and it is attached to the commerce of tourism

proof of this enabling musical environment that led to thesport-like spectacle from the beginning of the year to its

which, pertinent to the Philippines, has rendered thegrowth of Original Pilipino Music (OPM). In her essay, Krina

end, FlipTop gives voice and visibility to the participantsmusic and its music as “of the tropics.”

Cayabyab argues that this production has been renewed

and this is immeasurable. No wonder it is followed by

From these seven essays, Philippine music is

recently, albeit with a sense of dynamism as evident in its

millions of millennials, thanks to Anygma, who sees his

definitely seen not as a museum piece but a living one

aesthetics as well as in the shift to new, alternative, andmediations as a means for their popularity and success.

that is ecologically situated in an environment thatindependent ways of producing and distributing records
that began in the first decade of this millennium.

has been enabled by the materialities of technology
and media. The genres and forms presented in the

Indeed, the affordability of audio equipment and the

The availability and saturation of sounds and images

section are seen by the seven authors as co-evolving

availability of resources that one can tap on the internetin the media of the present-day world is bewildering.

within the various concrete social networks of makers

have been a part of these changes in material reality that

Aileen dela Cruz talks about some of the recent stage

and listeners. By paying attention to the dynamic

pushed creative and imaginative individuals to innovateand film productions that reveal constant recycling ofrelationships between listeners who listen to theand create something new. A good example of this isprior representations that are combined in new ways.

diverse sound idioms specific to their environments,

the emerging form “sound art” that is one of the signs ofThis results in an originality that is not quite “authentic.”

we get a better understanding of why music matters to

the times. Agnes Manalo describes this fusion of music

The availability of existing works is recasted to create athe communities. We therefore hope this issue paves atechnology with media arts among four practitioners inpostmodern aesthetic in which old works are conflated

way to that kind of insight.■

Manila whose works bleed the boundaries separatingwith new ones. This disrupts the sense of discreteness ofacademic new music with the contemporary world oftime as a sequence. It evoked nostalgia in a recent film

media arts and sound design. Their edgy artworks are

adaptation of a pre-1970s novel as well as pastiches in

intellectual yet within the grasp of anyone (beyond face-

the many jukebox musicals that were in vogue in recent

to-face formal music learning) who is networked toyears. The recorded sound (a technological product)

various others and who is inquisitive enough to explore

and the memory that went with its consumption were so

possibilities. The imaginative faculty remains the more

important in stirring these postmodern creations.

important sufficient condition, beyond the necessary

Media is indeed power. As a textual representation oftechnology, for someone to produce an intermedia

reality, its power is seen in two divergent uses of the kitschcreation that innovates on things meant for futurity.

dance budots, a topic that Desiree Peralejo discusses

But what about the Filipino working class who are notexposed to such avant garde ideas?

10

This brings the issue to the importance of musicalmedia in the everyday lives of contemporary Filipinos.

in her essay. She suggests the embeddedness of arts
in social reality by arguing that budots—being a danceThis question is addressed by José Buenconsejo whoappreciated by the masses—can enable trust between

talks about the ways of the musically non-literate Filipino

the dancer and the spectator because images of themusicians who mainly experience music through theirperformance invokes the shared world of pakikisamaears (aurality). As one sound artist said, music is really not(value for being together) between dancer and watcher.
11

words by

ART ARCHIVE 03

RECONTEXTUALIZING OPM
IN THE 21st CENTURYKRINA CAYABYAB

Fig. 1On March 27, 2019, during the open forum following

the winning songs of the Metropop Festival (including thethe launch of the film documentary Sa Madaling Salita,

chart-topping hit, “Anak” (Child), the Tagalog translations

OPM: Ang Himig Pilipino Sa Dekada Sitenta (In Otherof English covers, the cultural policies surrounding radio

Words, OPM: Song of the Filipino in the 1970s), a lingering

airtime, the hits of Rico J. Puno, the popularity of Jingle

comment from at least two audience members was

Chordbook Magazine, folk recordings arranged in jazz,raised: if the 1970s was truly the Golden Age of OPM, why

Vicor vs. OctoArts vs. JEM record companies, payola

can’t the music of today capture that same glory?

being raised in the Senate, not to mention the martial law

This extolling but quite dichotomizing view was thenregime and the protest songs that came along with it.

reinforced by some of the film’s informants — key players

More connotations continue to link the term withof the music scene during that decade. They spokethings further in the past, highlighting those disruptions

sentimental truths and of their meaningful memories

that buttressed significant changes in the ‘70s. Fromthat plea for further discourse. This hovered above the“Tagalog syndrome” (when songs/films in Tagalog

audience of a motley crew: artists, professors, graduate

seemed hard to sell) to “Tagalogmania” (when colloquial

and college students, friends and family of the informants,

Tagalog became the trend), from “plakang-plaka” (exact

and individuals in their youth during the ‘70s and the ‘80s.

cover versions) to new compositions and arrangements,

But a discussion did not take place, partly because there

and from four-track recording to eight- or 16-track

was a lack of time, and partly (more crucially) because nostandards. These have stacked up a myth that captures

one was prepared to elucidate an argument and to follow

an ideology of nationalism in recorded sounds. OPM

through substantially. Yet, there is nothing to disregard

has become a metaphor for differentiation, an identity,

about the people, institutions, and moments that havea community, and to some extent, ethnocentricity. It wasmade the music recording world of the 1970s. It was insubjected to the process when, for example, a song is

this period when the marketing of Filipino-made records

composed and recorded by Filipino artists, and aired

in stores as OPM — Original Pilipino Music — became aover various media, it becomes ‘normally, self-evidently,

reality.

timelessly, and obviously’ an OPM. Comments such as

And so OPM became a powerful tool; a sign of thethe one just mentioned have become an “incontestable”

rich popular music culture of the 1970s. Consequently, it

judgment. OPM grew into a dominant cultural value inbecame a signifier for many associations: the brand of

local music history.

Manila Sound, the disco of VST & Co., and The Boyfriends,
12

13

RECONTEXTUALIZING OPM
IN THE 21st CENTURY

OPM AS A MYTH

In this section, we try to make sense of the terms

bulge with multiple meanings and complex interpretations.

“mainstream” and “indie” and their relationship with digitalIndeed, OPM as a myth has helped “us to make sense of

media at present. David Hesmondhalgh (2013) and Daniel

our experiences within”1 a Filipino culture. In the past ten

Nordgård (2016) talk about the “digital divide” where,

years, newspaper and online articles sought to evaluate

despite the internet’s quirk of enabling “emancipatory,

the various new meanings. Writers tackled the question of

democratizing and liberating effects of digitalization,”what it consists of, while discussing issues related to power

there is the inequality of accessibility and the diverse

systems. Dualisms of local vs. foreign, or mainstream vs.

levels of skills that users can’t or can only acquire. It isindependent, or recording vs. live scenes are also taken

also significant to consider questions of class structure,side by side. And, of course, the maturity-decline approach

income and education when analyzing the media reception

persists, dealing with economic or aesthetic values andof a group. In September 2018, it has been reported thatcomparisons from one point in time to another. Titles along

47% of Filipinos use the internet, the rest of the 53% dothese veins include “OPM is dead, so sue me” (Claudio,

not.2 Despite being declared as the leading country2012), “OUR Pinoy Music” (Poblete, 2012), “Who Killed OPM?”

worldwide for internet usage in 2018 by We Are Social and(Replente, 2017), “Now and Then: Is OPM Going Extinct?”Hootsuite,3 more than half of Filipinos access traditional(Santos, 2012), “Original Pilipino Music in Crisis” (Ballaran,

media such as the television and the radio. Nielsen’s TV

2012), “OPM Fighting for Survival” (Bercasio, 2016), “Original

Audience Measurement results show that from 2013 to

Pilipino Music (OPM) is Still Vital Today” (Lirios, 2017), “The2015, while Filipinos still steadily absorb information andFall and Rise of Philippine Music” (bworldonline, 2018),

enjoy entertainment through television, “digital viewership“Louder for the people in the back: indie vs. Popular Filipino

has grown six-fold” during these years. This engagement

Music” (Canto, 2019), and most recently, “OPM: Risingof viewing multiple screens simultaneously increases

Thru Streaming” (Business Mirror, 2019). There is also thethe probabilities for audience receptivity and information

implicit and explicit resistance of the sign — “No to the Term

retention.

and, “Long Live Local Music!” (Katigbak, 2012).

14

DIGITAL MEDIA AND THE OPM INDIExMAINSTREAM

Now four decades down, the acronym continues to

OPM! Yes to Filipino Music” (Manitoba Filipino Journal, 2015)

ART ARCHIVE 03“Mainstream” is described by Alison Huber (2013)as a “conceptual tool that illuminates the ways in which

It seems that the myth of OPM
remains in the effective struggle
to be positioned in the everyday.
Its naturalized power has brought
about movements and support
for its sustainability and relevance/
irrelevance in society. In the 21st
century, what are the new layersof signs that recontextualize,
if not enervate, OPM?

It seems that the myth of OPM remains in the effective

certain kinds of music come to temporarily dominate

struggle to be positioned in the everyday at the moment.

everyday life at certain times and in certain places.” By

Its naturalized power has brought about movements andthis definition, the distinction between mainstream andsupport for its sustainability and relevance/irrelevance inindie can become null. Any form of musical product blownsociety. In the 21st century, are the new layers of signs thatup on the cloud that disrupts and floods search feeds

recontextualize, if not enervate, OPM? Various kinds ofmomentarily will garner a range of participative levels fromthe mainstream representation and source of what has

legal conditions were still in transition. It was 2004 whenintermediations have become added meanings in today’s

different groups of people. When the numbers reach million

become associated with the “indie voice.” Five years

the band started playing in bar gigs, coming up with their

OPM world. Just to name a hotchpotch of where the termhits and followers, it becomes an imagined mainstreamity.

after her introduction to the media, Moira was hailed as thefirst album in 2006 produced by an indie label. Throughout

is celebrated: local music festivals, television singing

The oft mentioned descriptions of the term “indie”

number one streamed local artist on Spotify in 2018 and thethe singles, albums and music videos released, live

competitions and variety shows, radio music shows, live

may be classified according to three categories whose

following year, she sat as one of the judges on the singing

concerts performed in the PH and outside the country,

concerts, bar gigs, movie and teleserye themes, jukebox

conventional meanings periodically transform: (1) practice;competition franchise Idol Philippines. Just four years ago,

with citations made by Time Magazine and BBC in 2007,

musical theatre, songwriting competitions, songwriting(2) sound; and (3) position in the industry. Practice is

she was a finalist at The Voice Philippines. Her presence

having their album put on sale by Tower Records in Japan

camps, YouTube music-related videos, music licensing andgrounded in the do-it-yourself (DIY) ideology. Within other forms has made her more resounding, just as how

in 2018, Up Dharma Down has claimed the reputation of

publishing regulations, songs and artists that target socio-

new music economies, terms and relationships such as

her song “Malaya” (Free) became identified with the film

being the leading “indie band” of the country. All these werepolitical issues, music and the advertising world, punk,

aggregator, metadata, and streaming are added in theCamp Sawi (Camp Unfortunate). Alongside these constantattained through the fabrication of mainstream industry

alternative, rock, jazz, hip-hop, and comedy songs, popularvocabulary of the indie practice with digital media.

mainstream appearances in traditional media, Moira is, oftraditions and indie practices. While taking hold of theircourse, not left behind in digital media.

creative work, efforts toward commercial popularity

music scenes beyond Metro Manila, especially in Visayas

Saying “That sounds so indie,” implies that aand Mindanao, academic institutions with music production

style has locked down an abstract sonic idea of the

If Moira’s voice has become the sound bite forled them to having their songs in the soundtracks ofcourses, recording studios, individual listening experiences,term in a particular place and time of a culture. Nitsuh

the mainstream indie voice in recent years, more thanmainstream films, performing for ad campaigns and evenand individual choices of creating music.

Abebe (2009) describes a trending global female vocal

ten years ago, it was “Armi.” Without overlooking otherbeing brand ambassadors, opening for popular foreign

The next sections will discuss meanings brought aboutsound of the decade as “quiet, wry, quaint, imaginative,

factors for their music’s recurrence, Up Dharma Down’s

acts in large stages in the country, topping local radio andby digital media, indie and mainstream; the heritage ofthoughtful, nice… po-faced, insular, lacking in passion…

aesthetics transgressed the practice definitions of “indie”

music television stations, and eventually, accepting awards

covers and jukebox musical theatre; and reflections onpolite, predictable, timid…” From 2013 onwards, sinceand “mainstream.” They began as a band during theof recognition for Best New Artist (2006), Album of the Year

songwriting competitions, camps, and the apparent creative

the popularity of the McDonald’s commercial andsteep decline of local physical album sales, during the(2009) and Vocalist of the Year (2009).

movements of Filipinos from Luzon, Visayas and Mindanao.

hook “Hooray for Today,” Moira Dela Torre has become

notoriousness of peer-to-peer network sharing, and when
15

ART ARCHIVE 03

RECYCLING PAST OPM IN THE PRESENT

Fig. 2‘INDIE FOLK POP’

16

Considering the competition’s characteristic of being

There are implications of making cover songs of OPM.

commercially produced, the audience reach of the band has

For example, a song’s impact in the past can instantly be

spilled out from digital media. After 2016, the band has been

an effective tool to shape and affect a product’s popularity.

producing stand-alone concerts, with a following that has“’Di Na Muli” (Never Again), composed by Jazz Nicholas

reached more than 2 million monthly listeners on Spotify. The

and Wally Acolola in 2016, intersected and intruded various

group was eventually named as one of only two local artists

media. It received its first prominence as the grand prizein the top ten Spotify charts in the past year. Testifying towinner of the PhilPop Songwriting Competition in 2016. Its

their superior audience reach are their mall concerts, whererecall was soon revived in 2018 with the production of a

the audience of about a thousand would boisterously singmusic video where the band Itchyworms performed aroundalong with their songs, and the vivacity in the entire mallthe main theatre of the Cultural Center of the Philippines

would be very overwhelming. With the number of covers

against a lighting design in remembrance of Teddyof their songs uploaded on YouTube, and being on top of

Hilado. It was further exhilarated by the modern dance

the listenership of local Spotify, Ben&Ben has achieved

choreography and performance of Carissa Adea. In theample audience approval. In the context of the term indie

same year, the film Sid and Aya: Not A Love Story starring

as more of a genre rather than a practice, Ben&Ben isAnne Curtis and Dingdong Dantes utilized the song as its

aided by talent management Sindikato, while their music

OST. This version sung by Janine Teñoso had amassed

is distributed by record label Sony Music Philippines.

millions of views and streamings across all media platforms.

Fig. 3This ties up to another definition of indie as perceived

Despite being managed, Ben&Ben’s musical and creative

On top of this interpretation, many other covers swamped

through these three acts who have chosen to brand theirchoices in writing and producing their songs result fromthe YouTube-verse. These occurrences have validated thethe target audiences were the age groups that spent theirsound as “indie folk pop.” Indie here has become an

the collective agency of the band’s members. This is anvalue of each product and creator (the song, the movie, theyouth relating to the songs and the spirit of the 1970s (APO)

industry-based genre (Negus, 1998), whose conventions

example of a current “alternative mainstream” practice orartist, the music video, the artists that have collaborated inand the 1990s (Eraserheads). This strategy of relating an

include “simplicity, austerity, technophobia, and nostalgia”

platform in the industry where bottom-up production andall the art forms, etc.) in the music scene.

age group’s identity with a decade’s radio and record hits

(Fonarow, 2006). Furthermore, instrumentations usually

top-down distribution converge (van Poecke).

Another common instance of making cover versions is

also aligned with the purchasing power of each musical’s

include acoustic guitars, multiple voices and harmonies,

Going beyond this audience approval is the audience’s

producing a compilation of an artist’s (or more commonly

viewers.

egalitarian stage setups, the downplaying of musicalexertion in providing their support for the artist. Audienceof a band’s) hit songs which are arranged and interpreted

But more than this economic factor, the producers ofvirtuosity and soloing, and the use of metaphor andaction has since been extraordinarily experienced by Reese

by current artists. In 2005, the compilation of the revisitedthe two shows knew the sense memories that the songs ofpolysemy in language (van Poecke, 2017). Overall, it

Lansangan, an all-around artist who has transitioned fromsongs of the 1990s popular alternative band Eraserheads

each band can effectively provide. And as a convention ofoperates in the “participatory culture” framework of music-

being a fashion designer and graphic artist to a singer-

was produced by then Sony BMG Music Philippines Inc.

popular culture, this venture of producing song revivals inmaking, aesthetics and production.

songwriter. She used to assert the practice of independencewith the title Ultraelectromagneticjam: The Music of thea different artistic format incited curiosity and excitement,

Ransom Collective is a six-piece band from theby getting everything done herself. But later on, aside from

Eraserheads. The following year, Universal Philippines

especially for the markets of both OPM and theatre. True

University of the Philippines that came together in 2014.

managing her own independent company and obtaining hercommissioned artists for a similar revival collection ofenough, both productions had reruns and revamps in 2019,

They independently released their EP and album on Spotify.

own indie managers, she welcomed a team of creative fans

1970s hit trio, APO Hiking Society. The album’s title is Kami

with a reimagined interpretation of the artist catalogues’

After joining and winning the band competition at the first

who worked on her productions for free. Eventually, theynAPO Muna and was followed up the next year by a second

texts, melodies and signified sonic experiences. Both

Wanderland Music Festival in the country (which is similar

called themselves “Reese Kids,” including key people suchcompilation entitled Kami nAPO Muna Ulit. This production

carried out the intention of mounting narratives with past

to the Coachella Festival of the US), the band became theas the sound engineer, road manager, and merchandise

direction of commemorating artists of the past reinstatessocio-political themes made relevant to the present (in thevogue of indie. The band consciously manages and creates

manager.

their popular position, renovating constructions aboutcase of the APO Musicale, relating to martial law). One hadtactics to get a constant media presence to especially

All these artists have been very active over social

the country’s popular music culture. Overall, the inheritedgenerally more reconstructed arrangements of the songs,

publicize their lifestyle, gigs, and activities that instantly

networks and digital media. Towards the end of the second

industry and sonic power of the two groups were made evenand the other adhered closer to the original formats.

shape their iconic appeal. They have also performed

decade of this 21st century, when a Filipino musician withmore resilient.

in music festivals in Singapore and in India, where they

popular genre conventions comes with an objective of

Speaking of Eraserheads and APO Hiking Society, in

Philippine Educational Theater Association’s Rak of Aegis.

represented the country at the ASEAN-India Music Festival.

being heard and known, online presence is extremely

2018, their music faced a parallel popularization — this time

The material had its world premiere in 2014 and continued

They have become even more known in media throughnecessary. This online presence has also become

through the musical theatre idiom. The jukebox musicalto have restagings until 2019, having produced more thantheir partnerships with the popular bag and gear shop,

advantageous for the current music influencers. Because

was not new in the local industry, even more so in the

400 shows since then. Besides the songs that were used

BratPack. Despite all these, the members of the band haveof them, the sonic past has become more omnipresent. A

American industry where Elvis Presley hits became theand how they were utilized, a jukebox musical’s successtheir own day jobs.

Another significant musical of this jukebox genre wassong from the past can function differently at present. It

genre’s first material in the 1950s through Rock Around thecrosses all the elements of theatre productions including

On the other hand, the members of another indie

can brew up new meanings and memories for individuals

Clock (1956). The target audience was the youth, and theartistic direction, production and stage management, thefolk band Ben&Ben consider themselves as full timeand groups of people. And eventually, it can be subjectedpurpose then was to support the consumerism of rock ’nplayers onstage, and, of course, the script. More in-depth

band members who focus on the production, creation andto a renewed position in the music scene. The songroll, the popular genre of the time. In the context of the twointerdisciplinary and musicological analyses are yet to be

performance of their music. Ben&Ben joined the Philpop

achieves a more popular and amplified resonance among

jukebox musicals Ang Huling El Bimbo (Eraserheads songs)

made to further understand the art world of jukebox musicals

Songwriting Competition in 2016, winning third place.

listeners.

and Eto Na! Musical nAPO! (APO Hiking Society songs),

in the Philippine context. Significantly, OPM’s penchant17

RECONTEXTUALIZING OPM
IN THE 21st CENTURY

Towards the end

ADVOCATING OPM ACROSS MUSIC SCENESAND GENRES
When it comes to songwriting training and exposure,created by Mindanaoans through its annual songwriting

the finals, the songs are sent off to penetrate radio shows,the encouragement to churn out and exercise musicalcompetition that began in 2019. VisMinPop and BisRocksocial media networks like Facebook, Instagram andcreativity with a Filipino sensibility has continued to be

include songs such as “Ha-Ha-Ha Hasula” (Ha-Ha-Ha

Twitter, Spotify playlists, and YouTube via music or lyricof the second

addressed in the 2010s. Among other avenues, social

Hassle) by Kurt Fick, “Sa Akong Heart” (In My Heart) by Von

videos. From these formats, the songs’ over-all appeal

and training environments such as the Elements, PhilPop,

Saw, “Lame” (Sarap) by Midnasty, “Cebuana” by Karencitta,

and audience reach are surveyed up until Finals’ Night.

and FILSCAP Songwriting Camps have become centers“Bisan Pa” (Kahit Na) by WetSlipperz, and “Duyog”

Both the star quality and singing skill of the interpreters

decade of thisof exploration, inspiration and collaboration among(Accompanied) by Jewel Villaflores.

of the songs are inevitably crucial to a song’s success21st century, whena Pinoy musician
comes with anindividuals who craft their meanings of passion and music

Songwriting competitions of a nationwide scope haveto place in the competition, and significantly, successinventiveness through interactions with fellow artists andswung a cradle of artistic intentions aimed at signifying

to take part in the everyday lives of the Filipino listening

followers. Mentors who have been active in the scene

newness, nationalism, and inclusiveness. A song clearlymarket.

and mentees who are navigating their music take part inbecomes an object of the industry, subject to evaluation

The most recent winners of the first two competitions,a creative exchange. Facilitators of these settings include

according to marketability. Back in the 1970s, the urge towhich have achieved a sustained recurrence in the OPM

Ryan Cayabyab, Jay Durias, Jungee Marcelo, Jonathan

strengthen and propagate the Filipino identity and artistic

pop market, include PhilPop’s “Dati” (Before) composed

Manalo, Ebe Dancel, Jim Paredes and Gabby Alipe, justuniqueness through popular music served as an underlying

by Thyro Alfaro and Yumi Lacsamana, and interpreted

to name a few of the camps’ very long list of songwriting

objective of the Metropop Songwriting Competition. As

by Sam Concepcion and Tippy Dos Santos; and “Di Na

confidantes. With the vision of bringing in the next nurturers

an effect of songwriters aiming for their songs to have aMuli” (Never Again) composed by Jazz Nicholas andof Pinoy-made songs in the country’s ever-developing

novel quality recalled by listeners, and of the competition

Wally Alcolola and interpreted by Itchyworms. From Himig

music ecosystem, camps such as these are conducted

to upheave the most effective songs for impacting national

Handog, there is “Kung Ako Na Lang Sana” (If It Were Me

beyond Metro Manila.

consciousness, the arrangements of the competition’s

Instead) composed by Soc Villanueva and interpreted by

objective of being

The connotation of OPM had been referred tosong entries reflected this nature of engaging musical

Bituin Escalante; “Titibo-tibo” (Acting Lesbian) composed

recorded music made in Metro Manila, and broadcasted

prowess. The songs of the first few years of Metropop took

by Libertine Amistoso and interpreted by Moira Dela

all over the country. A radio listener from Ilocos, Cebu

up forms, melodic contours, harmonic progressions andTorre; and “Mabagal” (Slow) composed by Dan Martel

or Davao would be aware of the top artists and songs

expansive ranges that favored a dynamic development ofSimon Tañedo, interpreted by Daniel Padilla and Moiraheard and known,that become hits in Manila. But it was not until this 21st

expressing drama, climax, radiance and bravura. The four

Dela Torre.

century when pop hits from Visayas and Mindanao became

songs recognized as the winning compositions of 1978

The choice of melodies, lyrics, harmonic progressions,more noticeably aired on Manila’s radio stations, notdemonstrated this pompous symphonic, “to win it” rousing

rhythmic structure, genres, styles, and instrumentation

to mention online. This cross-border transmission andquality of instrumentation. These are “Kay Ganda Ng Ating

used in the arrangement contribute to the song’s overall

media flow do not come unaccompanied by the urgency

Musika” (How Beautiful Our Music Is) composed by Ryan

aesthetics. Take the case of Himig Handog 2019’s grandof Southern Philippines’ local music communities to have

Cayabyab and interpreted by Hajji Alejandro; “Pagdating

winner, “Mabagal”, which combined novelty and ear

their pop music expressions heard in a larger scale. As one

Mo” (When You Arrive) composed by Nonoy Gallardo andworm (song retention in memory), among other factors.

is extremely

songwriting participant of PhilPop wrote in 2018, “It meansinterpreted by Celeste Legaspi; “Narito Ako Umiibig”

Juxtaposed with the recurring chorus melody and text,

so much for me to be able to tell my own story in my own(Here I Am, Loving) composed by Nonong Pedero andthe composer used a ten-piece band that consisted of alanguage because there are some things that I cannot

interpreted by Maricris Bermont; and “Ibig Kong Ibigin Ka”

six-horn section, a double bass, electric keys and drums.

compulsory.

say in Filipino or English but can really express in my own(I Would Love to Love You) music by Vic Villafuerte, lyrics byPopular in the field of writing jazz arrangements andlanguage.”

Rolando Tinio, and interpreted by Anthony Castelo. Against

directing the AMP Big Band, the leading jazz collective

Nevertheless, BisRock or Bisaya rock has been aroundthis template was “Anak” (Child) by Freddie Aguilar, whofor professional musicians, Mel Villena utilized the swing

since the 1980s, widely considered as a subgenre of Pinoy

immediately achieved international distinction post factum.

rhythm, the improvisatory nuances on the saxophonerock in the Cebuano music scene. It is the lack of national

The Metropop ceased to continue by the year 1985, but wasand the keyboard, and the extended chord progressions

for icon-making, stardom and artist legacy are well-situatedrepresentation that became the primary motivator for a

restored by GMA Network from 1996 until 2003.

idiomatic of jazz harmony. The proficiency of the arranger

in the world of musical theatre. This has affected an OPM

movement like this. Before becoming an accepted label

In the 21st century, competitions supplanted thisin this convention and his experienced intuition of using thesong’s and artist’s perpetuity and heritage value. Other

for a campaign and an advocacy, VisPop was a competition

opportunity for the music recording industry to get its

jazz style in the genre of pop may be one of the effective

significant events that allowed this return to the pastin 2012 as conceptualized by Jude Gitamondoc in 2009.

ecological wheel moving. Besides the song arrangements’elements of the song’s audience receptivity. Yet again, theinvolved TV networks’ music programs. Leading this format

Visayan Pop Music Festival was not only a competition,

influence to make a song’s simplest format activate

cumulative contribution of every marketing element, theis ABS-CBN’s Tawag Ng Tanghalan singing competition,

but also a workshop to flesh out new songs of mainstream

listenership, the PhilPop Music Festival (2012-2018, with asong’s easy relatability and novelty, and the audience’s

which was first aired in 2016 (the original show had its first

appeal, current writing and music production practices.

gap in 2017), the Himig Handog Songwriting Competition

diverse and diffusive reactions help establish the pop value

run in 1953 until 1972) and continues to top noontime TV

Years and disputes later, the term VisPop became a genre(2000-2003, 2013-2019), the Visayan Pop Music Festivalof the song.

ratings as of this writing. Other singing competitions thatreference that denotes mainstream Visayan pop music.

(2013-2017, 2019), and the Mindanao Popular MusicIn the pre-digital era, one would have to really explore

have recently relaunched past OPM hits include The Voice

Similar to this mission is that of MinPop, described by its

Festival (2019-2020) exhausted all possible mediations

music beyond what radio stations and accessible record

Philippines, Idol Philippines, The Clash and Pilipinas Got Talent.

creators as a collective term that refers to the pop music

to exponentially expand their songs’ reception. Before

bars were publicizing. This is probably why OPM was usually

online presence18

ART ARCHIVE 03

19

RECONTEXTUALIZING OPM
IN THE 21st CENTURY

ART ARCHIVE 03

And then as allof these can possibly
be transmitted
and intermediatedFig. 4

associated with the latest production of records, whateverGeronimo’s “Kilometro” (Kilometer), while Geronimo

the genre was. Musical spaces such as bars, hidden

rendered This Band’s “Kahit Ayaw Mo Na” (Even If You

venues, informal stages for bands and singer-songwriters

Do Not Like Anymore). Just Hush and December Avenue

to splurge their penned stuff portray how original Pilipino

made a version of Up Dharma Down’s “Tadhana” (Destiny),

music can happen elsewhere, too. Now with practices such

while the latter band covered Just Hush’s “Maikee’s

as originals-only nights, busking in the streets, performance

Letters.” These artists imprinted the musical style theycollaborations, rapping and sing-speaking with backing

are known for in the songs they covered. The music

tracks, vocal performance with turntable scrubbing,program has become a venue for a dynamic reproduction

production gig nights with a variety of genres, and live music-

and sonic imaginings of newer OPM.

cultures can also be OPM. And then all of these can possibly

An event such as this that consciously uses OPM is

be transmitted and intermediated through online media. The

evidence that it still is any form and style of musical work by

visual and sonic signifiers of OPM are ever-present.

a Filipino in any popular music culture. It still is sustained by

Over digital media, OPM artists can be influencers. Takeparticipations and collaborations of different media, bodies,

the case of Bullet Dumas. Aside from being distinguishedand art forms. It still is an interplay of power dynamics

for his attractively unrefined natural voice, choices ofand socio-cultural urgencies. It still is an assortment ofguitar playing styles and brazen out musical themes andbelief systems, ideas and aesthetics. It still continues totexts, Dumas places his personification and translates

be in transition, seeping through people’s sonic quotidian

his performativity over social networks. He sets his online

experiences, online, offline, and in retrospect. It still is a sign

third wall on Twitter with idiomatic statements of subtleof multiple-layered associations in the world of Philippine

relevance and clever thoughts, keeping his followers

music. OPM will continue to be a construct for people whose

engaged. He demonstrates his agape aesthetic andnationhood and identity matter.

mindfulness as he stirs up his feeds fashionably, making his
intimate performance space into a rather digital coliseum,and consummately interpreting the world for his Filipino
audience.

Fig. 1

Ben&Ben during soundcheck at the Fort BGC, August
2018.

Fig. 2 Bullet Dumas at Conspiracy Cafe, February 2020
Fig. 3 Sa Madaling Salita, OPM Documentary poster, March 2019

WHAT REALLY IS OPM IN THE 21ST CENTURY?

Fig. 4 VisPop Finals Night, 2017

In 2017, Coca Cola Philippines launched a music
project that aspired to recognize the heritage of OPM. The

1 Chandler, Daniel. In “Denotation, Connotation and Myth” http://visual-

Coke Studio PH program selected and matched current

memory.co.uk/daniel/Documents/S4B/sem06.html?LMCL=oydrD0
Accessed on October 21, 2019.
2 Pulse Asia. “September 2018 Nationwide Survey on Social Media Use”.
http://www.pulseasia.ph/september-2018-nationwide-survey-on-socialmedia-use/. Accessed on October 21, 2019.
3 “Filipinos Spend Most Time Online, On Social Media Worldwide”. https://www.rappler.com/technology/news/222407-philippines-online-use-2019hootsuite-we-are-social-report. Accessed on October 21, 2019.

and past hit artists of various music genres to make acover. The performances were aired over television andon the company’s YouTube channel. The songs were also
recorded and compiled as a playlist on Spotify. For example,
during its third season in 2019, This Band covered Sarah
20

through online
media, the visualand sonic signifiersof OPMare ever-present.
References
Balance, Christine. Tropical Renditions: Making Musical Scenes in Filipino
America. Duke University Press. 2016.
Buhler, James, D. Neumeyer, R. Deemer. Hearing the Movies: Music and.
Sound in Film History. New York: Oxford University Press. 2010.
Huber, Alison. “Mainstream As Metaphor: Imagining Dominant Culture”. In
Redefining Mainstream Popular Music, Baker, S.A. Bennett, J. Taylor, ed. New
York: Routledge. 2013.
Hutchinson, Jonathon. “Algorithmic Culture and Cultural Intermediation”.
Chapter in ResearchGate. September 2017.
Baker, Sarah, Strong, C., Istvandity, L. Cantillon, Z. The Routledge
Companion to Popular Music History and Heritage. London and New York:
Routledge. 2018.
Nordgård, Daniel. “Determining Factors on Digital Change in the Music
Industries: A Qualitative Analysis of the Kristiansand Roundtable
Conferences”. Dissertation for PhD in Popular Music Performance.
University of Agder. 2016.
van Poecke, Niels. “Pure taste in popular music: The social constructionof indie-folk as a performance of poly-purism”. PhD Research Project.
Erasmus University Rotterdam. 2017.
Wall, Tim. Studying Popular Music Culture. Los Angeles, London, New Delhi,
Singapore, Washington DC: Sage Publications, 2013. Print. pp. xi-xiv
Wikström, Patrik. The Music Industry: Music in the Cloud, 2nd edition.
Cambridge: Polity Press. 2013.
Articles and Websites
What is MinPop? (2020, February 6). Retrieved from https://minpop.com.ph/about-minpop/

Visayan Pop Songwriting Campaign (2020, February 6). Retrieved fromhttps://en.wikipedia.org/wiki/Visayan_Pop_Songwriting_Campaign
BisRock (2020, February 6). Retrieved from https://en.wikipedia.org/wiki/
BisRock
Arceo-Dumlao, Tina. (2014, March 19). Filipino musicians, artists demand
support from gov’t people. Retrieved from https://business.inquirer.
net/166464/filipino-musicians-artists-demand-support-from-govt-people
Avanzado, Dani. (2019, February 9). A Matter of Love: OPM Gainsa New Sound. Retrieved from https://www.philstar.com/lifestyle/supreme/2019/02/09/1892013/matter-love-classic-opm-gains-new-soundBallaran, Joanna. (2012, September 9). Original Pilipino Music in Crisis.
Retrieved from https://www.pressreader.com/philippines/manilatimes/20120909/281479273601412
Bercasio, Joey Mae. (2016, October 8). OPM Fighting for Survival. Retrieved
from https://smartboxph.wixsite.com/arts-culture/opm-fighting-for-survival
Canto, Jesca. (2019, March 25). Louder for the People in the back: indie
vs. Popular Filipino Music. Retrieved from https://www.sunstar.com.ph/article/1798516
Claudio, Leloy. (2012, August 28) OPM is dead, so sue me. Retrieved fromhttps://www.gmanetwork.com/news/opinion/content/271491/opm-is-deadso-sue-me/story/
Coke Studio PH Showcases Original Pilipino Music. (2020, January 24).
Retrieved from https://outoftownblog.com/coke-studio-ph-showcasesbest-of-original-pilipino-music/
Eugenio, Anne Marielle. (2019, June 10). How Philpop Bootcamp Nurtures
the OPM Scene One Song at a Time. Retrieved from https://insidemanila.
ph/article/635/how-philpop-bootcamp-nurtures-the-opm-scene-onesong-at-a-time
Garcia, Annabella. (2020, February 6). Meet the Philpop 2018 Semi-Finalists
from Visayas and Mindanao. Retrieved from https://www.rappler.com/
entertainment/music/209012-list-philpop-2018-top-30-songwriters
Gitamondoc, Jude. (2019, March 3). My Vispop Journey. Retrieved
from https://www.facebook.com/notes/jude-gitamondoc/my-vispopjourney/10156223108391375/
Katigbak, Luis. (2012, August 30). Long Live Local Music! Retrieved fromhttps://www.spot.ph/entertainment/51836/long-live-local-music
Lirios, Jose K. (2017, September 26). Original Pilipino Music (OPM) is stillvital Today. Retrieved from http://www.philippineasiannewstoday.com/
frontpageslider/original-pilipino-music-opm-still-vital-today/
Medel, Meryl. (2019, September 13). How Coke Studio is Helping ShapeToday’s OPM Industry. Retrieved from https://8list.ph/how-coke-studio-ishelping-shape-todays-opm-industry/
Mxxxbebop. (2016, July 13). The Status of Original Pilipino Music (OPM)
and the Youth Subculture. Retrieved from https://mxxxbebop.wordpress.
com/2016/07/13/the-status-of-original-pilipino-music-opm-in-the-21styouth-subculture/
No to the term OPM! Yes to Filipino Music (2019). Manitoba Filipino Journal,
Vol. 29 No. 3. Retrieved from https://filipinojournal.com/no-term-opm-yesfilipino-music/
OPM: Rising Thru Streaming (2019, February 17). Retrieved from https://businessmirror.com.ph/2019/02/17/opm-rising-thru-streaming/
OPM Music from the Philippines has passed 10bn Spotify streams (2019,
October 4). Retrieved from https://musically.com/2019/10/04/opm-musicfrom-the-philippines-has-passed-10bn-spotify-streams/
Poblete, Arielle, K. Ly. (2012, October 1). OUR Pinoy Music. Retrieved fromhttps://thelasallian.com/2012/10/01/our-pinoy-music/
Policarpio, Allan. (2013, February 20). New Movement launched to promote
OPM. Retrieved from https://entertainment.inquirer.net/81881/newmovement-launched-to-promote-opm
Replente, Terence (2017, July 30). Who Killed OPM?. Retrieved from https://
newsbits.mb.com.ph/2017/07/30/who-killed-opm/
Santiago, Katrina S. (2012, October 25) Sa Ikauunlad ng Bayan! OPM ang
Kailangan! Retrieved from https://www.gmanetwork.com/news/lifestyle/content/279631/sa-ikauunlad-ng-bayan-opm-ang-kailangan/story/
Santos, Tomas (2012, May 13). Now and then: Is OPM going extinct?.
Retrieved from https://varsitarian.net/circle/20120513/now_and_then_is_
opm_going_extinct
The Fall and Rise of Philippine Music (2018, December 14). Retrieved fromhttps://www.bworldonline.com/the-fall-and-rise-of-philippine-music/

21

words by

ART ARCHIVE 03

BEYOND MUSIC AND SOUND ART

AGNES MANALO

22

Fig. 1

Music and sound are two distinct aural forms
that have now emerged as one in various musicof sound as an art form by itself. This new art form is
now recognized as sound art.

genre and media. Music, as we know, is intrinsic in all
cultures, each culture having its own set of musical

SOUND ART

instruments, social functions and usages in their

In the Philippines, Filipino sound artists, bothcommunities. Through the evolution of its musicalexperimental enthusiasts and serious creators, havesystems over the last thousand years, the universallyembraced the world of sound art. They have exerted

accepted norms and practices of western musiceffort in its propagation in communities and collectives.

idiom (music of common practice) are currently in use

Not to be left behind in the world’s trends in technologicaland have become the basis and standard for popularand artistic innovations, the movement started out inmusic creation. On the other hand, the awarenessspurts, deriving ideas and inspirations from serious

of sound and its technologies commenced a few

composer proponents such as Dr. Jose M. Maceda

decades after the discovery of electricity, at the(1917-2004), a renowned Filipino pianist, a pioneering

onset of the invention of the wax cylinder. Later on, it

composer and ethnomusicologist. His works showcased

progressed towards the invention of the phonograph,

experimental compositions on space, technology andthe initial platform for music recording and playback.

its effects on people. In 2017, MACEDA 100 was an

In the early 1900s, sound technologies advanced andevent that showcased his legacy in music and its related

were used in the early film sound production. The

fields in commemoration of his 100th birth anniversary.

sound technicians’ work primarily ensured that soundAttitude of the Mind was the exhibit component of thetechnical requirements, as dictated by its medium,

MACEDA 100. This was curated by Dayang Yraola1 andare met, whether it be for music recording or for the

included sound artists such as Tad Ermitaño and Malek

creation of sound for film. As the sound technologies

Lopez. Along with Tengal Drilon, founder of WSK,2 anprogressed into developing tools that aided thearts and technology festival, they are the key people increation, production and dissemination of music, thethe proliferation of sound art in the Philippines. Taken

idea of using the concepts of the sound technologies,

from recent personal interviews, their insights on theirinspired from 20th century serious music composers,

beginnings, journeys, individual practices and musings

led to the exploration, experimentation and creation

on sound art are revealed.
23

BEYOND MUSIC AND SOUND ART

Dayang theorizes that the sound

SYNTHESIS OF MUSIC AND SOUND
Malek Lopez is an electronic musician,10 a synthesis,
and an award-winning Filipino film scorer. His most recent

art movement in Manila, or soundwork, the indie film Fisting: Never Tear Us Apart, with partners
Erwin Romulo and Juan Miguel Sobrepeña, garnered a
FAMAS11 2019 Outstanding Achievement in Musical Score

practice, for that matter, came

award. He likewise won a Gawad Urian 2019 Best Music
award,12 also with Erwin Romulo, for the Filipino mainstream
movie, Buy Bust.
Malek’s13 academic music background began with hisfrom three logical threads. One isfrom music, another thread is fromstudies in classical guitar at the University of Santo Tomas,
and film composition at the Berklee College of Music in
Boston, Massachusetts. In film scoring, he got fascinated

THREE LOGICAL THREADS OF SOUND PRACTICE

with the idea of inducing reactions from the audience,

Dayang theorizes that the sound art movement inhaving access to their emotions and making them feel

Manila, or sound practice, came from three logical threads.

a certain way upon hearing a cue. But as he furthered his

One is from music, from the followers of Jose Maceda andstudies, he realized that the reasons why certain timbre

Lucrecia Kasilag.6 Another thread came from the visual

make people feel a certain way is that we, the listeners, haveartists such as Agnes Arellano7 and Caesar Syjuco8. In the

been pre-programmed to feel these emotions because of

1980s, it was at Pinaglabanan Gallery where artists would

traditions that have been passed on to us. It was because

cross practice with visual arts, literature, and music. Thisof this that Malek found music synthesis exciting, creating

place birthed the idea, triggering the concept of artists

sound from scratch, transforming simple tones, or evenperforming music along with their visual art creations. The

noise, into something else. To Malek, dealing with synthesis

third path came from media, such as experimental film

was something magical, almost like dealing with sorcery.

and video. This started also in the late 1980s, particularly

Armed with his knowledge in music synthesis, he went backbegan reading about topics on Listening Culture andcultivated in the bar culture. But in all of these threads, it

to Manila and became one of the pioneers of electronic

started when she entered the undergraduate program of

Acoustic Ecology. In 2012, she worked with other media

was from the visual arts, doing contextual art installations

music in 1998 and formed the pop electronica duo, Rubber

the University of the Philippines College of Arts and Lettersarts projects that opened her world, meeting noise

coupled with music such as folk rock, that a strong art

Inc, along with Noel De Brakinghe.14 They started playing

in 1993 as a Philippine Studies double major in Art Studies

musicians, electronic musicians, and sound artists. She

community was built.

in street parties in the early 2000s, composing andand Creative Writing. In 1995,3 she found herself working

was introduced to Tad Ermitaño through Mark Laccay,

One of her discoveries traces the earliest recorded

performing music on the fly, with sets lasting from two towith visual artists and the theater practitioners. Since her

one of her consultants in the Maceda Digitization Project.

public usage of the term “sound art” in Manila. This wasfour hours, until the wee hours of the morning. They would

mother, Marialita Tamanio-Yraola, was an anthropologist

Her association with these artists brought out her firstin May 1990 in a sound art festival in Angono, Rizal by

play in warehouse parties and in bigger events, at productwho closely worked with Jose Maceda at the UP College of

output project (MACEDA 100) in which she interfaced

pioneer Wire Tuazon, a visual artist and the founder oflaunchings. They also became opening acts for famousMusic,4 she kept coming back to the Abelardo Hall (UP CMu)

her curatorial experience with media arts. With her

the art collective Surrounded by Water. Dayang traces thevisiting foreign DJs .

and felt at home there. She pursued a Master of Arts degree

background in archiving, she proceeded with making adevelopment of this community and its followers, i.e., how

Malek’s movement towards creating sound art started

in Museum Studies (now known as Curatorial Studies). She

congruent gallery, in which the artists responded to thethey have accommodated experimental art with intermedia

with working on a dance project at the Cultural Center ofthought of herself as a moving educator, teaching part time

digitized sound of the Maceda Collection. Since then,practice.

the Philippines in 2001.

at the De La Salle-College of Saint Benilde School of Design

she has figured herself in various sound art projects

and Arts’ Arts Management program, Multimedia Arts
program and, at one time, the Music Production program.

the visual arts and the third pathcame from media.
SYNERGY OF THE ARTS
Dayang Yraola’s love affair with music and the arts

After graduation in 2005, she worked as a research

24

Fig. 2For the curation of MACEDA 100 in 2017,9First, his group rendered their

Dayangown electronica version of “Ave Maria” with a male dancer

both here and abroad, collaborating with international

put together contemporary artists for the exhibit such as

playing a female role. Then, they created an electronica

sound artists, including a project on environment andRamon P. Santos, composer and ethnomusicologist; Leoversion of “Pagdating ng Panahon” (When the Time Comes),

performance and performative sound work.

Abaya, a multi-discplinary artist; Chris Brown, a pianist/a Filipino pop music ballad. Finally, they made music which
was physically triggered by the dancers. He described thisassistant at the UP Office of the Vice President for Academic

In 2015, Dayang left Manila to pursue her doctoralcomposer, electronic musician; Ringo Bunoan, an artist,

Affairs but felt the inclination to be with an art community.

studies in Cultural Studies at the Lingnan University of

researcher and curator; Ricky Francisco, a freelance curator

as resembling the video game Dance Revolution, in which

Luckily, at the UP Colllege of Music, after the passing of

Hong Kong. She proposed initially a dissertation on sound

who worked on multi-disciplinary collaborations fusing

actions on the screen require stepping on certain parts

Maceda, the digitization of the Jose Maceda Collection

art, but through further refinement, she focused instead

visual, culinary, and performance arts;

Mark Laccay, aof the mat. In this project, they pre-sequenced music andwas being planned and implemented. Since she had prioron the conditions for the enablement of sound practicemulti-awarded audio engineer and sound designer; Arvinassigned it to the triggers that the dancers were to step

experience in arts management and a background in art,

both in Manila and Hong Kong. According to Dayang, inNogueras, a sound and visual artist; Malek Lopez, an award-

on. As the dancers stepped on the trigger planks, it set theshe was taken in by Ramon P. Santos,5 former dean of theManila, there is not a clear delineation between sound art

winning composer/producer and live electronic musician;music along.

UP College of Music and one of the proponents of the UP

and experimental popular music. An explanation on how

and Tad Ermitaño, participating with his creation of circuits,

When Electronica Manila, a collective of electronic

Center for Ethnomusicology. She managed the digitization

the movement formed and propagated itself is attempted

programs and the physical machinery in performance andmusic producers and enthusiasts came about in May 2001,

program from 2007-2014. This fueled her interest and she

through her interviews and studies.

installations.

Malek and his collaborators started to do their own thing.
25

BEYOND MUSIC AND SOUND ART

They had a place called Chemistry in Nakpil Street (Malate,
Manila) which, at the time, was the center of the party
scene in Manila. It was here that they were able to do a
lot of experimentation with technology for dance music,
using delays, sampling, and programs that were available
in the market such as Cakewalk and Cubase. They were
doing music mostly on a spontaneous manner, as DJs do,
performing music instinctively. There were days when they
had a good flow and days when they did not. Eventually,
Malek had a falling out with the people he was working
with. They wanted to go out and explore different artistic

I don’t really call what
I do music ever eventhough it’s organizedsound. It becomesART ARCHIVE 03

PHILOSOPHY, SCIENCE, AND SOUND ART
Tad Ermitaño, a philosophy major and a lover of science

Indeed, like a true philosopher, Tad Ermitaño has

fiction, is one of the proponents of experimental soundhis ideas about music and sound art that stem from his

art in the Philippines.19 Tad graduated in 1981 from thecritiques of traditions in music, and of the study of music

Philippine Science High School in Quezon City, a publicfrom the conservatory. To him, “conservatories do not teachnational high school that offers scholarships to students

music, they teach notation and by their existence, defines

gifted in the sciences and mathematics. He took up

music as that which can be notated. What is notated isbiology at the University of the Philippines and, midway,

music and the corollary of that is that what you can’t notate

found himself applying for the Monbusho Scholarship in

is not music.” And this is, according to Tad, why classicallyJapan. He continued his undergraduate studies in biology

trained musicians have a problem with jazz music. It is due

in Hiroshima. However, because of his waning interest

to the fact that jazz is not notated but rather improvised. And

in laboratory work, he went back to Manila and finishedthis is currently what is happening with the performance of

directions in support of their inclinations. He moved fromthe club scene and went into the theater setting. He also
worked in the studio.

electronic music today.

music if I edit it andElectronic

Personally, Malek wanted to do more work in recording.
With his partner Noel, they produced the Filipino rock band
Greyhoundz, then the alternative band Up Dharma Down,

music

performancesaremostlyspontaneous and are not notated. They cannot be notatedaccording to the current practices based on the westernthen put it on tapeclassical music idiom that all adhere to. For Tad, thisand the solo pop act of Paolo Santos. They built their own
recording studio with the intention of producing indie bands,
and even went as far as making their own mastering room.
They had a lot of challenges running the studio, from rates
pricing to sourcing more sustainable projects. The use of
the music software technologies also led to changes that
affected their workflow. As the original MIDI sequencing
softwares,15 plug ins, samplers and computer hardware
were quite costly, they resorted to looking for crack versions
that gave unauthorized access to the softwares. When
his PC crashed, he reverted to using the Apple Mac anddiscovered and used Logic as his MIDI sequencer software.
He went into band performance with his band Drip but lateror in a digital fileand play it, but thatis repeatable andstructured.

a degree in philosophy instead, still at the University of the

moved on to collaborate with Caliph8 doing independent

Philippines. He got involved with the experimental film world

film scores.16 As a film scorer, he was able to use histhrough Mowelfund.20 This is where he discovered that his

knowledge in music synthesis.

Fig. 1 Electronic Gong by Tad Ermitaño

Fig. 4

talent for science and leanings for the technicals in film

Fig. 2 Malek Lopez in his current studioscoring came hand in hand with his creative ideas, i.e., using

is where the idea of music and its definition has trouble.

“Actually, I don’t really consider myself a sound artist…

Fig. 3 Feedback Table mount by Tad Ermitaño

his right brain and left brain at the same time, so to speak.

According to his observations, musique concrete has

I mean, produce. I like playing sound, incorporating themFig. 4 Keys of the Feedback Table by Tad Ermitaño

His immersion in music was in his band called Children

basically overtaken the world; everything that we hear onof Cathode Ray, a noise band along with Jing Garcia,

record has been created without notation. He cites the

Asked about his contribution to sound art, he responds,

in music. Other than supporting it and being around26

Fig. 3and spreading it … and even, let’s say, infusing this withlittle marimbas played against a “running pulse like techno17

manager and producer of Color It Red and Tikbalang. Tad

Beatles who spectacularly barely wrote down their music,

mainstream. I don’t think I had really figured out what it isbut not.” They created this loop through delays on repeats

does not really think of himself a musician except that heas in the practice of the mainstream bands of the popular

to be a sound artist. I’m more conscious on what I do as a

for an interlocking texture. They also created effects foruses his electronic creations to create sound, not music.

music idiom. Tad explains, “Notation was a technology forfilm composer. Even that, up until now, given my love–hatea voice that uses the reversed reverb tail from the soundAccording to Tad, “I don’t really call what I do music evergetting people to play together, the same thing over andrelationship with film music, I still feel how I’m perceived andof the voice, getting the reflection, which sounds like theeven though it’s organized sound. It becomes music if I edit

over. And now because of the technologies of recording,also what I do, is something I look after.”passage of time. Using the Haas effect (also known as

it and then put it on tape or in a digital file and play it, but

a lot of playing something over and over can be done by

Lately, their film scores such as Buy Bust have done

the Precedence effect)18 a lot, Malek also pays attention

that is repeatable and structured.” He follows Brian Eno,21

cutting and pasting, a metaphor for an obsolete technology.”

away with the MIDI sequencing of the music score. They

to phase and likes to use very basic tones, pitching it 2

who says that electronic music enabled composing music

Tad calls himself a convergent media artist, based on

have resorted to working with a band, to set the mood of thehertz down to see the difference and the effect. Currently,

empirically, and this paved the way to the new art form.

the idea originating from the 1980s and 1990s that media

film. Their approach was to make songs with inspirations

Malek is into a fairly recent technology, granular interface orEven when using the very same musical instruments, what

would converge in the computer, video, and sound. He

coming from the movie itself, not necessarily putting tunes

granular synthesis, and sees this as another way of looking

matters is the way one listens to it, the way it is created anddabbles with video and other stuff that involves hardware

into the movie. Non-musical sounds were incorporated inat sound, breaking down music into its sound components,

dealt with, completely making it into a different art form,and sculpture. He has a laboratory where he does basic

the scores such as the sound of the footsteps that turn into

suspended in time.

distinct from the traditional way of appreciating music.

carpentry. Reacting to working too much in the digital
27

ART ARCHIVE 03

Notation was a technology for getting
people to play together, the same thingover and over. And now because of thetechnologies of recording, a lot of playing
something over and over can be done by
cutting and pasting, a metaphor for an

Fig. 5one can have two settings of delay which can be used at thecalled Belle. This is basically a room-size plate reverb, a 10-

same time, switching delays back and forth between them.

foot diameter cylinder, made out of metal, suspended fromIt has a pickup and various control parameters that pertain

the ceiling. Using an electromagnet to physically vibrate

to the delay time and its feedback, and a tone generator.

the steel, a hum with the harmonics is created when theBy just touching the pickup, grounding noises can beelectromagnet is plugged either to a 220 or 110 volts outlet.

created, triggering its delay and controlling its feedback. As

He set it up twice in Singapore and around five times indemonstrated by Tad, he was able to make the delay box

Tengal Drilon23 is an award winning composer, soundHe was given the freedom of making music for whatever

Malaysia. He also set it up in De La Salle-College of Saintsound like a musical instrument that produces a simulation

designer, and music producer. He has over a dozen

images that he saw. It became a collaborative work with the

Benilde’s SDA Blackbox.

of an electronic dance loop, along with an oscillator that caninternational awards from film festivals as a composer/

sound designer from LA, integrating sound with the music.

create a semblance of a sine melodic lead.

sound designer in the past decade. Nowadays, he considers

He has since shifted from sound designing to composing

As an artist, Tad’s creative inclination proceeds tohaving more of an introspective or solo approach. His

Furthermore, Tad shows

MUSIC TO INTERACTIVE ARTS AND FESTIVALS

his work on the electrichimself a curator of sound art that has evolved into the vast

the sonic background to other things such as exhibitions,creative ideas and interests at heart revolve around brass

hegalong, a two-string instrument of the T’boli tribe fromfield of media arts, an exhibition or performances of theand interactive work for corporations.

material, the indigenous instrument gong. Currently, he is

the southern Philippines. Taking the science of its original

combination of different media of sound and visual, affordedInteractive art involves sound installations with anin the process of creating a feedback22 machine, a tablephysical structure, he rebuilt it so it can sound like an

by computers and the internet. His background involves

element of interaction with the audience. But it is essentiallythat could change the resonation of an object parked on it,

electric instrument, now with standard steel guitar strings

undergraduate music studies for two years at the UP

an artwork. An example would be an interactive drum, in an

making it create interesting forms of sounds from its own

and an aluminum neck, along with a pickup attached to theCollege of Music in the early 2000s, taking different majors

octagon polygon shape, that emits a sound once it is struck,

feedback. He is currently experimenting on the ways of

instrument. He basically created a plucked string instrument

such as percussion and winds. He also had instruction

and a light from the part where it is hit. In one of the previous

also making the gong feedback. Inspired by the Balinesewith an amplification similar to the electric guitar.

classes on piano, saxophone, and composition, and playedinteractive work done in collaboration with Tad Ermitaño, a

instrument, the Gong Pulo, the feedback table has two keys,

When asked about having his inventions patented,

bass and drums for his jazz friends at the college. He played

video component was included. In the video, people wouldslightly detuned and suspended. They are hit by a gong

Tad says he has not thought about it. He explains thata lot of instruments but essentially recognizes the computerdraw a pen and scribble a line. They would create worm-likemallet, imitating a gong sound, the keys resonating without

the process for patent registry can get very tedious andas his main instrument. This led him to go into media arts.

figures and loops. Each loop, when drawn, will trigger a MIDI

swinging, through the use of a pickup and a reconfigured

extensive, doing a lot of research to prove that no one else

According to Tengal, admittedly, the term media arts is very

sound from a library, e.g., the sound of a flute. The concept

guitar amplifier.

has done anything like it. It could also get very expensive

unstable as the medium itself is in flux. It is not a traditional

eventually makes the audience feel like they are drawing

His fascination with the concept of feedback goes way

to hire a lawyer for legal documentation. He is aware that

cultural art form, such as painting, dance, theater or music.

the sound. Interactive art works in a museum or it can beback when he was first working on films for Mowelfund. At

there are people in the sound art community who are

He used to work a lot with film makers, being a film

used for commercial purposes. It expands experiencesthat time, he experimented with video feedback, having a

already making a living out of the craft, selling boutique

maker himself. He also got into sound design and enjoyedfor people as they encounter complex technologically-

live camera fixed on a TV, which could create patterns andinstruments to noise artists in Europe. As he is trained in theputting music or sound in images and moving images. He

channelled media, giving them a visceral participation in

abstract designs. It is this concept that he has now appliedsciences, his creations are mainly done as discoveries andused to do film scoring but eventually got out of it because

the art.

to sound art. On hindsight, he likens the feedback concept

experiments. As soon as he has realized a goal, he movesof the system of making movies where scorers are given

When Tengal was 19 years old, he got accepted toto philosophy, particularly in the way philosophers think

on to do something else. Commercializing his creations andvery tough deadlines. It was truly a liberating experience

the Berlinale Talents in the Berlinale Festival.24 Out of

about what other people think about.

inventions—from the exploration phase, coming up with afor him working on a documentary about the tattooed

500 talents, he was selected as one of the participants to

product and going through the process of mass production

indigenous Pintados of Negros. The film’s Italian director

attend the Summit programme of around 35 sessions thatthat could take about 10 years—is, to him, unappealing.

gave him free reign on the music with a month’s deadline.

focus on different topics and on art in a variety of formats.

Another one of his feedback-based inventions is his
own version of a stand-alone delay box. In this instrument,
28

obsolete technology.

domain, he made a highly physically produced artwork

29

ART ARCHIVE 03

TengalAnd just like the art itself, both the creators and its
audience are volatile and fluid, whose voices have yet to be

has established himself

Fig. 5 Electronic Hegalong by Tad Ermitaño
Fig. 6

WSK X's Special Program: SHAPESHIFTERS: HACKLAB
2019 at Dulo, Poblacion, Makati. Photo by Carlos Ortiz

with the pioneering role

the other end of the spectrum, the audiences practicing the
traditional arts. It is ironic that the practitioners themselves
remain elusive when confronted with the question of labelingthemselves, defining and identifying their art form. Perhaps

THE ART BEYOND

as a sound designer.

the attitude has grown out of a critical contemplation on

As art in general is deemed an expression with its own

the philosophy behind its intention, freedom from rules

aesthetic, the sound art practice in Manila, as described byclearly defined by a set of parameters, a liberation fromthe four proponents above, is a reactionary expression topreconceived thoughts and false understanding. And thisthe existing norms in music and in the visual and moving

is that which differentiates it from the traditional arts, whicharts. Inspired by practices of music in the 20th century andare equated with the idea of discipline, a conceptually

He submitted his soundtrack for a sound design. Having an

the current practices in sound technologies, its existence

restrictive notion.

interest and influenced by avant garde music, he considers

and practice in Manila is a divergence from the traditional

Sound art is a collaborative art form that does not exist

his composition an accident, which combined a musicaland conventional creative outputs stemming from the fields

by itself alone and that has the flexibility of adapting toscore with sound design. He used a lot of field-recordedof music, sound, and the visual arts. It is still a growing

another art form and even inventing its own aesthetic. And

an “immigrant”

ambient sounds and transformed them into a soundcommunity, established by individuals out of their curiosities

this is the liberating aspect that appeals to its practitioners

design. Taking this as a professional pathway, executing

and passion for the explorations on sound and its medium.

that translates to its audience. Through its interactivity

his creations in sound design, Tengal says he was not

It is aided by the curation of various art exhibits andand structures of currently available technologies, it seeksof the internet,

mentored nor did he veer towards the direction of a specificinstallations and the pioneering efforts of mounting music

to entice an inquisitive social culture accepting of newschool of thought. Through the course of the Berlinale andand arts festivals in the country. It is an avenue for thinkers

directions in the media arts. This is indeed a gateway to aattending other festivals for experimental music, travelling

who bring about an immersive experience, enabling an

future of a more progressive and dynamic ideation vital to abeing able to accessand meeting people, getting to know their music in Europe

awareness and a deeper understanding and appreciation

struggling nation as it seeks an identity that uplifts the spirit

and Southeast Asia, seeing what other people are doing andof the facets of sound as a medium.

and enlivens its humanity. Think it and it shall become. ■1 Yraola, Dayang. Maceda 100 Attitude of the Mind Terminal Report. Manila.

16 Kemur, Priscilla. “Variations in Sound: Part 6- Caliph8”. https://www.

2017. (accessed July 21, 2019).
2 WSK Festival of the Recently Possible. https://www.facebook.com/WSK.
io/ (accessed July 30, 2019).
3 Yraola, Dayang. Interview by author. Quezon City, August 10, 2019.
4 UP Center for Ethnomusicology. “Jose Maceda”. http://upethnom.com/
jmcollection/index.php/josemaceda. (accessed October 20, 2019)
5 Strings of Unity. “Dr. Ramon P. Santos-National
Artist”. https://stringsofunity.org/about/dr-santos-thevisionary/#:~:targetText=Ramon%20P.,(with%20distinction)%20and%20
Ph. (accessed October 20, 2019).
6 Filipinas Heritage Library.”Featured Artist Dr. Lucrecia R. Kasilag”.
https://www.filipinaslibrary.org.ph/himig/featured-artist-lucrecia-r-kasilag/(accessed October 20, 2019).
7 Arellano, Agnes. http://www.agnesarellano.com/about/ (accessed
October 20, 2019)
8 Wikipedia. “Cesare Syjuco. https://en.wikipedia.org/wiki/Cesare_Syjuco(accessed October 20, 2019).
9 Yraola, Dayang. Maceda 100 Attitude of the Mind Terminal Report. Manila.
2017.
10 IMDB. “Malek Lopez Biography”. https://www.imdb.com/name/nm1954371/bio (accessed October 20, 2019).
11 Wikipedia. “FAMAS Award”. https://en.wikipedia.org/wiki/FAMAS_Award(accessed October 20, 2019).
12 Wikipedia. “Gawad Urian Award”. https://en.wikipedia.org/wiki/Gawad_
Urian_Award (accessed October 20, 2019).
13 Lopez, Malek. Interview by author. Pasig City, October 17, 2019.
14 Wikipedia. “Rubber Inc.”. https://en.wikipedia.org/wiki/Rubber_Inc(accessed October 20, 2019).
15 MIDI Association. “Tutorial”. https://www.midi.org/articles-old/aboutmidi-part-1-overview (accessed October 21, 2019).

globetrottermag.com/news-features/nusasonic-caliph8-from-manilaphilippines#:~:targetText=Arvin%20Nogueras%2C%20who%20goes%20
by,was%20still%20very%20left%2Dfield. (accessed October 21, 2019).
17 Wikipedia. “Techno“. https://en.wikipedia.org/wiki/Techno. (accessed
October 21, 2019).
18 Wikipedia. “Precedence effect”. https://en.wikipedia.org/wiki/
Precedence_effect
19 Ermitaño, Tad. Interview by author. San Juan, September 7, 2019.
20 Mowelfund. “About Mowelfiund”. https://mowelfund.com/. (accessed
October 21, 2019).
21 Edge. “Brian Eno”. https://www.edge.org/memberbio/brian_eno.
(accessed September 7, 2019) .
22 Wikipedia. “Audio Feedback”. https://en.wikipedia.org/wiki/Audio_
feedback (accessed on October 21, 2019).
23 Wikipedia. “Audio Feedback”. https://en.wikipedia.org/wiki/Audio_
feedback (accessed on October 21, 2019).
24 Drilon, Tengal. Interview by author. Pasig City, July 30, 2019.
25 Berlinale. “Talents”. https://www.berlinale-talents.de/ (accessed October28, 2019).

Fig. 6

He attributes
this further to being

informationfrom elsewherethat has taught him
towards a new field.
This has spurredpiecing them all together, Tengal has established himself
with the pioneering role as a sound designer. He attributes
this further to being an “immigrant” of the internet, being
able to access information from elsewhere that has taught
him towards a new field. This has spurred a movement, acommunity, hence, the festival.
Tengal runs WSK, a collective of artists working in
the field of sound art or media art that has been runningfor the past 10 years, doing international collaborations
and exhibitions. The WSK X festival in 2019, entitled WSK
Festival of the Recently Possible, is a collaborative projectthat showcased and represented sound art movements indifferent countries such as the Yes No Klub in Yogyakarta,
Playfreely in Singapore and CTM Festival in Berlin. It isthrough the festival that the awareness for the new field
was spawned. And it was because of this that Tengal
has gained a reputation in the international region asa movement,a proponent for sound art. He recently set up his own
company, Generator, a cultural organization that bridges
cultures, facilitates exchanges within the region, and assists

a community, hence,people to professionalize. WSK 2019 is the last time that
Tengal is curating the event. He hopes to pass it on to theyounger generation in order to help sustain and inspire thethe festival.
30

fully discovered in this new platform by those who are on

community he started. Hopefully he will be able to move on
to further advance his craft.

31

words by

ART ARCHIVE 03

VARIETIES OF CONTEMPORARY FILIPINO SONGMASHUPS (1970s TO PRESENT)JOSÉS. BUENCONSEJO, PhD

Fig. 1

Mashup is a musical borrowing, an art of quotation,social media websites. Unlike music literacy where

in which recognizable melodies and rhythms of

production is tied to the authority of a notated music,

preexistent music or commercially available recordeda mashup, as understood here, uses a recorded soundsounds are creatively combined to create a new work

as its fundamental source or material, encouraging

or mixed to produce a new “derivative” versioning. This

amateurs to cite this “remembered music” as a means

technique is, however, an old practice, particularly inof participation of anyone who cares to listen, thus

oral cultures. Examples are manifest in contrafacta

democratizing music making.

in which new words are set to a preexisting tune, inThis essay explores varieties of Filipino songborrowing of rhythm patterns, which then become themashups. It traces the initial attempts to incorporatebasis of a new composition, or of harmonic ones in pop

recorded sounds such as the Tagalog translations

music or jazz improvisation. The concept of combining(contrafacta) of Anglo-American pop ballads in thesongs also happen in the old practice of quodlibet, in

1970s. Then it discusses Del Horest’s “Matud Mo” (Aswhich a new melody is generated from an existing tune

You Said), which is a quodlibet to Zubiri’s “Matud Nila”

or of the medley in which the resemblance of a song

(According to Them) in the 1980s, and segues to therecalls another tune that may or may not seamlessly

concept of the layering of familiar music in love song

sequence to it. Of course, the art of mixing and DJing, in

rap in 2010s. The last section deals with the mashup

which the grooves and rhythms of previously recordedsong medleys that are available in YouTube at present.

music−either analog or digital format−mesh to fire
dancing bodies, is also a mashup, but this topic will not
be discussed in the essay.

32

Scholars of popular music that are not of and in

At present, the proliferation of recorded songs in

the Philippines have written on the orality of music

the auditory space of online platforms has resurrectedtransmission via music recordings, particularly withmusic orality (i.e., transmission of music by ear), inspiring

regards to the long historical development of jazz andlong distance listeners, and amateurs of all kinds, todeejaying in hip-hop culture. However, there exists nocreate this art that they then post on user-generated

parallel studies that are pertinent to Philippine popular
33

VARIETIES OF CONTEMPORARY FILIPINO SONG MASHUPS(1970s TO PRESENT)

music. This essay presents an initial step towards
understanding the music cultural processes involved in

SETTINGNEWLYCOMPOSED

Pop songs...

‘QUODLIBET’: HOMAGE TO POPULARITY
Another technique in which preexisting works

can be conveniently subsumed under the umbrella term

From the outputs of Philippine music industry,

mashups. These have circulated among those who own

the technique of setting newly composed texts tomusic technological gadgets, but which affordability

preexisting tune is no surprise; there have been

this in general terms, i.e., “a humorous type of music inlater spread to Filipino youths whose families belong tohundreds of examples of contrafacta in which thewhich well-known melodies or texts are combined in an

the working class.

original lyrics are erased via a translation of the foreign

primarily gethave become a source of a consequent creativity is
the quodlibet. The Harvard Concise Dictionary defines

intentionally incongruous manner.” There are subtypes

The “mashed-up” Philippine music repertories

into the native languages Tagalog and Cebuano. Rico

discussed herewith are “musical quotations.” TheyJ. Puno’s rendition of Barbra Streisand’s “Memory”

cite previous works into one’s own, hence musicalin the 1970s was a perfect example of this, which

definition. Instead, I employ a particular meaning to it.

borrowing in a broad sense. Citational “musicalpopularity owed to the local hugot (emotional) feel of

Although quodlibet technique may have humor as an

quotation” differs in degree (not in kind) from digital

the vernacular and message concerning a generalized

sampling, which involves computer synthesis (Katz,

memory of a place for lovers who cannot afford going

147-149). The latter is not the subject of this essay since

to a more luxurious venue for their romantic dates. The

I particularly focus here on the works of musicians

Tagalog translation and the adaptation of remembering

who have borrowed sound snatches of recorded music

the local scene of the lover’s stroll in Luneta became

made (by others) by ear.

In the 1970s, musiciansa “novelty” of sorts because the English language

primarily used the physical medium of analog vinyl

alternated with the Tagalog language, thus creating, inrecords. Beginning in the 1990s, they heard digitalized

effect, a mashup of songtexts.

soundschanneledprincipally

throughkaraoke,

One

can

also

appreciate

their appealof the technique (140). Because the definition is similar
to the term “parody,” I refrain from using this unspecified

unintended effect (as in the Harvard Dictionary), myuse of the term here refers to a new work based on an
explicit citational reference to a source that has served
as its model. Since emulation is part of citing, it canfrom the songs’

then carry the message of being homage-like to its
source. The new and the old are not simultaneously
sung in an actual performance, although one can doit comfortably because the inter-song template is one

theconsistentmessagesand the same.

videoke machines, and gradually via computers wired

translational or citational works of Pete Lacaba’s

through the internet. Their act of borrowing, however,Salinawit that are sung, after being recorded, by literati

is citational simply because the musicians discussed

singers such as Susan Fernandez et al. in the fringe barhere have used their embodied memories of melodies

Conspiracy in Visayas Avenue. Pete Lacaba’s project is,is fundamentally heard as recorded sound that thenand rhythms that have been collectively experienced

however, different from Rico J’s. Pete Lacaba has set

impels the hearer to pattern a new one based on thetheir soundscapes and not as borrowed sounds in the

Tagalog texts with a poetic sensitivity that edges theform of computer data (i.e., as in digital mashups thatoriginal songs’ messages. The layering of Pete’s words

are more common elsewhere).

thus pays homage to the foreign but, at the same time,

In the show bands of the 1970s and 1980s, musicthat listeners

contests it by erasing linguistic hierarchy.

Like the contrafacta examples above, quodlibet
is also learned in an embodied way through constant
exposure to amplified sounds in the environment. It

memory of that bodily-mediated source song. The
spread of home stereo sets in the 1970s meant thatrecorded sounds had played an enabling factor in thisdevelopment.

was listened to as a whole and the “citational” music

A different impulse is manifest in the contrafacta

quotation was complete, “covering” or parodyingof Anglo-American hits in order to deliver funnythem with new, often humorous, texts. Later, in disco

themes. This subtype is intended to elicit laughter due

houses, DJs controlled the dance floors and remixed

to the incongruity of images depicted in the songs.

prerecorded music to suit the taste of the DJs andThese comical expressions, more familiar as “novelty

the dancing clients. Turntabling was also a common

songs” as the local music industry calls them, arepractice in hip-hop parties that became a vogue inparodies that have various intended effects. Examples

the Philippines sometime in the 1990s. But this andare Fred Panopio’s “Kawawang Cowboy” (“Pitiable

the mashups of remixed dance music, which involve

Cowboy,” sourced from Glen Cambell’s country music(from lyrics to arrangement) that a songwriter grapples

manipulation of analog and digital sounds, will not be“Rhinestone Cowboy”) and Big Three Sullivan’s “Maywith in the process of composing. Yet, there are songs

discussed here. To reiterate, I am more concerned with

Pulis sa Ilalim ng Tulay” (There’s a Policeman Under

that are so similar to each other in structure and otherthe orality-aurality of song experience. The spread of

the Bridge), which mocks the corrupt policeman who

details that the consequent is deemed a quodlibet tovideoke machines and the affordability of recording

has been extorting money from the residents. In social

its predecessor.

gadgets would affect how existing musics are to be

media, the latest of this contrafacta is, of course, thesong heard as recorded sound, Max Surban’s famous

An exemplary of this is the song, “Matud Mo,”

cited. The online distribution of these musics via

parody “Manok na Pula” (Red Rooster) by Vic Desucatan“Baleleng” contrafacta was learned in person during

which was done collaboratively between singer Del

playforms Spotify and iTunes today has functioned as

whose funny messages and avatar have created a stir.

his concert tour to the Southern islands. This song

Horest and recording studio arranger Emil Loseñada,can identify

Because composing a new melody over a harmonic
pattern is not obvious to a non-musician, quodlibet canbe difficult to detect to the unskilled ear. In general,
pop music is formulaic in structure (verse-chorus) andthis trait is obviously seen in the cyclicity of the songs’

as theirs.

chord progressions or patterns. Despite this formulaicness, no two songs are quite similar due to thepractically limitless number of other musical choices

Not all contrafacta in the “novelty song” style arewas a hit among the masses and was so popular in theboth

To understand the current Philippine mashups, it ismocking in intent. Yoyoy Villame’s “Butsekik” from Dee

early 1980s that it spawned many further contrafacta

generation. This song is a newly composed melody

illuminating to see them known in old procedures. The

Dee Sharp’s “Baby Cakes” is just a tickle to the listener’s

renditions. What all these show is the ubiquity ofthat followed closely the form and expression of Ben

rest of the essay describes what these techniques arebodies, layering nonsensical, Chinese sounding lyrics

contrafacta in which the lyrics are mixed with someone

Zubiri’s “Matud Nila.” The source song was composed

and the performance contexts to which they have been

to the original Black American expression, hence

else’s melodies. All these are evident of the oral-auralin the 1940s, i.e., prior to the saturation of stereos in

cultivated by professional musicians, amateurs, and fans.

eclipsing it. While Villame mashed up Dee Dee Sharp’s

transmission of music.

domestic spaces across a wide social class strata

another channel for citing them.

34‘CONTRAFACTA’:TEXTSART ARCHIVE 03

Cebuanopopmusiciansoftheprevious35

36

Pop songs, even of the old variety such as “MatudThis is the reason why there is a tendency in the

Nila,” primarily get their appeal from the songs’

creative industry to use titles of tried-and-tested

messages that listeners can identify as theirs. For thisthemes and standardized musical forms. One can see

reason, we know how important the theme of love isthe popularity of JhoMajikero’s song in the recently

in pop songs, which can indicate, on the part of theirminted “Namimiss Kita” sung by Justin Vasquez. The

auditors, a thousand shades of their individual emotions

latter is a hidden quodlibet to JhoMajikero’s work. Notethat arise from day-to-day interpersonal relations andthe use of the same song title. Unlike Joffrey who is aother vicissitudes in life.

local from a working class family and part of a group

Jumping to the present, we notice this appeal incalled Mandaluyong rappers, Justin is a transnational

JhoMajikero’s (aka Joffrey Valerio Ortañez in real life)

Filipino. Justin’s speech is evident in his Anglophone

hit song in social media “Namimiss Kita,” which has

accent in articulating Tagalog words. His middle classgarnered some 10.5 million hits in one of YouTube

background cannot be denied. He sings his “Namimiss

fan’s collection posted since 2011. The popularity ofKita” in RnB style, which entails ornamented melodic

the song was phenomenal, prompting Joffrey’s live TV

inflections. 3 Parallel to the “Matud Mo,” which isappearance in Unang Hirit in 2013. 2

intertextually related to an older model (“Matud Nila”),

during the 1970s. But its continued popularity into

this time in the traditional Philippine folk harana style,the 1970s owed to its radio dissemination, whichfrom which the Tagalog kundiman and danza Filipina

channeled Ben Zubiri (aka “Iyo Karpo”), a famous host(e.g., “Dahil sa Iyo” as an example) are based. In

bittersweet, quite fragile-sounding vocal persona of thein an amateur hour where singing was the radio’s main

addition, two more features link “Matud Nila” to Filipino

song’s protagonist. Most teenagers, I suppose, easily

attraction. The song was later covered in various vinyl

music tradition despite its hybridity with the Anglo-

identified with Joffrey’s adolescent male voice. The

records labels by many iconic singers in the 1970s

American form. First there is a parallel modulation

lives of millions of young Filipinos (mostly teenagers or

such as Eddie Peregrina, Pilita Corrales, Max Surban,(minor to major key) in the song, which is found inyoung adults) were resonant of that emotional message

and Dulce, to name a few. The repetition of the same

many Filipino folksongs and composed music (e.g.,of longing that is in the song’s lyrics. The form of therecorded song is a proof of consumer demand for it in“Jocelynang Baliuag” and “Bayan Ko” [My Country]).

song, which belongs to the repertory of “love song rap,”

the 1970s as the electronic hardware of home stereos,

Second, the melody contains many sighing gestures

is rudimentary; it is, common to the genre or to mostjukeboxes became an everyday object in the cultural(i.e., descending melodic pattern) in phrase endings,

pop songs, based on the four-phrase stanza structure

landscape. 1 Thus the song became so famous that any

which we also find in the old sentimental Filipino(i.e., two eight-bar musical phrases). The internal

Visayan-Cebuano musician cannot fail to recognize itmusical idioms.

repetition of these phrases within the structureItscome-on

owes

to

the

simple,sincere,as a part of one’s social identity. It was obviously the

From the title alone, one can easily infer that Del

produces a sing-song quality, thus, is easy to follow.

song’s achievement that inspired Horest and Loseñada

Horest’s “Matud Mo” did render homage to “MatudJhoMajikero’s song is a string of litany-like phrases

to team up and compose “Matud Mo” in the early 1980s.

Nila” by citing it. However, “Matud Mo” is an entirelythat gravitate between the melodic interval of a fifth.

To appreciate the inter-song referencing will require me

new composition. Wittily, it inverts the interlocutor of

The pendulum-like string of phrases creates a higher

to show a bit of structural similarities between them.

the songs’ protagonists from “you” to “them.” Therelevel structure consisting of verse (4 bars 4+4+4+4),

Zubiri’s “Matud Nila” is structured, with a slightis also a change in perspective: “Matud Nila” is achorus (4+4), bridge (4+4), repeat of verse (4+4+4+4),change, on one of the most popular Anglo-American

tragic cry of unrequited love, whereas “Matud Mo”

repeat of chorus (4+4), bridge (4+4), rap (in half time

32-bar forms: AABA. “Matud Nila” is AABB, i.e., a

has a brightly resolute mood as it is an affirmation ofof previous beat), bridge (4+4), repeat of chorus (4+4),

modified 32-bar because the A section does not return

love by a Beloved, an act of remembrance that leads

bridge (4+4) and coda (with sudden change in vocal

after B. In contrast, Del Horest’s “Matud Mo” version

to a sustained devotion to it. Thus, “Matud Mo” is acolor to machine voice).

strictly sticks to the standard 32-bar. Because of thedefinitely citational mashup. In terms of melodic flows,

Because pop song production is built on thesectional repetitions (i.e., AABB), Zubiri’s song form can

one can analyze the inter-song quodlibet referencing.

desire for popularity, it is common for songs to trend

Fig. 1 Tama na by Xcrew Screengrab from YouTube

be taken to be binary and thus points to an older source,

The copy of the phrase shown above speaks for itself.

by counting record sales or of followers-listeners.

Fig. 2 Photo courtesy of JhoMajikero

Fig. 237

VARIETIES OF CONTEMPORARY FILIPINO SONG MASHUPS(1970s TO PRESENT)REMIX AND RAPPING: FANHOOD AMONG MUSICAL
AMATEURS
As hip-hop style grew in strength in the 1990s
with rappers such as Francis M, Andrew E, and (to acertain extent) Michael V, the mixing of rhythmic beats
on drum set and the layerings of background music,
patterned speech, and sound of records scratching,were born. This became the common procedure for the

TABLE OF FAMOUS RAP SONGSTITLE OF SONGDIY
CREATORBORROWEDMELODIC MATERIALSTYLEINSTANCE OFUPLOADER OR FAN

Banyo Queen(uploaded 2010)

Andrew E.

Ben E. King’s“Stand by Me” (1961)

MC-ing in intro;
rock

AKJR (28 million views asof 20 Oct 2019)

High School Life
(2009

Repablikan

Sharon Cuneta’s OPM“High School Life”(produced by VIVA Records)

pop ballad

sweetirene29 (11 million
views as of 20 Oct 2019

Kabet

GagongRapperRichard Marx
“Right Here Waiting”

pop rock

Richard Marx (258 million)

new sound aesthetic of the consequent genre of rap
songs about love in the early days of YouTube in theFig. 3Fig. 3 Screengrab courtesy of JhoMajikero

38

Philippines, i.e., circa 2007. Back in 1990 when Andrewof high-end gadgets of the recording companies, theirand some in rhymed speech rap, is a contrafacta

E released his rapping “Huwag Kang Gamol” (Don’t Be

tools were minimal and cheap and thus they madein Tagalog. Despite the naivety of the work, it is very

Gamol), web browsing was barely felt by most Filipinos.

crude homemade rap songs, mashing up the familiar

popular and I can just imagine the song was used as a

Steadily, soundtripping (listening to music) via the

melodies from the videoke commodities with newlyreferent to the listeners’ diverse managements of theirsame communicative channel became a “hip” or “in”

minted lyrics that were then put on screen in YouTube.

emotions in their individual love relationships. As such,thing to do for the Filipino youth. It was not until 2007

Overall, these representations were melodious, about

it is as if the listeners are acoustically “absorbing”

or thereabouts that a new form of rap mashups would

love relationships, and alternated in delivery with rap in

the adolescent voices of X-crew singers as theirs.

emerge when the Filipino youth began to share their own

patter speech style. They were underscored by cheesy

X-Crew’s song above, which is a dialogue, is not

lyrics with the music of others as a background, 4 alongcited melodies on electric keyboard and raw loud drum

so common. What is more normative is the type ofwith the aggressive thumping “beats” that are played

patterns on a machine. Fans continually downloaded“confessional of love,” a good example of which Gagong

by the synthesizer, the drum machine. Later on, thesethem from the internet. They were then heard in

Rapper’s “Bakit Kung Sino Pa” (Why, Who are You) madesame amateur listeners created their own original ones

makeshift stalls selling pirated discs and played insidein 2008. The mashed-up music is Richard Marx’s “I’ll be

as JhoMajikero did with his song “Namimiss Kita.” 5driver-owned jeepneys and tricycles. These songs even

Right Here Waiting for You.” The melody of this source

There were both continuity and discontinuity ofbecame a background sound in home parties whereis not borrowed in its entirety but reworked. This brings

music expression. To understand its transformation

often, as in the case of “freestyle rap sessions,” theyagain the notion of it being citational and not digitalfrom recorded vinyl of 1990s to digitally-aided music

were further layered with new improvised rap lyrics. To

mashing up as has been common in Anglo-America.

in 2007, it is important to realize that a huge material

sum up, most of these aural experiences were inspired

An interesting rap song on love, which assumes

cultural change happened between 1990 and 2007.

by the trends that Francis M and Andrew E set in thea cynical treatment, is the famous “Stupid Love” by

In 1990, the rap songs of Francis M and Andre E were

1990s: their phrases stay within four measures. Today

Salbakuta. Here, the background music is Barbra

produced by Viva Entertainment, a well-capitalized

in 2019, listeners of these rap songs fondly remember

Streisand’s

enterprise (although rap music was everywhere in live

the music of their younger years with nostalgia.

sounding electronic organ. The sampled voice of thesong“Evergreen”

played

on

a

tiny

performances of partying that featured breakdancing,

A typical mashup love song rap from a decade ago

crowd shouting “stupid!” at the end of the phrases isdeejaying, emceeing, and turntabling). In 2007, it was

is titled “Tama Na” (That’s Enough). It is a dialogue

clearly a rock music convention. This projects a stoic

no longer the major company that dominated music

between a boy and girl, the former pleading to therenouncement of emo sentiments that must haveproduction but, partly, the music amateurs themselveslatter that he loves her. The girl adamantly refuses tobeen gaining ground then. The harsh rhythmic beats

also did their share, producing their own mixes. Because

recognize the sentiment, thus highlighting the power

underscoring the whole expression reinforce the anti-

Justin’s song, although an entirely new work, is also

the normal music socialization of these amateurs wasof women in most Philippine communities. This was

sentimentalism.

a quodlibet — i.e., a sonic shadow — of JhoMajikero’s

through home karaoke or videoke singing, the quality

performed and recorded by X-Crew, a group that does

As pointed out above, it is clear that the creators ofwork. One cannot miss the “writing-over-technique”

of the sounds they made would be basically the same

not have names in YouTube fan uploads because thethese mashups deeply experienced karaoke/videokein the form of the song, the latter almost perfectly

to that of videoke music arrangements. However, withmain interest is in what the songs’ messages can do

singing at home or in places elsewhere, thus influencing

copying the formula. In Justin’s song, the chorus israpping and loud drum beats as new features, there

to the listeners as they process their own individual

the kind of materials they would cite for their DIY

eight bars less and his bridge is made of vocables

was a difference as well in the repetition of the videoke

emotions. Though quite popular in terms of YouTube

projects. As their expertise developed, so would they

“ah ah ah,” since song style is RnB, not rap as it was insound.

views, the creators in the early days of rap songs werecreate original compositions. In their first works, they

JhoMajikero’s. The parallelism is indeed a remarkable

In addition, the amateurs who made their own

also not often credited by fans. Again, the aesthesis

would utilize the formulaic conventions of style started

emulation. While JhoMajikero motions his melody up

mashups in 2007 were not formally schooled in music.

is in the listeners, many of who post comments

in 1990s as JhoMajikero did for his song discussed inwith ascending melodic fifth in most of his phrases,

This did not mean, however, that they were “low” in theabout listening to the uploads. This was the age

the previous section. He did it in a home studio called

Justin gestures do the reverse, going down, but withsocial hierarchy (contra Bourdieu), particularly in terms

when black-clad emo youth groups were on the rise.

Lhiriko Family Productions (LFP) in Mandaluyong, which

the same interval. While it seems to hide its intentionof popularity. They simply belonged to the masses.

The music of “Tama Na” utilized the David Gates

also opened its doors to eke out a living with outside

to hide its prototype, it leaks out, nonetheless, in the

The soundscape that they grew up with was part ofsong “If” as background, played raw on an electronic

bookings for a fee. (See screenshot of the ad in LFP

passage as shown in the notation on page 37. The art of

the habitus of listening to pop ballads that afforded

keyboard as it is a DIY. The song inserted between

website on Fig. 3)

citation rings with clarion tones.

their way to amateur music making. In the absence

the dialogue, partially in ordinary speech style
39

VARIETIES OF CONTEMPORARY FILIPINO SONG MASHUPS(1970s TO PRESENT)ART ARCHIVE 03

LFP is also one of the many home studios which(Gil Morales in real life) and, later, by the golden-

catered to the demands of DIY YouTube uploaders who

haired ABS-CBN TV host Vice Ganda (Jose Marie Borja

wanted to gain “popularity” by counting their followers

Viceral).

in social media. Besides, they also wished to acquire

The earliest prototype of song medley (cumsome residual income from their uploaded hits. Below

comedy) mashup in TV is the 2005 segment “Nameare three more love song rap mashups from 2008 to

the Tone.” It was embedded in the gag show “Quizon

around 2014. Notice that they all cite pop music, which

Avenue,” which was produced by ABS-CBN. 6 In theagain is the only staple in the videoke repertory.

three episodes posted by PapaLem TV (with 20K

The introduction of video streaming in the internet

subscribers at the moment), it is claimed that the local

sometime in 2014 would mark a change in the aesthetic

Pinoy TV segments are a parody of the American ABC’sof old rap song (post-2014 style will not be discussed“Name that Tune.” In the original trivia game, two adulthere) and the emergence of other mashups that can,contestants take turns spinning the roulette to win a

in fact, be more accurately termed as “acoustic songprize by naming tunes that a live orchestra would play inmedley.”30 seconds. In Quizon Avenue’s “Name the Tone,” twocontestants brag on who can name the tune in the least

SONG MEDLEY MASHUPS

40

number of notes played by pianist “Brian Cayugyug”

The last type of mashup is the song medley in(obviously a spoof of Ryan Cayabyab’s name) and thenwhich the singer makes a surprising twist in the melody

interpreted by a guest singer. The contestant wouldin performance, conjoining the tune of one song tothen name the title of the song. However (and thisanother via a note that serves as a pivot in the turn.

where the local TV programming concept is faulty), theThis creates a disruption in the listeners’ ears because

singer conspires with the pianist in twisting the song

the expectation of the notes in the memory of theso that in the end the excitement that often comes in

melody is arrested. For the singer, however, the act ofexperiencing a game is lost, i.e., it is often the norm

twisting the melodic direction is intentional and thusthat a game is satisfying because the spectators arecomes with some kind of a flaunting attitude of his orbrought into a game situation in which the chance or

her mastery of song repertories. It is as if the singer

indeterminable element−either winning or losing−thepits his skill with that of the listeners’ knowledge ofgame is put forth. Nonetheless, the element of spoof insongs. The unexpected jolt in one’s memory of a song

“Name the Tone” would continue with the performativedraws in laughter on the part of the listeners because

antics of Ate Gay whose influence among TV viewers istheir memory of the song is disoriented, “jumping” fromenormous.

As TV producers
pressed its brandof gag song
medley mashups,
the viewing amateurson the other sideof the communicative

Mangubat would also, from time to time, do mashups in

one song to the next. The effect is incongruous but it

As TV producers pressed its brand of gag song

their road shows, adding glitter to the opening of retailusually brings in admiration and awe as well because

medley mashups, the viewing amateurs on the other

outlets (Dizon) and other events. Many of their recent

the singer can display his or her ability to stringside of the communicative setting would reinvent

together the possible melodic connections. The cleverwhat is given to them by the computer screens.

“medleyings” are possible because both singer and

These viewers would create a song medley that is

entice viewers to purchase the complete versions

listeners are already quite familiar with a comparatively

quite different from the comedy type as streamedof songs in their Spotify or iTunes accounts. What isvast repertory of pop songs. These have saturated thefrom the corporations’ servers. With a simple guitar

common to their performances, unlike that of Ate Gay

day-to-day cultural soundscapes, thanks to electronic

and raw teenage voices, amateurs with acceptablegadgets such as the karaoke machines, computers,

musicianships

smartphones, etc.

such

as

Angelica

Feliciano(aka

setting would reinvent
what is given to them.

YouTube uploads of song mashups also serve as
promotional teasers, like the movie trailers, that would

and Vice Ganda, is that these independently-initiatedmashups do not highlight gag humor (though surprise

ICA) of Sampalok Manila, had self-uploaded her

in twisting a song always draws a smile in the listener)

The conventional association of laughter and fun“acoustic” song medleys recorded from a room in

but their skills in stringing together songs in a pleasantin song medley mashups seems to be a distinctive

her house. These were viewed thousands of times,

manner. It is not far-fetched, therefore, to interpret that

contemporary Filipino media popular culture becauseeven millions, and thus her rise to fame. She laterof JhoMajikero and who now has a number of mashups

song mashups, as this is known elsewhere, areaccepted TV appearances and road shows as thewith ICA that recycled nostalgic love song rap a decaderefuse the meaning of the dominant TV programming

not necessarily created for hilarity. The case of theMashup Princess. Similar to Angelica’s independentago. Of course, one cannot miss the more recent, kitty-

code, which trivializes musical abilities as these are

Philippines reveals that the comedic song mashup has

initiatives are those of her Gen Z millennial colleagues

voiced Pipah Pancho from Bulacan who is often paired

sidelined by gimmicks. Nonetheless, TV programmers

been popularized in TV programs as an entertainment

such as Donalynn Bartolome, who has since becomewith RnB-voiced Neil Enriquez.

and hosts continue to entertain audiences withmashup creations like this type are a way for them togimmick, particularly in the performances of the “Noraa young celebrity actress; Rovs Romerosa, who

Meanwhile, professional pop singers whose fame

Aunor” impersonator cross dresser comedian “Ate Gay”

remains an indie (often hiding her face from therested on winning ABS-CBN’s Tawag ng Tanghalan

as in the recent segment when Vice Ganda tested fourcamera); and Sevenjc, whose voice sounds like thatsong competition such as Froilan Canlas and Sam

aspiring singers on their knowledge of pop music.

mashups, testing the guests’ memory of music trivia

41

VARIETIES OF CONTEMPORARY FILIPINO SONG MASHUPS(1970s TO PRESENT)ART ARCHIVE 03

The human body that listens
to the patterned sounds did not

Familiarity with recorded sounds in an oral culture

have found a “friendlier” space for its development had

often results in the creative contrafacta by individuals

there been no internet that accelerated its circulation,

who mix their newly minted words in the vernacular toand the emo subculture, which readily resonated its

preexisting sounds heard in one’s auditory culture. By

aesthetics in street corners and in malls.

the 1980s, a few hit songs, the “Matud Nila” being the

The availability of videoke music did not determine

case example, were so idolized that a quodlibet was

the emergence of love song rap. A sufficient reason

written with it as framework. This technique is common

comes from the urban Filipino youth, especially thosein oral music cultures where songs are committed

from the working class whose DIY agencies wereto memory and not in writing. Justin Vasquez’s 2019afforded by simple home recording technology. Thisemulation of JhoMajikero’s original song is seen in how

agency continued with the song mashups in recent

the songwriter of the former’s song has followed theyears. While they were influenced by musical gags

latter’s work. The songwriter of Justin’s performance

mashups from celebrity comedian-hosts on TV and in

did the same quodlibet technique that layers, like alive performances, it was the listening audiences sharingof producing and experiencing

palimpsest, the new to the old form, without both being

each other’s creativities that mattered in the last instance.

these was totally not determined

evolve biologically from the 1970s
to the present but the meansby technology and media.

erased. Yet, JhoMajikero’s song was also built on the

To end the essay, it was indeed a “tango” dance

principle of orality. It was then new in the context of

between music technology and ICT, which afforded

the love song rap that mixed karaoke melodies played

music expressions, and the young people who decided

on the electronic keyboard with beats and rap.

As

and acted upon the possibilities of those technologies

a genre, love song rap can be traced all the way tofor ends that mirrored their fragile human experiences

the 1990s when hip-hop records gained presence

and identities. ■in the everyday local soundscapes. But it could not

1 The song also circulated as printed sheet music for those who owned
To sum up, being challenged to connect related

Anglo-American

pop

songs

were

few

and

melodies seems to be the primary motivation behindmusicians relied mostly on their trained ears to

the amateurs who risk displaying themselves intranscribe (sifra) the recorded music. The result was

YouTube channels or in those posted by their fans.

mostly covers, many of which faithfully rendered

The display of the act requires a strong familiarity ofthe originals. These covers were a response to therecorded sounds in the cultural environment. It is as if

imperatives of entertainment needs in venues intheir ears and mouths have already become a media

which music as commodity earned a means of living

for the intruding melodies of others, thus constituting

for both venue owners and musicians. These musics,

some kind of song ventriloquism in their own bodies.

mainly mainstream, complement the ethos of happy

This essay presented mashup as an art ofquotation that relies principally on memory work of42ofhour in bars, glitter of clubs featuring show bands, or

pianos.
2 However, this appearance seems to be a flop. Joffrey got out of tune due
to stage fright. Joffrey continued to write original songs, a number of which
was released in the album “Journey.” Three songs from this album havebeen distributed through Spotify.
3 This expression has been so hegemonic at the present moment that one
is blinded from seeing other alternative expressions.
4 One can still browse this type of love song rap in the internet. It is usuallycharacterized with no visuals, just a plain screen of lyrics that is uploaded bya YouTube user and fan.
5 JhoMajikero does not only compose rap songs, though one time CNN
Philippines voted him a place in the Top 25 Filipino rappers.
6 I thank Pat Dizon for pointing this out.

elegance and intimacy in hotel lounges.

electronically mediated preexisting works — aka

An important point that this essay has argued

commercially recorded sounds — and hence departis that the orality of contemporary popular musicalradically from musical practices involving written andpractices varied in contexts and aesthetics because of

printed music notation. As hinted above, the art oftechnological mediation and circulation. To put this inquotation — or song citation to be more precise —the biggest perspective possible, it can be said that thedeals primarily with aurality (by ear), a practical skill

human body that listens to the patterned sounds didthat most Filipino musicians are noted for and that

not evolve biologically from the 1970s to the present

has been partly a result of no access to printed music

but the means of producing and experiencing these(i.e., it is especially relevant to musicians who do not

was totally not determined by technology and media.

have the means for formal music education).

Orality in music means learning to replicate the music

In the 1970s and 1980s, gig musicians in popular

heard without memory aids like a score, the sounds’

music scenes in urban Philippines such as nightclubs

representation. It is remembering music patterns byand hotel lounges largely depended on recorded music

way of a schema—the formula—that governs how theto expand their repertories. Printed music scoresmusic as a citational process flows.

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watch?v=gKAO7W3aEL4.
“Stupid Love lyrics by Salbakuta,” 5:27, “karen matin-ao,” February 6, 2011,https://www.YouTube.com/watch?v=DJSGXXHwAPI.
“Funny Mashup Songs before ATE GAY: Name that Tone (part 1),” 3:09,“PapaLem TV,” November 2, 2014, https://youtu.be/NajdfgPNOLs“Ate Gay Mashup Compilation [Part 10],” 9:23, “PapaLem TV,” March 2, 2016,
https://www.YouTube.com/watch?v=KJdTJ6imn2E.
“Opm Band Songs Mashup | Angelica Feliciano,” 2:25, “Angelica Feliciano,”
July 14, 2017, https://www.YouTube.com/watch?v=Ti5SfsmE30A.
“TNTV Now: Froilan Canlas with Sam Mangubat - The Man Who Can’t Be
Moved and Say You Won’t Let Go,” 4:19, “TNT Versions,” August 24, 2018,https://www.youtube.com/watch?v=zu50lgClc7I

43

words by

ART ARCHIVE 03

PINOYS AND BATTLE RAP:
Handog ng Pilipino sa Mundo

LARA KATRINA
T. MENDOZA, PhD

40
44

Fig. 1

Fig. 1

In 2019, two controversial events rocked the hip-the exhibition match that showcases the rap skills

hop world. The first was the arrest of Marlon “Loonie”

of the emcees, and the music that rappers create is

Peroramas, popularly known as “Hari ng Tugma” (Kingconsidered the championship game. 5of Rhyme), in what police authorities claimed was a

Loonie was incarcerated at the Makati City Jailbuy-bust drug operation in Makati City on September

along with four others, including his sister and manager,18, 2019. 1 The second was the fatal shooting of John

Idyll, on that fateful September evening. On October

Ross “Lil John” de los Santos on October 20, 2019, in

27, 2019, he performed two of his most popular songs,

Imus, Cavite. Both rappers established their fame via“Bale Wala” (As if Nothing Matters) and “Tao Lang” (Only

FlipTop, the short and popular term for FlipTop: First

Human), before fellow inmates at the Makati City Jail. 6

Filipino Rap Battle League, founded and establishedThe video, 7 taken outside the walls of the prison, showsin 2010 by Alaric “Anygma” Yuson 2 and Kevin Vea, 3Loonie and a fellow hype man, singing and rapping to

aka DJ Umph One. 4 In the ten years of FlipTop, battle

an appreciative audience. Then Loonie, in trademark

emcees who have graced its stage have gone on

fashion, asked the crowd, “Sino dito gustong lumaya

to carve out successful music careers, somethingna?” (Who among you wants to be free?) Respondingthat Anygma staunchly believes is the end-all andto the uproarious adulation, the rapper fans of FlipTop

purpose of battle leagues. He insists that battle rap

who have lovingly proclaimed him as “Hari ng Tugma,”in general and FlipTop battling in particular is merely

broke into a cappella verse:
45

PINOYS AND BATTLE RAP:ART ARCHIVE 03

Handog ng Pilipino sa Mundo

Sino dito nahihirapan na?
Meron akong tula para sa inyo, sana magustuhan ‘nyo.
Kung nabasa ka sa ulan, ba’t sumisilong ka pa?
Aba lusungin mo na yung baha, maligo ka na!
Nasaktan ka na rin lang, nalasap ang luhang mapait,
Siguraduhin mong ika’y may makukuhang kapalit!
Pantay-pantay tayong lahat, mayaman man, maging dukha,

Fig. 3Ang mahalaga marami kang butong naipunla!
Kung gusto mo nang umayaw, pakinggan mo aking tula—
At tandaan mo lang palagi kung ba’t ka nagsimula.

Fig. 4

Pagsikapang itaguyod ang sariling pundasyon,
Tigas ng ulo mo nung bata ka, gamitin mo ngayon!
Bukas ko na lang susukuan ang buhay kong kay lupit—

Fig. 1

Tapos kinabukasan paggising, bukas na lang ulet!
Ang aking pusong umaawit, punong-puno ng galit—

Lanzeta x Invictus with the young actors and Dulaang
UP extras on the last day of the production shoot for the
documentary, “Usapang Hip-Hop” on June 2, 2019 at
Ateneo de Manila University
Loonie last July 6, 2018 during an interview with Lara
Mendoza at his home in Pasig City

Laging ganon, daming tanong, puro na lang bakit!

Fig. 2

Malapit nang maubos ang lubid ko, subalit

Fig. 3 Official logo of FlipTop

Maaari ko pa ring buhulin ang dulo at kumapit!

On stage at “Second Sight 7” Battle emcees watching the
7th and last battle of the night between Sak Maestro andFig. 4 Batas (Kevin has been videoing all events since 2010 while
Anygma facilitates the battle between the combatants) on
April 27, 2019, at the TIU Theater, Makati City

Kapit lang, kosa.8
Fig. 2

Translation:

Alaric “Anygma” Riam Yuson, founder and CEO of FlipTop,

Fig. 5 last June 13, 2019, during an interview with Lara Mendoza at

Who here is suffering?
Fig. 5

I wrote a poem for you that I hope you like.

the Baraks, Mandaluyong

If you’ve been wet from the rain, why seek shelter?

BATTLE RAP AS A CROSSING OVER TO RAP MUSIC

Why, dive into the flood and bathe!
You’ve already been hurt, tasting bitter tears.

who is infamously known as being an “open book,” 9

his lines were coming from a different wellspring.

When one thinks about battle rap in the Philippines,

Just make sure that you get something in exchange in the end!

was an emotional turn for fans, friends, and intrepid

Combing his Facebook posts after his untimely demise

FlipTop is inarguably top-of-mind recall, so much so

We are all the same, whether rich or poor,

observers of the rapper superstar. The effect and power

revealed that prior to his battle, he and Sak Maestro, 12that FlipTop is synonymous with hip-hop and rap to

What matters is how you’ve sowed seeds of legacy.

of Loonie’s lines were palpably felt in the outpouring

another decorated and controversial battle emcee

outsiders and piques hip-hop insiders, as the name isIf you want to give up, listen to this poem I have written –of tearful support from Loonie’s faithful in heartfelt

from Davao City, had an exchange on Messenger. Lilbandied about as a generic reference 14 for the culture

And remember always why you started what you started

YouTube video tributes and Facebook posts. Indeed,John was sober in his dealings with Sak, who, in turn,itself. 15 BLKD patiently explains that FlipTop is akin to

Strive to build your own foundations,

life can imitate fiction, and Loonie’s uncanny ability

buoyed his spirits by reminding him to return to thethe big leagues such as the PBA 16 or NBA, while the

You were once a hard-headed kid, so capitalise on that now!

to pen verses that capture the pathos of multitudes iscore reason for doing what all emcees ought to do: toother leagues and battle events are seen as the little

I will surrender to this hard life on the morrow –most manifest in this moment, submerged as he is inentertain, have fun, and make some money, too. 13

leagues. 17 FlipTop events feature aspects of hip-hop

And when a new day dawns, I can say that I can do this!

his own living hell.

My heart is singing,last battle leave a gaping hole in the hearts of thoseculture, such as turntablism, graffiti art, and battle
emcees in exhibition and competition matches. 18

little man in more ways than one. As part of 3GS, or

who had considered him as brother, cousin, buddy, andExhibition battles are put together according to

So many questions, always asking why.

3rd Generation Supremacy, a collective of rappers who

friend. His death was a loss felt by the entire hip-hop

how emcees’ rap skills and battle style will create an

My patience is a rope wearing thin, but

started out as battle emcees in other leagues such

community.

ideal match-up. In the early years, Anygma shares that

I can still knot the ends and hold on.

as TM RAPublika and Sunugan, he and his brothers 10

The abrupt hacks to hip-hop’s soul, as it were,since there was still no precedent, match-ups were hit

You, too, must hold on, brother.

built the reputation of 3GS, with his signature comedic

have been swift and spaced closely with each otheror miss. Over time, he got a better feel of individual

style in battle rap. On October 20, 2019 while riding his

in light of the two incidents mentioned above. Fromstyles and created match-ups that would entertain

Writing (and speaking) as one who, over the course

motorcycle, Lil John was shot twice in the head andincarceration to death, the stories of Loonie and Lil

the crowd while being a showcase of fine battle skills.

of more than one year of fieldwork among the urban

died on the spot. His last battle, it turned out, was on

John capture what heartaches are borne by not justThe seventh match-up, considered the marquee battle

hip-hop FlipTop battle and rap event scenes in Manila,

October 12 at FlipTop’s Bweltang Balentong 6 event at

one hip-hop enthusiast but by an entire community. Theof the night and banners the line-up, is designed andhas learned to appreciate and love the work, ethos,TIU Theater in Makati City, against Cripli. 11 Witnessing

contributions of both emcees to hip-hop have been

destined to bring the house down with the flamboyant

and lifestyle of hip-hop enthusiasts and practitioners,that battle from the audience, I noticed that his usualsignificant, and no other stage has been as noticed andstyles of the featured emcees. 19

verve and joie de vivre was replaced by a somberness;given much attention as FlipTop.

Overflowing with rage –this recent development in the ongoing saga of Loonie,
46

Posthumously, such posts and the memory of his

Lil John, on the other hand, was every rapper’s

47

When one thinks
about battle rap
in the Philippines,
FlipTop is inarguably
top-of-mind recall,Fig. 6

so much so that
Fig. 7

The first battle of FlipTop took place at Quantum

as it is this particular sub-genre of hip-hop style that

Café, Makati City, on February 6, 2010, featuring fivehas placed the Philippines on the map of rapping,battles: Batas versus Abra, Datu versus Cameltoe,

with FlipTop Battle League as the most-watched

Protegé versus Fuego (English), Apoc versus JedLi(online) league in the world. 25 This singular statistic is(English), and NothingElse versus RBTO. 20 There werequite peculiar considering the relative infancy of thealso performances by Loonie, Nimbus9ne, Skarm,

Philippines in the area of battle rapping, and yet it is

Schizophrenia, and Caliph8. Dante Romero estimatesthis unique popularity, surpassing older leagues withcrowd attendance to have numbered no more thanmore seasoned battle emcees, 26 that is, in and of itself,

100 that evening, a far cry from what FlipTop events

the gift and legacy of Pinoy rap to the world.

are today, where fans are packed shoulder to shoulder,

It is worthwhile to discuss the significance of rap

vying for choice spots nearest the stage and the battle

music and why Dizaster, 27 considered by Loonie as theemcees. 21

best battle emcee and Eminem’s favourite, 28 touches

Competition

battlessimulate

sportsleaguecities of New York City in the 1970s, has been definedby rage and resistance. In daily urban existence, it isthe economically-disadvantaged who bear the backbreaking burden of basic survival, if at all. Cramped
dwellings, crippling traffic conditions coupled withthe dearth of transportation options, and inequitable
employment opportunities are among the factors thatdrive those who occupy the lowest rung of the socioeconomic ladder to the brink of despair, hopelessness,and madness. Just as the immigrants from the
Caribbean and Africa turned to pulsating percussions
and syncopated rhythms that defied entrenched andacceptable musics of mainstream society, so have
Filipino emcees, deejays, break dancers, and graffiti
artists done thus, finding in rap and broken rhythms theheartbeats that punctuate and emphasise their own

with hip-hop and rap

stories of anguish and resistance.

to outsiders and piques

Divisoria at a fifth of the original price, hip-hop artists

hip-hop insiders,life.” 32 The official music video of Jheyzee 33 entitled,

as the nameis emphatic and reads like a hash tag movement

is bandied about as arepeated lament by rappers from the underground who

Derided for their hypebeast clothing, or knock offbranded wear that are bought at local tiangges andfind themselves fighting back by writing 16-line verses
to represent what Anygma refers to as their “slice of“Inaano Ka Ba Ng Tattoo Ko,” 34 captures the sentimentof many hip-hop artists. The message in this video
in the 21st century of woke branding: Stop Tattoo
Discrimination. More strikingly, the text narrates an oft-

structuring: elimination rounds take place in the first

BLKD, one of FlipTop’s Top 30 most viewed

half of the year, spread out across different FlipTop

emcees, earned his battle credentials by changing

events, and culminate in the grand championship battle

the way fans could view, appreciate, and learn aboutor finale in December to determine the champion for

hip-hop. He introduced esoteric lyricism in his bars

the year. In FlipTop, the competition rounds or matches

and also carefully broke down the merits (or lackare part of the Isabuhay Tournament with 16 emcees

thereof) of battle techniques and styles in post-battle

vying for the grand prize of Php100,000 and the title

adjudications. He speaks of the tension in Pinoy hip-hop

of Isabuhay Champion during Ahon, the last FlipTop

between underground and mainstream as emblematic

Hindi ko alam kung anong problema niyo sa mga may mga

event for the year. In 2019, the finalists who bested theirof the dichotomy that Dizaster presents from his own

tattoosides of the bracket were Apekz 22 and Sixth Threat. 23

North American perspective and hence, the reference

As of December 14, 2019, Day 2 of Ahon 10, Sixth Threatto Hollywood in the comments. For BLKD, this tension

PERCEPTIONS OF PINOY RAP: FROM THE OUTSIDELOOKING IN

emerged as the Isabuhay 2020 Champion in what

paints the particularities of the Pinoy hip-hop scene

It is no secret that hip-hop culture and its music

Apekz described as the “battle of the year” in a tweet

and why the need for mainstream recognition of theexpressions – deejaying, rapping and break dancing

Translation:days after the event.

creative impetus 29 of the underground is fraught with– get a bad ‘rap’. In terms of “street cred,” hip-hop

Sporting a tattoo attracts malicious perceptions

While on one hand Anygma insists that battle

misunderstanding between the larger society and theculture, hands down, is considered a culture of theWhy don’t you look at your own reflection in the mirror?

rap is merely a platform for the exhibition of ansmaller hip-hop community. This deep and unfortunate

streets, born, bred, and cultivated in and off the

Why is it that someone having a tattoo leads to theemcee’s rap skills in the hopes of fans crossing

divide, at its core, is a matter of perception of whatstreets by the street-smartest of gangsters, thugs, andconclusion that he’s an addict and a thief?

over to following the music of emcees, Dizasterhip-hop is and its importance and value, either to theeverything else in between. M Zhayt, 30 FlipTop emcee,

We are artists who are addicted to art

throws out a cautionary tale in saying otherwise as

individual — artist or non-hip-hop head — or the largeremphatically declares that hip-hop is street, and you

I don’t know what your beef is with people who sport tattoos

seen in a Tweet posted October 24, 2019 24 (seesociety as a whole.

cannot say that you are hip-hop unless you understandThose who go to church may have smooth skinthat hip-hop is of the streets. 31 The history of hip-hop,

But are, ironically, the judgmental and condescending ones.

Fig. 7). This essay will put emphasis on battle rap,48

on the tension between battle rap and rap music.

FlipTop is synonymous

traced back to its origins in the ghettos and inner

generic reference
for the culture itself.

have committed themselves to the entire lifestyle andethos of hip-hop, as seen in the following lines:
Porke’t may tattoo maligalig ang tingin
Bakit di mo kaya i-try tumingin sa salamin
Bakit porke’t may tattoo adik na kaagad at magnanakaw
Mga artists kami na sobrang adik sa art

Yung iba nga dyan, e, pala-simba, malilinis ang balat
Pero sila ang tunay na mapanghusga35

49

ART ARCHIVE 03

This deep and unfortunate divide, at its core,
OF GANGSTERS AND BEEF
Original Gangsters (OGs): K-leb and Pricetagg

is a matter of perception of what hip-hop is and its
importance and value, either to the individual – artist or
non-hip-hop head – or the larger society as a whole.
While choice of clothing, tattoos, and other such

assets one must possess or be willing to acquire if one

physical accoutrements are stitched into the DNA of

is to be considered as hip-hop and accepted by thea hip-hop artist, beyond such considerations lie thegatekeepers of the culture. In hip-hop, the influential

cultural and lifestyle ethos of hip-hop that will remain

artists are those who are universally understoodelusive to those who cop out on the enterprise of

and accepted as having contributed heavily to theimmersing one’s self in the culture, and learning topropagation, development, and evolution of the culture,appreciate and respect the choices of hip-hop heads

art, and everything in between. Before we can talkand practitioners to live, breathe, and perform hip-hop

about the music in general and battle rap in particular,

with passion and alacrity. There truly is a basic starter

it is helpful to take into consideration what defines

pack for those who consider themselves hip-hop, as

the push-back nature of hip-hop as it is played out inlocal parlance goes, and yes, loose pants or below-

gangsterism and beef culture.

the-knees shorts, loose statement tee-shirts (that are
produced by rappers themselves, either in supportof another rapper or ka-tropa, 36 or as distributed bythemselves with their own clothing line business) 37 ,bulky jackets, hardboard caps, tattoos, and bling arepart of the packaging. But there are more things or

Event poster of Grain Assault 1, the first FlipTop event held
Fig. 6
on February 6, 2010
Screenshot of Dizaster’s tweet (dated October 24, 2019) on

Fig. 7 doing battle rap as superior to joining the music industry
Fig. 8

Pricetagg and CLR at Hype Jam last March 20, 2019 at
FEU-Diliman in Quezon City

In a rap battle, possessing street cred as a legitimate

narrate how, at ten years of age (circa late 1990s andgangster lends power to one’s prowess and image.

early 2000s), they witnessed actual clashes of OG’s for

While it is clear that one slugs it out with punch lines

turf supremacy. Don Pao reminisces about the simpler

in battle rap, 38 drawing on one’s actual experiences

days of hip-hop when his older brothers (mga kuya 50 )as a thug on the streets puts the emcee on ascendant

would set up loud speakers and play radio music out ofground. BLKD shares that “beef”, or conflict in hip-the trunk of a car or the back side of a pick-up truck. 51

hop jargon, is a fundamental element in hip-hop. 39

This made for quicker and easier get-aways when gangs

Extending that analogy to battle rap, it is the hunt forwould attack from the neighbouring barangays. 52 It was“beef” juicy enough to use against your opponent that

also easier to evade police raids. Lhipkram narrates

can spell the difference between a Win or a Loss. For

how, when the going got tough, he would hand overwhat is hip-hop, BLKD asks quietly, smilingly, patiently,

stones, sticks, or any other such weapon to his OG

if there is no beef or conflict? The very nature of hip-kuya; 53 both he and Don Pao were then always told to

hop is confrontational and adversarial, and nowhere is

run away to avoid getting hurt.
Don Pao and Lhipkram found their release in thethis more manifest than in a rap battle.
Pricetagg 40

K-leb 41 ,42cogentworld of hip-hop and both are battle emcees. Don Pao

embodiment of the OG life. K-leb grew up idolisingdefeated Lhipkram in the championship round of Bahay

West coast rappers like Tupac Shakur and Snoop Doggy

Katay in 2017. Lhipkram shares that rap battling is not

Dogg, best known for their hard-hitting lyrics. Pricetagg

for all emcees but that he prefers it over composing

doesn’t hide his participation in the Crips versus Bloods

songs.

andprovideagang wars of his yesteryears (he was with Crips), and his

Dello and Flict-G were aware that the world ofzero-loss record in FlipTop is built on his reputation for

hip-hop had its dark side but never took part in any ofspitting gun bars. Both rappers share their experiences

it. Dello had his own band and loved listening to theof gangs, violence, and guns. Conflicts would arise fromradio and cannot fathom why he ended up being aperceived differences, as with social classes in a classic

rapper. 54 Flict-G knew that his friends were involved

rich gang (the Levi’s 501 rock band members) versus

in underworld activities but immersed himself inpoor gang (scruffy rappers) arc in K-leb’s Nueva Ecija

video games. When he wasn’t whiling away idle timechildhood, and Price’s tumultuous Bloods versus Crips

in a computer shop, he was happy listening to the rap

gang wars in La Union and Manila. The “beef” between

music of his idols such as Conflick and Gloc-9 of Deathindividuals would become the fight of the entire gang

Threat, the local rap group in the 1990s that gainedof which they were part, and many brawls, drive-by

fame for their hard-hitting bars and speed rapping, andshootings, and unfortunate casualties resulted fromit was from the names of his two idols that he derived

this. Both artists are exemplars of hip-hop heads who

his rap handle, Flict-G. 55 Sometimes, both share, youhave survived the turbulence of the early years (fromdon’t need to experience the violence to know how to

the 1990s until around 2010 43 ). Pricetagg’s hit single indish out gun bars, diss an opponent with personals, and2019, “Kontrabida” (Villain), featuring CLR, 44 a young,deliver the knockout blow with resounding haymakers,

prodigious hip-hop artist whose pen game is eclipsed

punch lines, and rhythmic agility.

by his soaring vocals, is a symbolic partnership between

In the world of FlipTop, Dello gained the moniker as

the older hip-hop head and the young, aspiring artist.

“King of Rebuttal” after making an impressive debut in

K-leb, formerly part of the collective, Rekta sa Kalye,

Second Sight, the second event in 2010. His ability tomaintains a vlog for aspiring hip-hop heads while also

do free style and turn the offense of his opponents into

being active in another collective, Lokalidad, mentoring

ammunition against them gained otherworldly status

younger artists such as Mel Rhyme, 45 Bulek, 46 andto the point that his fans wanted him to focus only on

R1CH. 47

battling instead of making music. Dello says, wait aminute. If you can’t support my music and then expect

Fig. 850

Running with the Wolves: Lhipkram, Don Pao, Flict-G,
and Dello

me to keep battling in FlipTop, which does not earn me

There are also those hip-hop heads who were

you aren’t showing the right support for the emcees. 56

kids on the sidelines during gang conflicts, serving as

Anygma acknowledges that FlipTop hasn’t achieved

runners or weapon bearers. Don Pao 48 and Lhipkram 49

the level of financial clout that can sustain the careers

a fixed, adequate income to sustain my family, then51

PINOYS AND BATTLE RAP:ART ARCHIVE 03

Handog ng Pilipino sa Mundo

The Founder of FlipTop
Alaric “Anygma” Yuson

Rap

BattleLeague:of emcees, and thus enjoins emcees in FlipTop to keep

Anygma earned an AB Philosophy degree from

In spite of such sentiments, however, Anygma has,

BLKD, in his earlier years of FlipTop battling, took

making music. For Dello, it’s music that gasses the art.

Ateneo de Manila University and during his graduating

apart from FlipTop, also started an artist management

great pains to explain the different criteria by which

In other words, music is what emcees sell so that theyyear, incorporated the papers for the foundation ofand production house, Uprising, which he and Jusshe judged a battle in the hopes of gradually educating

can hone their artistry and craft further in battle rap.

FlipTop. He was able to establish his company andRye 60 established. 61 When Uprising was established

all fans to the point that there would be no need

Flict-G established FlipTop fame with Flict-G bars,

secure his employment stability before graduatingin 2013, 62 the popularity of FlipTop had skyrocketed

for judges. 64 Of the wealth of talent that explodes

which he describes as playing with the given beats andfrom university. Anygma represented the Philippines

exponentially since 2010, and both Anygma and Juss

continually in the underground scene of hip-hop,rhythms of the poetic line. In his music and his battle

in international English battle leagues such as King of

Rye 60 were planning for the eventuality of a life post-

Anygma staunchly believes that the underground is

rap style, Flict displays the penchant for syncopatedthe Dot (Canada) and 1Outs (OneOuts/Australia) 58 and

FlipTop. BLKD describes this as Anygma’s “passion

awash with talent that needs to be mined 65 and muchdelivery and emphasis on the second and fourth

laments that his contributions to the local battle rap

project,” and while he acknowledges this to be thecan be gleaned and learned from keeping one’s selfbeats, defying the normal cadence of the spoken line.

scene are undervalued.

case, he also explains that in spite of his own “militant

open to a myriad of possibilities.

background” in hip-hop, his vision for Uprising is that it

In FlipTop, Flict’s aura is one of childlike wonder that
“I unfortunately feel underappreciated by majority

functions as a platform for upending the status quo of[So much has evolved in hip-hop]: different styles,

This, for him, is how rap is like art. He and Price agreeof the Filipino crowd. You can even go as far as to

hip-hop music.

different standards, creative directions, aesthetics...

with Dello that music is the gas that fans and audiences

check most of my battles online. The most often

need to support. Most, if not all, FlipTop emcees shareseeks ludic pleasure in upending established norms.

[In] Filipino hip-hop... there’s so [much happening]...

used comments or most popular comments on myUprising is a passion project, it’s a labor of love; but

I, of course, will side and champion the undergroundthe tacit understanding that battle rap is a platform forbattles would be, “Wala akong naintindihan,” (‘I didn’t

so is FlipTop... if the distinction really is that where do I

more than the mainstream. Because for one thing, they

the serious honing of rap skills, that include, apart fromunderstand anything’) and “Nosebleed,” and blah blahmake money more, then in that sense, yeah, FlipTop isn’t[mainstream music industry artists] don’t need my help

audience impact and delivery, the use of word play,

blah. So despite all my efforts and despite recognitiona passion project because we make our money there.

anymore, whereas the underground does... I’m of themultisyllabic rhyme, metaphors, references to current

on a global, international level, unfortunately my

But, other than that, it still is a labor of love, really... With

firm sentiment [that] it’s fine if you like this mainstream

trends and events, and personals to be used against

countrymen would rather be proud to say that they

my background, I could’ve been a doctor or a lawyer

thing, but why does that mean you cannot appreciate [thedon’t understand anything (chuckles). So, there’sor whatever, or so. So if it was about making money, I

underground, too], you know?... But a lot of people don’t.

that.” 59

could’ve gone and done that and made more money. But[In] Filipino hip-hop, there’s so many gems, and... it’s sono, I chose to do this because it is my passion, it is reallycliché to say [that] a lot of the gems are underground...

what I enjoy. And then Uprising just doesn’t happen to

Really, like, so many insanely talented, insanely deserving,

make us much money, so... (chuckles). But the efforts withinsanely forward, modern-thinking and all that. Galing,

Uprising would be a lot more particular. So, in FlipTop,

galing talaga, galing. (Awesome, awesome, awesome,with my role as... the organizer and all of that, as the head,awesome) 66

the opponent. 57

Fig. 9

Lhipkram on 26 April 2018; photo taken from his Facebook
Account https://www.facebook.com/lhipkram.dominguez

Crazy Mix, Flict-G, Curse One, and Dello on September 4,
2019, performing “Nakakamiss” during the launch of LaraFig. 10 Mendoza’s documentary “Usapang Hip-Hop: Ambagansa Eksena at Kultura” at Leong Hall Auditorium, Ateneo deManila University
Apekz on March 29, 2018 during an interview with LaraFig. 11 Mendoza at Our Lady of Assumption Scholasticate (OMI)in Quezon City

as the overall... kuya...I definitely have to be more open
to everything else. And I say that because... my hip-hop
background was very militant... So... I grew out of it or...
grew away from it but... with Uprising... the vision of it isreally good Filipino hip-hop music the way I... want it to beappreciated.63

Fig. 952

53
Fig. 10

Fig. 11PINOYS AND BATTLE RAP:
Handog ng Pilipino sa Mundo

FLIPTOP BATTLE LEAGUE: HANDOG NG PILIPINOSA MUNDO
Anygma certainly did not predict that FlipTop would

Abra and Shehyee, with their posh real names that

become the most-watched battle league in the world,

scream middle class – Abracosa and Ongkiko – were

outdistancing older leagues such as Versus Battle, 67

sharing the stage with the famous Hari ng Tugma

Ultimate Rap League, 68 and King of the Dot, 69 where(Loonie) and the hardened gangster, Smugglaz, thetheir emcees have been doing battle rap far longer

peerless speed rapper of 187 Mobstaz and gutsy

than FlipTop emcees. Flict-G shares that, when the

OG from Tondo. 75 That battle had everything: thepopularity of the battles exploded on YouTube intension between upper class and lower class in the2010, the emcees had a tacit understanding amongst

ribbing of Smugglaz and Abra, Loonie and Shehyee;themselves that this was a platform that they could

the personals against Loonie’s drug use, Shehyee’s

collectively nurture and grow as a source of unforeseen

infamous girlfriend Ann Mateo who was the butt ofwindfall blessings that also provided them with theslut-shaming, and Abra’s perceived “wack”-ness inspace to develop their pen game and delivery skills. 70

rap; sick rap skills in Smugglaz’ mellifluous and rapid-

Fig. 13

Fig. 12BLKD states that Anygma, who is also one of them,fire speed rap, Loonie’s signature multisyllabic rhymes

understands more succinctly what kind of support

and word play, Shehyee’s dramatic delivery, and Abra’s

rappers in the underground, “the small guys” withoutabrasive yet incisive spitting of bars; and humourous,

battle that Lil John fought, as this event happened aany corporate backing or signed up with record labels,

flamboyant punchlines and haymakers that drove theweek and a day before his violent and shocking demise.

need. Anygma affirms this in sober tones.

B-Side faithful wild with glee.

Anygma recounts that back in 2010 and 2011, a Fortune

There would be many, many more emcees who

500 company offered FlipTop a deal that he felt

Battle Rap Champions Mhot (FlipTop Isabuhay 2017)
and Sur Henyo (Sunugan Nike Battle Force Manila 2018)
during an interview with Patricia Alpay on March 22, 2019 in
Arkipelago Bar, Makati City

I’ve long accepted my calling to be the guy that has to dowould step onto the FlipTop stage who innovatedunderchanged and undervalued them. When he voiced

the grassroots work, because nobody else is gonna do it.

the art form, such as Shernan, who brought multiple

his rejection of the offer in firm, diplomatic tones, heLike, before me, nobody did it the way I did it... But, thecostume gimmicks to unparalleled heights, and thiswas told,level of passion, the level of sincerity, the level of genuine

was showcased in the marquee battle between him andappreciation for the artistic side and all of that, they can’t

Hazky, another costumed emcee, in Bwelta Balentong“Sayang naman (‘what a pity’) if you don’t take this. Where

match it. So, you know, I’m here for them, for the rappers.

6 on October 12, 2019 at the TIU Theater. The two

are you gonna be? You’re gonna be gone in a year.’ And... I

for the course, as he rails against “culture vultures,”

The league was, again, by rappers, for rappers. I’m here

emcees brought the house down as they emerged fromreally took that personal. And, unfortunately, their productor bandwagon fans. One day it could be rock, Anygma

for them at the end of the day.71

backstage in full makeup, wigs, and fashionista couture,is gone.” 76

says, and then K-pop, then hip-hop. But when the lights

wherein Shernan essayed the role of the pregnant wife

54

Fig. 12Fig. 13

Screenshot from the YouTube video featuring the battle ofLoonie vs. Zaito during Ahon on May 15, 2010 at Guerilla
Radio, Pasig City while a much younger Anygma (white shirt
and inverted cap) and Abra (red shirt) look on.

fade, will these same people stay loyal to hip-hop? 77

And the rappers who stepped onto the FlipTopof Anygma while Hazky was the sultry and seductive

The marketability and popularity of FlipTop remain

In FlipTop, Anygma has built a world where emcees

stage cemented their legacies in the hearts of millions

mistress. Choked with laughter, Anygma could barely

high. The league has already branched out beyond

have a voice that millennials listen to. Anygma zealouslyof fans worldwide. The battle between Loonie andgo through the motions of heralding the start of theManila and fulfilled the vision of going nationwide;

guards this world, where emcees can explore different

Zaito (part 1) on May 15, 2010 to date has garnered

battle with the iconic battle cry, “FlipTop, mag-ingay!”

FlipTop has divisions in Northern Luzon, Central Luzon,

techniques, hone their rap skills, and cultivate a unique

16.3 million views as of February 11, 2020, and its(‘Let’s make some noise!’). The crowd chanted, “Kiss!

Calabarzon, Cebu, and Davao, and it isn’t stopping. In

identity in the hip-hop firmament. He unwittingly gave

viewership will continue to grow. Loonie in 2010 was

Kiss! Kiss!” tittering and hooting for Anygma to give in,Ahon 2019, the Isabuhay Finals pitted two incredibly

young Filipinos something to be proud of and the world

a strapping twenty-something year old, looking every

and Anygma, true to form, flipped his middle finger attalented, lyrical rappers in Apekz and Sixth Threat. Of

a window into which they could view, appreciate, laughinch like the “stick figga” he was, 72 and he came to

Shernan who was clinging to his arm with possessive

the two, Apekz is a FlipTop veteran at the wizened age ofand cry along with Pinoy emcees. FlipTop has become

this battle event prepared with written lines that hejealousy. If there is anything that this battle highlighted,

27 – seemingly ancient in the youth-orientated hip-hop

his legacy to the world.

had memorised. Zaito, of the “old school” mould, relied

it was the pure and unadulterated love and respect

world – while Sixth Threat is the rising star wunderkind

on freestyling bars to a deejay-generated beat. Whilethat emcees and fans have for the founder, Anygma,

from Davao. Sixth Threat was crowned the deserving

I have to focus on the MCs. You guys [e.g. culture vultures,

Loonie eventually won the battle by a vote of 3-2 on

who, known for his sternness and being a stickler for

champion in a battle that was heralded as one of thethe rules, seemingly cracked when the two emcees

corporate vultures] don’t care about the MCs, you don’t

the strength of his lyricism and preparedness, and thebest finals in FlipTop history by emcees and fans.

titillated the crowd into showing their full appreciation

care about the lineup, you don’t care about the matchup,

simple fact that his style hooved more closely to the

Even on days that Anygma feels that he canfor the hard-working host and organizer. The assembled

you don’t care about the MC and his lack of funds inmodern format championed by FlipTop, the effectivity

retire from FlipTop, he is hounded by the prospect ofemcees on stage was a conglomeration of Who’s Who

paying the bills for his family. You don’t care about the MCof Zaito’s style resided in the good-natured humour of

who can keep the intensity and passion alive for thestars in the hip-hop firmament: Pricetagg, Flict-G,

having to enroll his 4-plus children, you don’t care aboutbasic looks shaming and light banter. As some of thebetterment not only of the league but for the entire

Abra, Apekz, Smugglaz, Mike Swift, BLKD. And manyany of that. And I have to. So I cannot waste my time trying

commenters in 2019 noted, they miss the ribald banter

hip-hop community. It’s a charge that Anygma hasmore luminaries were there, alongside the obviously

to accept every meeting from every random guy who“of old.”laid squarely on his shoulders and whatever it is thatwell-loved Georgy Porgy, Kevin aka DJ Umph, Supreme

thinks they can tell me what to do. ‘Di ba? It’s like that,

The most-viewed battle on FlipTop remains the Dos

makes FlipTop continue to be beloved of fans andFist, and mainstays in the tough bouncers and eventsand so I’ve become more and more jaded and bitter, but

Por Dos Semifinals battle between the duos of Loonie-

emcees alike lies in his hands-on intensity and searing

Abra and Smugglaz-Shehyee 73 on July 6, 2012. 74

photographer Niña Sandejas. This was also the last

brilliance and foresight. His militant gatekeeping is par

also focused on what we do.” 78
55

PINOYS AND BATTLE RAP:
Handog ng Pilipino sa Mundo

Postscript: This essay was written in late 2019 and while thewriter is cognisant of significant recent events in 2020, this
could no longer be included in this article. In particular, I referto the resounding success of the FlipTop Festival, marking thetenth year of FlipTop, held on February 7 and 8, 2020 at the
Aseana Concert Grounds. Many of the big names in the hip-hop
firmament graced this event, dubbed by Anygma as the biggest
hip-hop festival in the country and markedly different fromfestivals of other genres. One significant highlight of the festival
was the video tribute to Loonie, met with the tearful and joyful
cheers of the fans when Loonie himself stepped onto the stage
and performed his beloved songs with an adoring, swooning
crowd fervently singing along. There was not one camera thatwas not held aloft to capture Loonie’s first public appearance
since his release on January 24, 2020, after he posted a bond of
two million pesos.79 ■References
Abracosa, Raymond. Interview with Raymond ‘ABRA’ Abracosa, 24 July
2018.
‘Alaric Riam Yuson: The Father of Fliptop (First of Four Parts)’, 15 August
2011. https://ph.news.yahoo.com/alaric-riam-yuson-father-fliptop-first-fourparts-000000145.html.
Anonymous Battle Emcee. ‘Laban To!: Ang 2019 Isabuhay Tournament
Bracket’. FlipTop (blog), 2019. https://www.fliptop.com.ph/article/laban-toang-2019-isabuhay-tournament-bracket.
VerseTracker. ‘Anygma’. Accessed 30 October 2019. https://versetracker.
com/rapper/anygma.
CNN Philippines Staff. ‘Rapper Loonie Released on P2-M Bail’. CNN
Philippines, 26 January 2020, sec. Entertainment. https://cnnphilippines.
com/entertainment/2020/1/26/loonie-marlon-peroramas-release-makaticity-bail.html.
Constantino, Brianne. ‘Loonie Entertains Fellow Inmates at Makati City Jail’.
Music Events Entertainment Lifestyle Gaming Afterparty. Myx, 28 October
2019. https://myx.abs-cbn.com/features/20848/loonie-performs-atmakati-city-jail.
Delos Santos, John Ross. ‘Salamat Sak Maestro’. Status Post.
Facebook (blog), 12 October 2019. https://www.facebook.com/photo.
php?fbid=402632620669785&set=a.105287417070975&type=3&theater.
Demetrio, Allen. Interview with BLKD (#1), 31 May 2018.
———. Interview with BLKD (#2), 10 July 2018.
Dionisio, Daniel Jade, and Ryan Armamento. Interview with KJah and Juss
Rye, 22 July 2019.
Dominguez, Phil Mark. Interview with Lhipkram (#2), 11 June 2018.
Enriquez, Allen. ‘UMPH Is Also a Filmmaker. He Is the Video Department of
FlipTop.’ Tweet. Twitter (blog), 10 October 2017. https://twitter.com/imBLKD/
status/917648936302608384.
‘FlipTop: The Story Of The Philippines’ Most Successful Rap Battle League |FHM Ph’, 25 October 2017. https://www.fhm.com.ph/people/scene-stealers/
fliptop-the-story-of-the-philippines-most-successful-rap-battle-leagueadv-con.
Gabriola, Christian Paolo. Interview with M Zhayt, 22 March 2019.
Guzman Gatmaitan, Wendell de, Reymond Buensuceso, and Jomari
Espiritu. Interview with Flict-G, Dello, and Price Tagg. English and Filipino, 20
March 2019.
Jheyzee. Inaano ka ng Tattoo ko (Official Music Video). Manila All-starEntertainment, 2019.
Lao, Paolo. Interview with Don Pao, 8 July 2018.

56

Loonie LIVE Performance in Makati City Jail (credits to original ownersof the video: Jeffrey Parido Pallan and Zhenre Zei). Makati City Jail, 2019.
https://www.youtube.com/watch?v=XBN-yUsy48M&feature=share&fbclid=I
wAR3Qr_ZMhobCRb8VoYIfxRoV2fmB1kujpHlHhj2ylv7xy8-kwiMIQAXZ8cA.
Mayacyac, Thomas Lynmuel, and Marc Gonzalo Merino. Interview with Mhot
and Sur Henyo, 22 March 2019.
Peroramas, Idyll Li. ‘OFFICIAL STATEMENT RE Loonie’s SITUATION’. Status
Post. Facebook (blog), 30 March 2019. https://www.facebook.com/idyllliza/
posts/10219308532644826.
Ramirez, Rodel, John Edmel Taguniar, and Lestat Visaya. Interview with
K-Leb, Bulek, and Mel Rhyme, 8 July 2018.
Rappler.com. ‘FlipTop Rapper Loonie Nabbed by Makati Cops in Buy-Bust’.
Rappler, 18 September 2019, sec. Entertainment News. https://www.rappler.
com/entertainment/news/240468-rapper-loonie-arrested-buy-bustoperation.
Rivera, Raymond. Interview with Flict-G. English and Filipino, 6 February
2019.
Romero, Dante. ‘Let’s Take It Back: Grain Assault 1’. FlipTop (blog). Accessed
29 October 2019. https://www.fliptop.com.ph/article/let-s-take-it-backgrain-assault-1.
Syting, John Loyd, Bobby de la Cruz, and Micko Navarro III. Interview with
Proj 4 OGs (#2), 10 July 2018.
Uprising. ‘[WATCH] Rappler Live Jam: Uprising Collective’. Live Jam
Performance at Rappler Offices, Rappler, 23 November 2018. https://www.
rappler.com/entertainment/live-jam/217393-uprising-collective-musicsessions-november-2018.
Vaño, Paul Lester. Interview with Paul Lester ‘Klumcee’ Vaño, 21 February
2019.
Yagami, Bachir. ‘Dizaster Music Industry Tweet’. Tweet. Twitter(blog), 24 October 2019. https://twitter.com/MRDIZASTER/
status/1187221459107643392.
Yuson, Alaric Riam. Interview with Anygma, 13 June 2019.

1 “FlipTop Rapper Loonie Nabbed by Makati Cops in Buy-Bust”.
2 According to several interviews published online, Anygma is widely
recognised as the founder and CEO of FlipTop, where he acknowledges thisto be the case, but he also mentions that it was he and Kevin Vea (aka DJ
Umph of Mighty Miscellaneous) who co-founded FlipTop. See the following
footnote for the article.
3 “Alaric Riam Yuson: The Father of Fliptop (First of Four Parts)”.
4 Enriquez, ‘UMPH Is Also a Filmmaker. He Is the Video Department of
FlipTop.’
5 Yuson, Interview with Anygma.
6 Constantino, ‘Loonie Entertains Fellow Inmates at Makati City Jail’.
7 Loonie LIVE Performance in Makati City Jail (credits to original owners ofthe video: Jeffrey Parido Pallan and Zhenre Zei).
8 Loonie LIVE Performance in Makati City Jail (credits to original ownersof the video: Jeffrey Parido Pallan and Zhenre Zei). Peroramas, ‘OFFICIAL
STATEMENT RE Loonie’s SITUATION’.
9 Some terms of brotherhood are “bayaw (brother in law),” “insan (cousin),”“’tol (sibling),” and other such terms to indicate filial and intimate respect foreach other Real name: Arbheal Mancilla
10 Real name: Hansel Cabo
11 Delos Santos, ‘Salamat Sak Maestro’.
12 Real name: Arbheal Mancilla
13 Real name: Hansel Cabo
14 This practice parallels how Colgate refer sto all toothpastes or Xerox refers
to all photocopying machines in regular daily speak.
15 Demetrio, Interview with BLKD (#1).
16 Real name of BLKD: Allen Demetrio
17 BLKD explained this to me the first time I met him at Astá last June 2018,
which was a rap battle event held in a small bar, Catch272, in Quezon City.
That was also the first rap battle that I witnessed live. There were three

ART ARCHIVE 03

battles that evening, the third one being the marquee match featuring
an up-and-coming emcee, Sir Deo, from Bataan.
18 Demetrio, Interview with BLKD (#1).
19 Yuson, Interview with Anygma.
20 In the event poster, the fifth battl e was headlined in the event poster
as being between Apocryphal versus Mr. E, which was later replaced
by Apoc versus JedLi, as evidenced in the write-up of Dante Romero
about that historic first-ever FlipTop event in 2010. Read: Let’s Take It
Back: Grain Assault 1 at https://www.fliptop.com.ph/article/let-s-takeit-back-grain-assault-1.
21 Romero, ‘Let’s Take It Back: Grain Assault 1’.
22 Real name: Mark Anthony Cadiente
23 Real name: Fluvert Floy Cagampang
24 ‘Laban To!: Ang 2019 Isabuhay Tournament Bracket’.
25 Yagami, ‘Dizaster Music Industry Tweet’.
26 ‘FlipTop: The Story Of The Philippines’ Most Successful Rap Battle
League | FHM Ph’.
27 Demetrio, Interview with BLKD (#2).
28 Real name: Bashir Yagami
29 Real name: Marshall Mathers
30 Real name: Marshall Mathers Klumcee (aka Paul Lester Vaño) and
Abra (aka Raymond Abracosa) have shared as much with me in ourconversations in February 2019 and July 2018, respectively. While Abracontends that the discussion of an underground-mainstream binary is
no longer much of an issue as it was before, he also declares that it is
the underground ethos of hip-hop, knitted into its very DNA, as it were,that makes rap his music of choice because, according to him, hecan pretty much say anything he wants against the establishment. In
particular, he referred to speaking against the government and getting
away with it (Abracosa, Interview with Raymond ‘ABRA’ Abracosa.) As
we saw with what happened to Shanti Dope and Klumcee’s “Amatz,”the climate in 2019 seemed decidedly different as PDEA clamped
down on the airing of the song over radio airwaves and being
performed on television. And yet Klumcee does maintain that it is fromthe underground that the gems of creativity are most pure, saying thatsuch jewels are under-ground, and that no hip-hop insider can everturn their back on that, because it’s where each artist owes his or her
ultimate success. (Vaño, Interview with Paul Lester ‘Klumcee’ Vaño.)
31 Real name: Christian Paolo Gabriola
32 Gabriola, Interview with M Zhayt.
33 Yuson, Interview with Anygma.
34 Real name: Juan Carlos de la Cruz
35 Released October 27, 201936 Inaano ka ng Tattoo ko (Official Music Video).
37 Literally, of the same troop. To be ka-tropa is to be considered partof the pack or in hip-hop parlance, the collective.
38 Setting up an alternative business such as a clothing line, vapebusiness, or production house would be considered par for the course
for emcees who are cognisant that hip-hop music or battle rap is notforever. Hip-hop is subconsciously recognised as a culture that is of
the young, and as emcees get older, settle down with families, land
regular day jobs, they realise that they can’t keep up with the nocturnal
rhythms of the hip-hop scene. See also the interview transcripts during
Won Minutes last March 22, 2019, at Arkipelago Bar in Makati City,
particularly with M Zhayt, Mhot, and Sur Henyo, who indicated that inten years’ time, they see themselves as having their own businesses,
particularly in the clothing line business. (Mayacyac and Merino,
Interview with Mhot and Sur Henyo; Gabriola, Interview with M Zhayt.)
39 Lao, Interview with Don Pao.
40 Demetrio, Interview with BLKD (#2).
41 Real name: Jomari Espiritu
42 Real name Rodel Ramirez
43 Ramirez, Taguniar, and Visaya, K-leb, Mel Rhyme, Bulek.
44 For K-leb, he thinks that “unity” in Pinoy hip-hop was confirmed
only around 2015; my reference to 2010 as being the approximate
time that a semblance of unity was established among Pinoy
rappers point to what Flict-G (real name Raymond Buensuceso)
has described as a rallying point, timeline-wise, with the entry of

FlipTop into Pinoy hip-hop consciousness.
45 CLR is also Cebu’s Lyrical Rapper; real name: Chester Lalinjaman Romo
46 Real name: John Edmel Taguniar
47 Real name: Lestat Visaya
48 Real name: Richard Bryan
49 Real name: Paolo Lao
50 Real name: Phil Mark Dominguez
51 Literally ‘older brothers,’ but used in the figurative sense
52 Lao, Interview with Don Pao.
53 Syting, de la Cruz, and Navarro III, Proj4 OGs.
54 Dominguez, Lhipkram June 11.
55 de Guzman Gatmaitan, Buensuceso, and Espiritu, Interview with Flict-G,
Dello, and Price Tagg.
56 Rivera, Interview with Flict-G.
57 Original quote: “Dahil buong hip-hop- ang battle, part ng hip-hop, angmusic, part ng hip-hop, hindi mo sila pwede paghiwalayin at hindi mo
pwedeng bitawan. O sabihin, “Eh, sa battle ka lang magaling, eh.” Hindi
naman sinasabing ano, hindi naman sinasabing, pagtiyagaan niyo; i-shareniyo man lang dahil kung ayaw mo nung kanta, baka mayroon kang friends na
gusto ‘yung kanta, hindi lang makaabot sa kanya dahil hindi niya alam. Kung
i-she-share mo, baka makita. At least. ‘di ba? Kung gan’un lang na give andtake. At ‘yun ‘yung gas namin, eh. Hindi kami pwede mag-FlipTop lagi dahil
may binubuhay- ako, may binubuhay akong pamilya. At ang FlipTop once
every other month, so hindi siya consistent ang makukuha mo. Makakakuha
ka ng 50 sa isang buwan, next month walang battle, so yung 50 mo divided by
2, 25. Para ka lang ding empleyado. Ayun pa tapos, ‘yung music ang magiging
gas, eh.” (de Guzman Gatmaitan, Buensuceso, and Espiritu, Interview with
Flict-G, Dello, and Price Tagg.)
58 Demetrio, Interview with BLKD (#1).
59 ‘Anygma’.
60 Yuson, Interview with Anygma.
61 Real name: Ryan Armamento
62 Dionisio and Armamento, Interview with KJah and Juss Rye.
63 ‘[WATCH] Rappler Live Jam: Uprising Collective’.
64 Yuson, Interview with Anygma.
65 Demetrio, Interview with BLKD (#2).
66 Yuson, Interview with Anygma.
67 Yuson.
68 Russia
69 US
70 Canada
71 Rivera, Interview with Flict-G.
72 Yuson, Interview with Anygma.
73 This is in reference to the popular rap group, Stick Figgas, of which Loonie
is part.
74 Real name: Bryan Lao
75 Real name: Christopher Ongkiko
76 Perhaps one of their most famous hits was the anthemic song, “We Don’t
Die, We Multiply,” that featured the entire collective rapping sick bars one
after the other, inundating the hip-hop fan with the who’s who of their time.
77 Yuson, Interview with Anygma.
78 Yuson.
79 Rapper Loonie Released on P2-M Bail.

57

words by

ART ARCHIVE 03

SITUATING MUSIC IN THE CONTEXTOF RECENT TRENDS IN ORIGINAL PHILIPPINEMUSICAL THEATER PRODUCTIONSAILEEN DELA CRUZ

Fig. 1Long before theater was established, music was(chanted drama originating from the 14th century) andalready an integral part of early cultures. It accompanied

kabuki (dance-drama originating from the 17th century).

rituals and ceremonies as practiced by groups in small-

In kabuki, the shamisen (three-stringed traditional

scale communities from around the world. In Africa,

instrument of Japan) is added to the hayashi ensemble.

call and response chanting and dancing to the beat

The Chinese Peking opera, which flourished in the 17thof the drums abound in tribal rituals. The Philippines’

century, incorporates music and vocal performance,

babaylan (folk healer) performs chants and prayers anddancing, mime, and acrobatics. From then on, music

several types of body movements in a healing ritual.

became an indispensable aspect of theater and isMusic was used in theater by the ancient Greeks withevident in several theatrical genres, which developed

the use of aulos (flute) and percussive instruments

both in the East and the West. In the next centuries,

accompanying the recitation of their choral odes inwestern theatrical performances with music cametragedies that date back from the late 6th century

in a variety of forms. These theatrical genres include

BCE.

operas,In the east, music in the form of chanting,operettas,

melodrama,

minstrelshows,

accompanied by kotsuzumi (hip drum), otsuzumi

vaudeville acts, musical comedy, musical revues, and(shoulder drum), fue or nohkan (flute), is incorporated

the musical theater, also simply known as “musicals.”in traditional theater forms of Japan such as the noh
48
58

59

SITUATING MUSIC IN THE CONTEXT OF RECENT TRENDS
IN ORIGINAL PHILIPPINE MUSICAL THEATER PRODUCTIONSTHE RISE OF MUSICAL THEATER IN THE PHILIPPINESDURING THE SPANISH COLONIAL PERIOD
In the Philippines, the first form of westernmusical theater was introduced in Manila in 1878.
This was the Spanish zarzuela. This theatrical form
was developed and indigenized by local librettists

ART ARCHIVE 03

Popular jukebox

RECENT TRENDS IN CONCEPT MUSICALS
Putri Anak
Concept musicals were also produced in recent
years. Putri Anak, with script by Enrique S. Villasis andmusicals, which

Juan Ekis, and music by Verne de la Peña, is described
as a new komedya (from the Spanish comedia) andand composers according to the socio-political andinspired by the celestial maiden narratives in South

cultural needs of the time. It became highly popular

East Asian countries. It was staged by the University

in urban areas. The music composed for the sarswela(indigenized zarzuela) at that time referenced themake useof the Philippines College of Music on April 9, 2017,with two shows at the Tanghalang Aurelio Tolentino offoreign influences on musical genres that were
utilized to cater to and fit in certain scenes in theplay. The sarswela’s framework for plot structure
and music genres paved the way for the creationof modern sarswelas in the 1970s to the 1980s but
utilizing music characterized as freer in style andsometimes incorporating fusion of traditional andnewer musical genres.
Aside from sarswelas, Filipino librettists andcomposers created local operas such as Sandugong
Panaginip (The Dreamed Alliance) by Ladislao Bonus,

the Cultural Center of the Philippines. It had anotherof existing hit

Center Auditorium in UP Diliman (UPD) to celebrate
Buwan ng Wika (Language Month). The play is produced
as part of the college’s centennial celebration with thesongs bytheme “Sandaang Taon ng Himig at Tinig: Pagpupugay
ng UP Kolehiyo ng Musika” (One Hundred Years ofMusic and Voice: Offering from the UP College ofMusic), and was co-produced by the UP Center for

an artist,

Fig. 2

International Studies. Professor Amparo Adelina “Jina”
Umali III of UPD CIS directed the play and Enriqueconsidered as the first Filipino opera and Noli Me

Villasis collaborated with Christian “Juan Ekis” Vallez

Tangere (Touch Me Not) with music by Felipe de Leonon the libretto. Putri Anak is about a celestial maiden

Sr. The latter is described as the first full length
Filipino opera in Tagalog language with “music

is commoncomposed in the Western operatic tradition.”
ORIGINAL FILIPINO MUSICALSFast forward to several decades later, a numberof recent original Filipino musicals were createdwith newly composed music. One of these is Care
Divas, written by Liza Magtoto, and music by Vince De
Jesus; the musical tells about the struggles of five
Filipino gay caregivers in Israel. It was first staged in
February 2011 by the Philippine Educational Theater
Association (PETA) in its venue in New Manila. Anotherin the musicaltheater scene
in the west.

Popular jukebox musicals, which make use of

who lost her wings after bathing in the stream with her

existing hit songs by an artist, is common in the musicalsisters. Left on earth without her wings and unable totheater scene in the West. In this type of musicals, thereunite with her sisters, she helps two arrogant feuding

story can be built around the themes and emotions

warriors, Sultan Magnaye and Rajah Sulaymon, beat

expressed in the songs of the artist such as in Mamma

the mythical serpent Bakunawa.

Mia, which features the songs of Abba, a popular group

Komedya, also known as moro-moro, was derived

in the 1970s. Likewise, the songs can also be used tofrom the Spanish comedia de capa y espada. A cloak andtell the story of the artists such as in Beautiful: The

dagger play, it originated from the 17th century Spanish

Carole King Musicale.

plays on upper middle class manners and intrigue. But

The Philippines also has its own version of popular

the Philippine-adapted komedya performances showsjukebox musicals such as: Sa Wakas (At Last), a new

Christians defeating the Muslim Moors. Putri Anak as a

Pinoy rock musical featuring the songs of Sugarfree.

recontextualized komedya still retained some elements

This premiered in April 2013 and tells about thepresent in the older komedya forms such as the sing-

relationshipsong delivery of the lines in verses known as diccio

Leading Lady (How I Became a Leading Lady), createdbetween Topper, a professional photographer, and his

or dicho, and the gran batalya or the battle scenes. In

and written by Carlo Vergara, with music and lyrics byfiancée Lexi, a neuro-surgeon, which involves a third

addition, the loa (homage) was also retained along withpopular recent musical is Kung Paano Ako Naging

60

successful restaging in August 2017 at GT-Toyota Asian

breakdownofalong-termromantic

Vince De Jesus. This musical debuted in May 2015 as2016. The musical is set in the 1940s and inspired

party named Gabbi; PETA’s Rak of Aegis (featuring theother music styles such as marcha (march), pasodoble

part of the 9th Virgin Labfest, a festival of untried andby a young group of college students who became

songs of Aegis), which premiered on January 31, 2014,(music in duple meter), and laban (music for fighting).

untested plays organized by Tanghalang Pilipino andguerillas and fought for freedom. The creators of thea work not totally related to the popular foreign jukebox

They also incorporated the sintahan (romantic love

The Writers’ Block, Inc. It revolves around the story

musical decided to retain the character’s names:

musical Rock of Ages, but is about the story of Aileen,scene) as part of the plot of the story.

of Mely and Viva, two sisters, and the struggle of the

Cyrano, Roxane and Christian from the original work.

a young lady with a big golden voice who dreams ofSince komedya has its roots in the Spanish form

former to find her place in a world where superheroes

Binondo, A Tsinoy Musical, written by Ricky Lee withbecoming a viral sensation on YouTube and appearing

and was later adapted in the Philippines, de la Peña,

and supervillains exist. Mula Sa Buwan (From themusic by Von De Guzman, had its world premierein The Ellen DeGeneres Show; and Ang Huling El Bimbo:

composer of Putri Anak, tried to build a hybrid work.

Moon), an adaptation of E. Rostand’s Cyrano dein July 2018 at the Theater at Solaire. Inspired by a

The Musical (The Last El Bimbo) with songs by the

The music is described as shifting more toward theBergerac, with concept, direction and book by Pat

real-life story, the musical tells about the love story

Eraserheads, which opened in July 2018, and the story

Southeast Asian sound. The music was performed

Valera (also one of the lyricist), with music and lyricsof Lily, a Filipina night club singer, and Ah Tiong, arevolving around the friendship of Hector, Emman, andlive during performances by the UP Tugtugang Musika

by William Manzano, premiered at the Henry Lee Irwin

Chinese scholar who met and fell in love during the

Anthony who drift apart and are reunited by fate to

Asyatika (TUGMA) using gongs and drums, typical

Theater at Ateneo de Manila University in December

pre-martial law era.

confront their troubled past.

instruments comprising the musical ensembles found61

SITUATING MUSIC IN THE CONTEXT OF RECENT TRENDS
IN ORIGINAL PHILIPPINE MUSICAL THEATER PRODUCTIONSART ARCHIVE 03

Mabining Mandirigma

Pepe and the ensemble performing “AngBinusabos." A scene from Mabining Mandirigma

persons) wore black stylized tuxedos or suits with

Mabining Mandirigma (Mabini, the Warrior), with libretto

metallic accessories like chains hanging in front ofby Nicanor Tiongson, and music and composition by

their attire. Chorus members wore stylized costumes

Joed Balsamo. The play was presented by Tanghalangin black with studs and boots. Even the characters’

Pilipino, the resident theater company of the Cultural

makeup and hairstyles indicated steam punk looks.

Center of the Philippines. It was originally staged

Mabining Mandirigma is a type of musical that isin July 2015. The musical won 12 Gawad Buhay (Lifealmost sung-through, with very minimal dialogues

Award) awards including Outstanding Musical (Original

delivered by the characters. When asked about theTranslation/Adaptation) and Outstanding Ensemble

type of songs he composed for this musical, Balsamo

Performance for a Musical.

shared that the songs start closest to the original

The play is a “steampunk musical” highlighting

Fig. 3Fig. 1Another concept musical worth mentioning is

the political events in the life of the Sublime Paralytic,

Mga

Fig. 2 Putri Anak’s poster

Theater-in-the-round staging showing the battle scene
Fig. 3 between Rajah Sulaymon and Sultan Magnaye. A scenefrom Putri Anak
Fig. 4 Poster of Mabining Mandirigma

Fig. 4shifts to the new styles.

Apolinario Mabini, and his intellectual heroism during

An audience familiar with the musical convention

the time of the Philippine Revolution in late 19th century.

of operas and sarswelas can discern the use of

Apolinario Mabini was the legal and constitutional

recitatives, a speech-inflected style of singing in shortadviser to the Philippine Revolutionary Government

dialogues that segues to a more rhythmically stable

led by General Emilio Aguinaldo in 1898. Mabini laterand melodious song. Concertantes are also evident

became the first Prime Minister of the Philippines

in the songs that showed different viewpoints such

following the establishment of the First Philippine

as the scene between General Aguinaldo, Apolinario

Republic in 1899.

Mabini, and the ilustrados.

These characters were

According to Joed Balsamo, the composer offrom the middle class, and some have gone to Spain

the musical Mabini, the idea of staging a steampunk

to study and were exposed to Spanish liberal andmusical came from the director of the musical, Chris

European nationalist ideals of the time.

Millado, who is also the vice-president and artistic

While watching the play, one can notice that somein some Southeast Asian countries (like the gamelan

mixed with indigenous instruments such as gongs,

of Indonesia, gulingtangan of Brunei and the piphat ofkulintang and drums. They produced music that was

As a trend, steampunk started in literature. It

end of each line. Balsamo referenced the balagtasan

Thailand). According to Verne de la Peña, “the Philippine

diverse and interesting, some with dance movements

subsequently influenced films, musical plays, fashion(i.e., the poetic style of Francisco Balagtas, akulintang serves as a springboard of the music of theborrowed from neighboring countries.

and even video and computer games. It pertains toprominent Filipino poet who is considered as one ofa sub-genre of science fiction and science fantasy

the greatest literary laureates in the field of early 19th

director of the Cultural Center of the Philippines.

of the songs’ verses had a lot of rhyming words at theplay” and references musical styles present in AsianThe play also incorporated rituals and ceremonies

theater forms such as the randai (with its theater-in-

such as the cañao (from the indigenous groups ofincorporating

designs,

century Filipino poetry) style of rhyming and word

the-round convention of staging, this folk theater

Northern Luzon) and the sinulog (Cebu’s ritual-prayer

which took inspiration from 19th century industrial

syllabication in the lyrics of the songs in the musical.

tradition of the Minangkabau ethnic group in Malaysia

dance honoring Señor Santo Niño or the Child Jesus).

steam-powered machines. The genre has something

Other musical styles used include marches for songs

incorporates music, singing, dance, drama and the

Even the fight scenes and choreographies of battle

to do with the 19th century Victorian era’s mechanicalwith patriotic sentiments such as the rousing “Vivamartial art of silat), norah (also known as menora andscenes in the play utilized a variety of different Asiantechnologies. Steam power, clockwork and evenla Republica y Mabini” (Long Live the Republic andmanora, a type of dance drama originating in Southernmartial art forms and dances: the use of the arnis, theelectricity are just some of the objects depicted in

Mabini) sung by General Emilio Aguinaldo and theThailand; practiced mainly in the northern states of

Maguindanao and Maranao war dance called sagayan,

the steampunk’s visual aesthetics. It could be best

ensemble. Hints of vaudeville music can also be heard

Malaysia and southern provinces of Thailand), makyong

a martial art common to Southeast Asia called thedescribed by this statement: “What the past would lookin portions of the play, in which American political(a traditional form of dance-drama from Northern

pencak silat, as well as India’s Bharata Natyam andlike if the future had happened sooner.”

figures were introduced, i.e., referencing the early

Malaysia). Kulintang refers to a set of six to eight pieces

Indonesia’s Tari Java, a Javanese court dance.

of small graduated bossed gongs suspended on atechnology

andaesthetic

Composer Joed Balsamo described steam punk20th century American popular light entertainment.

Putri Anak’s music borrowed local indigenous

as belonging to “a certain period of time (in the past

“Pag-aalay” (Offering) is a beautiful melodiousmusic and layered these with rhythms from Southeastthat) is happening at the present time.” He also added

duet between Pule (the young Mabini) and his older

Aside from the indigenous instruments such as

Asian tonal modalities. It used “punctuative andthat it resembled “the punk aesthetics but tends toself, which expressed the young lad’s dream togongs, kulintang (gongs in a row), and drums, de la

cyclical, repeated structures commonly used in thelean more on the twisted side of it.” And true to thestudy and become a priest, and the older Mabini’sPeña also tried to retain the “traditional komedya brassregions.”

description of the genre, set designer Toym Imao’s

sentiments about what matters most: the compassion

wooden frame and played with two wooden beaters.

62(i.e., traditional) forms. As the work continues, thisband sonority” by including woodwind instruments

In the original form of the komedya, singing is notdesign of the Tanghalang Aurelio Tolentino’s stage

for fellowmen and the world, and love for country.

such as the flute, clarinet and saxophone, and thepresent but this innovation was added to Putri Anak.

had an image that resembled a clock with large kinetic

The song segues to contrapuntal singing by the twosnare and bass drum. Banduria, a

local Hispanic

In the play, the characters burst into songs whenevergears, accompanied by sounds of engines and moving

characters expressing their own sentiments aboutplucked lute with a body shaped like an onion wasthey need to express emotions and sentiments.

gears as smoke comes out from all directions of thetheir aspirations.

also added to the instrumental ensemble to reflect

Chorus of women are also utilized in the play as thestage. The costumes of some characters also reflected

The musical number that provided the best comic

lowland folk music traditions. These instruments werechorus of celestial maidens led by the seer Kadunong.

steampunk-cum-Gothic fashion. Ilustrados (educatedrelief was performed by Pepe, Mabini’s assistant,
63

SITUATING MUSIC IN THE CONTEXT OF RECENT TRENDS
IN ORIGINAL PHILIPPINE MUSICAL THEATER PRODUCTIONSART ARCHIVE 03

Steampunk is a new trend that started in literaturementee and sort of an adopted son, along withthe characters of the chorus. Entitled “Ang Mga
Binusabos” (Those Oppressed), the song makes
fun of the ilustrados’ snobbery and elitism. This isand later influenced films, musical plays, fashion

one of the highlights in the musical reflecting thepostmodern treatment of the theme. It showed thefusion of two contrasting musical forms, the old andthe new, as in the ragtime piano music and the rap

and even video and computer games. It pertains

sequence in a single musical number.
Another musical number that created an impact isthe song entitled “La Creme de la Creme.” A comical

to a sub-genre of science fiction and science fantasy

take on the socio-political status of the ilustrados, thismusical number used a slow march time music andincorporated stage gestures and movements by thecharacters imitating the mechanism of the wheels ofincorporating technology and aesthetic design,a train. In addition, the musical number is enhanced
by sounds of a train’s bells, drums, steam and whistle
that punctuated certain words for emphasis.
The Chorus (both referring to the ensemble ofwhich took inspiration from 19th century industrial

characters and the theatrical device from Greek
theater) was used in this musical to elicit reactions
and commentaries on the actions of the play.
Oneuniqueinnovation

conceptualizedinsteam-powered machines.

Mabining Mandirigma was that the main character,
Apolinario Mabini, was portrayed by a woman.
Delphine Buencamino essayed the role of Mabiniin the musical’s world premiere in July 2015. On

Ang Larawan: The Musicalthe second restaging, Repertory Philippines’ newly

64

Ang Larawan: The Musical (The Portrait: The

The songs of Ang Larawan used arias and recitative

unconventionallyMusical) is a film adaptation of the stage play ofsinging. “Kay Sarap ng Buhay nu’ng Araw” (Life isportrayed by women. Although strong from the point

the same title. Produced by Culturtain Musicat

Sweeter in the Past) is an aria sung by Paula andof view of the colonialists, the music reversed theProductions, the film was directed by Loy Arcenas.

Candida. “Ikinalulungkot Ko, Miss Paula” (It Saddens

power relationship.

The screenplay was based on the libretto by Rolando

Me, Ms. Paula), an aria sung by Tony and Paula, has

appointed artistic director, Liesl Batucan, took on

William Howard Taft, James Franklin Bell and General

the lead role in February 2016, with Hazel Maranan

Douglasalternating as Mabini. Monique Wilson played therole of Mabini in the latest restaging of the musicalin August 2019, also with Maranan as the alternate.

MacArthur,

were

also

Chris Millado, the show’s director, said the role

Nonetheless, the casting of female actors toTinio while the music was composed by Ryana hauntingly beautiful melody interspersed withof Mabini began as a technical problem since theportray male characters was not a recent innovation

Cayabyab. The stage play was produced in 1997 byrecitatives in between. “Hindi Simple ang Buhay”

artistic team wanted the main character’s voice toof that production. Both foreign and local productions

Musical Theater Philippines and presented at the(Life is not Simple) is another aria sung by Don Perico,be unique from the rest of the cast. It was actuallyof Peter Pan, for example, already cast female actors

Cultural Center of the Philippines. The musical playwith a melody that brings to mind the song “Gus, theresolved by casting a female actor to play the leadto portray the title role. In one Philippine production

was, in turn, based on a 1950 play The Portrait of theTheater Cat” from the musical Cats by Andrew Lloydrole. Another reason for Mabini being portrayedof Shakespeare’s King Lear, director Anton Juan castArtist as a Filipino written by Nick Joaquin.

Weber. In “Muebles” (Furniture), recitative singing

as a woman had to do with the intent to symbolize

the Repertory Philippines founder, Zenaida Amador,

The play is set in pre-war Intramuros, Manila inis heard between Manolo and Pepang, Candida andpower. As Liesl Batucan explained in a collaborative

as the titular character in 2001. Another example

1941. The story revolved around two unmarried sisters,

Paula’s brother and sister, as they talk about things

interview by AXL Powerhouse and Evo Contravida,

was a local presentation of excerpts of Jesus Christ

Candida and Paula Marasigan, and their struggles tothey can inherit from their father.

the decision was based on the need to hear theSuperstar by Andrew Lloyd Webber in April 2009 at the

make ends meet after their painter father became“Ang Pianista at Taga Piano” (The Pianist andvoices of the marginalized, the weak, in the midst of

TAuMBAYAN, a bar located in Kamuning, Quezon City.

ill, stopped producing artworks, and was unable to

Piano Player) sung by Tony, a bodabil (local term

the more powerful and the more influential political

The roles of Jesus and his disciples were portrayedsupport them anymore. Adding to the conflict wasfor vaudeville) pianist, and “A Tisket A Tasket” sungfigures. Similar to a marginalized woman, Mabini isby women. In this presentation, Filipino singers

the dilemma whether to hold on or to let go of the

by Susan and Violet, both bodabilista (vaudevilleweak, a paralytic who needs to let his voice be heard

Agot Isidro portrayed Jesus, Bituin Escalante played

portrait, a painting by their father, which could be a

performers), used vaudeville show tunes which wereby the generals and the society’s educated class,

Judas, while Aiza Seguerra essayed the role of bothmeans for them to live comfortably if sold for a hefty

very appropriate since the theatrical genre was one

the ilustrados. In the fourth rerun of the musical,

Magdalene and Caiaphas. The all-female cast of thissum.

of the popular entertainments during the pre-war era

different American characters, such as Mark Twain,

pre-Lenten presentation wore an all-white attire.

in which the play is set.
65

SITUATING MUSIC IN THE CONTEXT OF RECENT TRENDS
IN ORIGINAL PHILIPPINE MUSICAL THEATER PRODUCTIONS

Putri Anak,
Mabining
Mandirigma andAng Larawan
produced music

Fig. 6

FollowingthetraditionofDisney’s

original

such as arias and recitative singing, which started insoundtrack of animated films, Ang Larawan: The

European operas from the 17th century up until theMusical (film version) released a pop version of “Kaypresent. To summarize, Mabining Mandirigma used

Sarap ng Buhay Noong Araw” performed by Yengmarches, ragtime piano music, rap sequences andConstantino. Another pop version of this song was

vaudeville show tunes, while Ang Larawan utilized

performed by the two lead characters, Candida

balse, salsa, and cha-cha rhythms, to name a few.

and Paula, portrayed by Joanna Ampil and Rachel
Alejandro, respectively.
Another surprising addition to the playlist of Ang

Fig. 5Conga music is heard in the songs “Hindi Pa Kami

that has cultural,social andMatandang Dalaga” (We are not yet Spinsters) by
Candida and Paula, and in “Conga,” performed by Elsa
and Patsy. In lilting triple time, balse (waltz) rhythm
can be discerned in the song “Ang Mga Tertulia” (Thepolitical contexts

Tertulias) performed by Tony and Paula. The songstarted first with recitative singing before seguing
to balse. Tertulia is a term used to refer to social
gatherings usually done in the early afternoon during

framed within

the late Spanish colonial period in the Philippines.
Tertulia consists of literary and artistic performances
by family members, neighbors, relatives and closefamily friends.

the plot of theWith these, we can conclude that even though
there has been a tendency in recent years for original
local theatrical productions that lean towards an

Larawan is the song “Kahapon, Ngayon at Bukas”

experimental approach by incorporating new sounds(Yesterday, Today and Tomorrow), a duet performed

using music software programs to manipulate andby Rachel Alejandro and Ebe Dancel, former front

combine musical styles or doing fusion of old andman of the band Sugarfree. The song serves as the

new genres, there has also been a tendency fortheme song of the film.

musicals to revert to the old musical forms, styles andIn 2017, the book Ang Larawan From Stage to Screen

conventions such as the aria and recitative singing.

was published by Anvil Publishing, Inc. It included

This clearly shows the influence of postmodernism

the script of A Portrait of the Artist as a Filipino by Nickin music. Used in local musical theater productions,

Joaquin and the libretto and screenplay by Rolando

one could see the manner in which boundaries from

Tinio.

the past and present musical styles are erased and

The film received 12 nominations in the 2017

these different styles were utilized to “meet as one”

Metro Manila Film Festival and won five awards,

in a single musical number. Despite the conflicting

namely, Best Picture, Best Director for Loy Arcenas,

musical trajectories, Putri Anak, Mabining Mandirigma,

Best Actress in a Leading Role for Joanna Ampil,

and Ang Larawan are works that have important

the Gatpuno Antonio J. Villegas Cultural Award, Best

cultural, social, and political values framed within theMusical Score, and Best Production Design.

plots of the musicals’ narratives. ■The musicals Mabining Mandirigma and Ang
Larawan still utilized the older singing conventions

With slight dramatic tension building in theconversation between Candida and Paula, anotherbalse rhythm is put to great use in the musical number“Walang Ilaw” (There’s is no Light). The song depictsmusical’s story.

the characters’ fear about their electricity being cut
off, due to non-payment of the utility bill, only tofind out that they forgot about the announcementin the periodico (newspaper) that there will be a drill
in preparation for the war, hence, the reason for thebrownout.
66

Fig. 5 Ang Larawan: The Musical Film Poster
Fig. 6The conga sequence performed by Patsy, Elsa, Donya
Loleng and Manolo, from Ang Larawan: The Musical

References
ABS-CBN. “Portrait of success: ‘Ang Larawan’ wins MMFF 2017
best picture.” ABS-CBN News. https://news.abs-cbn.com/
entertainment/12/28/17/portrait-of-success-ang-larawan-wins-mmff-2017best-picture. Accessed October 22, 2019.
Ang, Walter. “UP College of Music’s Putri Anak reimagines the komedya.”Philippine Daily Inquirer. https://lifestyle.inquirer.net/259401/collegemusics-putri-anak-reimagines-komedya/. Accessed July 13, 2017.
Ang, Walter. “Peta Stages ‘King Lear’ in Filipino.” Philippine Daily
Inquirer, Lifestyle. Inq. https://lifestyle.inquirer.net/31263/peta-stages%E2%80%98king-lear%E2%80%99-in-filipino/. Accessed October 15,
2017.

AXL Powerhouse. “Liesl Batucan as Apolinario Mabini in Mabining
Mandirigma.” https://www.youtube.com/watch?v=DLq7m4T_zBU. Accessed
October 13, 2019.
danabatnag. “Jesus Christ Superstar at TAuMBAYAN.” Between the Lines
https://danabatnag.wordpress.com/2009/04/05/jesus-christ-superstar-attaumbayan/. Accessed October 15, 2017.
Soliman, Michelle Anne. “Tweaks in TP’s 4th rerun of Mabining Mandirigma.”
Business World. https://www.bworldonline.com/tweaks-in-tps-4th-rerun-ofmabining-mandirigma/. Accessed October 17, 2017.

67

words by

ART ARCHIVE 03

POWERFUL MOVE:
The Influence of Budots in Philippine Society

DESIREE PERALEJO

68

Fig. 1

Budots dance, originally from Camus Street in

di Laut (Badjao) are from. This essay will investigate how

Davao City and popularized back in 2006, has become aa dance, such as the budots, reflects Filipino culture andhousehold name among the Filipino masses. The dancesociety. Why is the budots popular among the Filipino

craze is associated with the local slang word tambay,

masses? What messages does the budots dance

meaning a person without a permanent job or who has acommunicate to its performers and viewers?

lot of free time. The term budots was given to the danceDance critic and historian Sally Banes points out

popularized by the local tambay folks of Davao City1 known

that there are two ways of understanding the purposeas the CamuzBoys. It is a free dance so to speak, whichof dance. It is reflective of culture, meaning that dance

originated from the Sama di Laut2 (Badjao) dances, that“is a mirror of microcosms where the workings ofcombined the Visayan word bistik, “bis,” meaning bisaya

culture, everyday life, and even government are actively(from the Visayas), and technorock (Tan 2019). The budots

registered from above on passive bodies below; andmusic mix was created by Sherwin Calumpang Tuna, moresecond, it has the potential to effect change” (Banes,

popularly known as DJ Love or Lablab (Celera 2019). It is44). Deborah Jowitt writes that “dancing and dancers

also said that the budots dance was created before thereflect intellectual and material trends in other spheres ofbudots music. This was revealed by filmmakers Jay Rosas

human activity” (as quoted in Banes, 43). Paul Wolffram inand Mark Limbaga’s short documentary entitled “Budots:

his essay Singing Spirits and the Dancing Dead describes

The Craze, which premiered in August at the Cinemalaya

that dancing among the Lak people of Papua New Guinea

Philippine Independent Film Festival” (Celera 2019).

“…is an essential nature to the nataka (spirits)… and that

The footwork is simple and basic. On bended knees

it is an activity that fundamentally reveals things as they(demi-plié), execute either a step-close-step-closeare” (Wolffram, 2011, p. 181). Dance thus acts as a form

(usually done by the males) or the clam action of openof representation of one’s culture, where emotions ofand close movement while the legs are slightly apartthe people are revealed through their movements and(usually done by the females). The torso moves smoothly

accompaniment. Whether life is good or bad, the people

in a wave-like motion with carefree use of the arms

echo their experience through movement. As a “product(usually rolling action upward or downward) and the headof culture” (Jowitt), it manifests how the people interpret(nodding along to the beat of the music). The clam action

their life and cultural experience. From these thoughts,

and the wave-like motion of the budots dance can also

everyday life is rendered through dance and music, andbe seen as a reflection of the water where the Samadance and music become indicative of one’s culture.
69

POWERFUL MOVE:ART ARCHIVE 03

The Influence of Budots in Philippine Society

It is reflectiveof culture, meaningthat dance “is a mirrorof microcosms where
the workings of culture,
everyday life, and evengovernment are actively

Filipinos easily recognize the ideology of pakikipagkapwa and pakikisama.

It is a group-centered value

may encourage a sense of “peace and comfort,” but also

‘BAHALA NA SI BATHALA’ (LEAVE IT UP TO GOD)

“isolation and emptiness.” In many cases, it can alsomean a “new beginning” (Scott-Kemmis 2018).

Dancing the budots has this connotation of dancing
one’s problems away. As used in the senatorial campaign

where acceptance and unity are desired. Pakikipag-

In addition, the campaign video used red to display

video, one YouTuber commented, “Isayaw na lang natin

kapwa may be practiced in different activities suchthe candidate’s electoral number. Red means “strong andang kalungkutan sa Pilipinas” (Let us just dance ouras singing, dancing, eating and playing together. The

powerful,” “masculine energy,” “leadership and ambition,”sorrows away in the Philippines) (PaoLul 2019). In reality,

thought and recognition of being united as a group, and“revenge and anger” and “good luck” (Bourn 2019). The

the carefree attitude of the spectacle has truth in it. Not

doing the same activities develop an understanding that

juxtaposition of being innocent, clean, and turning a new

only did the campaign gave the message of pakikisama

members are amongst equals, and that they are “one-leaf, with the strong and powerful red, was effective. The

or being one with the group, but it also projected being

of-us” (Enriquez 1992). Pakikipag-kapwa is a Filipino

campaign material was short yet irritating, but it was also

unconcerned at the outcome of a situation or problem.

mentality where the self is blended within a group. Kapwa

direct and entertaining. Most importantly, the use of theThis is another Filipino trait, the bahala na attitude.

means the “shared inner self” and/or a “shared identity”

Filipino values for pakikipag-kapwa and pakikisama was

Bahala na mentality is said to be “one of the Filipino’s

with others. It stresses that one is not different from thewhat conditioned the Filipino masses that this candidate

most important cultural values” (Enriquez 1992). There

rest and therefore is part of the group (Enriquez 1992).

was one with them, the people. This brings us to the issue

are two paradoxical meanings of the bahala na attitude.

Practicing pakikipag-kapwa may also indicate that socialof the social function of dance in society.

One refers to where and when Filipinos submit all theirhierarchy does not exist among them and that everybody
is an equal. Pakikipag-kapwa is closely associated withworries, troubles and anxieties to a higher Being as
DANCE FOR POLITICS AND IDENTITY

we often hear the phrase “Bahala na si Lord” or “Diyos

pakikisama. Pakikisama “is [the] yielding to the leader

Dance is a functional art form. It is related to rituals

na ang bahala” (It is now up to the Lord) during a crisis.

or majority; companionship; esteem; ‘alter-fellow,’ it is aof harvest, marriage, birth, death, war, worship as well

The second meaning is where one is encouraged tolevel of adjusting” in interpersonal interactions with otheras political advancements. For example, going back topractice their abilities or “own capacity to change thepeople (Enriquez 1992).

the development of ballet in sixteenth century France,

present problematic condition” (Enriquez 1992). The first

In my opinion, the Filipino values of pakikipag-

dance was used as a form of entertainment to appease

behavioral effect of the bahala na is being submissive tokapwa and pakikisama, deeply familiar among thethe people because of the political situation of the time.

the consequences and to God’s will as there is a sense of

on passive bodies

people, are what made budots popular. When used as“Sixteenth-century France was beset with intractable andacceptance of whatever lies ahead. Ironically, the second

a media campaign tool, it garnered votes among thesavage civil and religious conflicts: The French kings,

effect is where the person is challenged to be resourceful

Filipino masses for the candidate who was “acquitted ofdrawing on a deep tradition of Italian Renaissance…

and therefore tests her/his ‘abilidad’ (ability) to do things

below; and second, it

plunder charges by the anti-graft court Sandiganbayan

thought of spectacle as a way to soothe passions andfrom scratch. The remainder of the essay explores a

in December” of 2018 (Coconuts Manila 2019). Netizens

calm sectarian violence” where the French monarchcontemporary rendition of the budots dance on stage.

were outraged by his dancing the budots in his media“hoped that theatrical events might be an importantcampaign as it became a form of mockery of the justicetool, assuaging tensions and pacifying warring parties”

system. His minimal exertion in dancing, a very short(Homans 2010, 4-5).

registered from above

has the potential toeffect change.

70‘PAKIKIPAG-KAPWA’ AND ‘PAKIKISAMA’BUDOTS AS A CONTEMPORARY DANCE ON STAGE
Filipino values for pakikipag-kapwa, pakikisama andless-than-a-minute dance, did not deter his intention.

Dance is also used to identify groups of people. Dancebahala na are embodied in Erl Sorilla’s choreography

The negative turned into a positive as the candidate

movements and forms are quickly identified according

entiled ‘Budots’ in August 2017. This was performed

convinced the Filipino voters through the effects

to their culture and region. Specific movements areat the first Koryolab at the CCP Tanghalang Husengof pakikipag-kapwa and pakikisama. Viewers gained

associated with certain groups of people that give them

Batute. The Koryolab (choreographic laboratory) is

confidence and assurance that he is one of them.

cultural identity. In Toronto Canada, dance scholar Patrick

an outlet for aspiring Filipino choreographers. It is

To analyze dance movements as culture, one must be

Dancing the budots was a familiar powerful move andAlcedo mentioned in an interview (TFC 2017) that “identity

a space where emerging choreographers are given

grammatically fluent in the language of dance (Kaeppler,sound among the people, young and old. The targeted

is not only through labor, or other professions but also

the opportunity to explore, research and experiment199). Signs and symbols in any combination thereof,

viewers could easily relate to the idea of being carefree

through performance.” The project, entitled “Luzviminda:

with their choreographic ideas and abilities guided

convey various information in many contexts. In this essay,

and of being a tambay. The message of the campaign

The Philippines Dances for Canada 150,” was aby

I will relate movements to its communicative value, asking

connected to the viewers easily. After all, they had sharedcelebration of “Filipino-Canadians and the embodiment

Denisa Reyes and Myra Beltran. This platform began

how the budots dance was used to spread a message by

a common activity —the budots.

and expression of their diasporic identities” (Philippine

in 2017 as part of the CCP Choreographers Series,“aseniorandwell-establisheddance

pioneers

a politician, who eventually won a seat in the Senate in the

The campaign was well thought of. It was simple, short,

Canadian Inquirer, 2017). Through dance, people canthree-part platform that addresses three levels of2016 political campaign. The campaign took advantage

and easy to remember. Most importantly, it had underlying

identify regions and ethnicities, and gain a sense of bondchoreographers in contemporary dance: WifiBody.ph,of a common language tambay or being carefree, that is

messages. Not only did the candidate express his equality

and relationship. Dance has the ability to characterize

a competition for emerging choreographers; Koryolab,

resonant in the lives of the masses. The message wasusing the budots music and dance, the candidate alsogroups of people and their positions.

a presentation of short but completed dance pieces bydirectly injected to his desired target, the mass voters.

persuaded the people that he is a new person by using

Another example of showing their identity throughmid-career choreographers; and Neo Filipino, a venue forIf a dance such as the budots has the potential to effectthe color white against a white background. This helped

dance is the Lak people in Papua New Guinea who “literally

established choreographers to create and stage majorchange, then it obviously has influence on society. The

boost his campaign because the color white represents

perform their social relationships, showing onlookers whoworks…where all three have become the prime mover infollowing argues that the roots of this communicative

being “pure, clean and innocent.” It may also impress athey are by dancing in a group that is made up of their

the contemporary expression of the Filipino soul” (CCP

efficacy is in the social values.

clean slate or a new beginning. Seeing the color white

active exchange partners and relations” (Wolffram 2011).

Choreographers Series 2019). Erl Sorilla is from Iloilo city
71

POWERFUL MOVE:
The Influence of Budots in Philippine Society

CHOREOGRAPHER’S DEFINITION OF THE BUDOTS
and was chosen to be a dance scholar at the Philippine

Sorilla defines budots as “freestyle, baduy (kitsch),High School for the Arts. He then entered the University

primitive, tambay, and drugs, sex and violence” (Sorillaof the Philippines Dance Program in 2011 and became a2019). Budots as freestyle, according to Sorilla, is aboutcompany member of the UP Dance Company. He joined‘letting go’ and ‘feeling good.’ “People are doing it because

Ballet Philippines as an apprentice for two years and is

it makes them feel honey. It is liberating. It is pleasurable”

now a company member. As a choreographer, Sorilla, now(Sorilla 2019). Baduy has a number of meanings. It can

26 years old, is interested in Filipino values such as howmean out-of-date, un-cool, or low class (Tagalog Lang

Filipinos have fun together even if they have problems.

2019). Sorilla’s idea of baduy in budots is a combination

Filipinos “dance together over poverty and problems”

of being un-cool and low class. Sorilla describes budots

and the first meaning of “bahala na si Bathala (It is allas baduy because it “originated from the slums” (i.e.,

up to God)” (Sorilla 2019) mentality is the reason for this.

from a marginalized community) and that the music andSorilla embodied this in his choreographic work on the

movements of the budots dance is “retro and techno,”budots dance. He said, “All of my pieces are voicings out

which makes it un-cool or un-hip from the point of view ofof Filipino attitude and impediments. Now that the budots

Sorilla. Because the budots originated from the slums, it(music and dance) is trending, I became more curious

is associated with the word tambay because people fromwith it” (Sorilla 2019).

the underclass are often unemployed. The movements ofFig. 3the budots dance is also described by Sorilla as primitive.
The steps are grounded, and it is strong on the downbeat.

vocabulary to develop his own process in creating new

and the roles they play in society. He isolates or “breaks

In addition, based on Sorilla’s research, the “people whochoreographies. He said “I am still young, and I still want

free, dislocates,” and when needed “distorts” theirdance the budots are usually high on drugs,” and “there isto dance. There is a compromising balance between

identities so that they can dance the characters (Sorillaalso a sexual connotation to dancing the budots” (Sorilla

dancing and choreographing… I am still learning, and my2019). Sorilla explained that it took time for him to “break”

2019), while it trended back in 2017. Budots was also

process is still developing and changing” (Sorilla 2019).

his dancers away from their usual movement vocabulary,

popular at the height of the extrajudicial killings, or EJK.

Another influencing factor in Sorilla’s choreography

According to Sorilla (2019) “Eto yung times na namamatayof ‘Budots’ is YouTube. Type in the words “budots music“The body is a very malleable thing and I feed themyung mga bata” (This was the time when the children wereand dance” in the search engine, and you can get more

information that they can absorb, to actually internalize

killed). To create his work, Sorilla gathered all information

than thirty thousand results. Even on Spotify, several

and go through it. They feel the truth in what they do. That

about it. His work is a reflection of the current situation.

budots dance, budots remix, budots volumes andis the basis of the technique. We looked for the groove.

episodes have been uploaded and downloaded. The

The pleasure of dancing it (budots) and not thinking ofavailability of the budots music and dance on the internet

technique as ballet dancers. They were not conscious

CHOREOGRAPHIC INFLUENCE

which is classical ballet.

As a dancer, Sorilla has worked with different

has made it viral. The dance steps as well as the music

when doing it. It was raw. The intention was clear. Takechoreographers who “left an imprint” on who he is at

are determined to be as one where it is easily accessible

away the refinement of classical ballet and move in apresent: a dancer, a dance artist and a choreographer

to learn and listen to.

certain way” (Sorilla 2019).

(Sorilla 2019). He was greatly influenced while working

In the 1980s, a similar platform was used in spreading

To help his dancers to feel and internalize as well aswith choreographers such as Agnes Locsin, Elena Laniog,

popular music and dance. This was the MTV (Music

experience the groove of the budots dance, Sorilla took

Myra Beltran, and Denisa Reyes. He explained that “it is a

Television). The 1980s music and dance such as Michael

his dancers to a cheap night club in Malate where thetouch of their work that makes me who I am as a dancer

Jackson’s “Thriller”

and The Bangles’ “Walk Like anbudots (music and dance) is a regular part of the club’s

and artist and how I see and use my own vocabulary in

Egyptian” were quickly identified and performed by thenightly program. The choreographer and the dancers

dance” (Sorilla 2019). As a dancer, Sorilla is still young

masses due to the visibility of their music and dance

observed as well as joined in dancing the budots. “Masaya

and has a lot of years of dance performance ahead. He

moves on television. In the 1990s boybands and girls’ya” (It is fun) dancing the budots, “it was an experienceis currently dancing as a company member of Balletgroups such as The New Kids on the Block, Backstreet

for them,” to drink, get tipsy, and dance the budots (Sorilla

Philippines, the resident company of the Cultural Center

Boys, NSYNC, Spice Girls, and Destiny’s Child also2019). In the process of creating the movements for theof the Philippines. At the same time, he constantly creates

increased their popularity because of MTV. The use ofpiece, one of Sorilla’s processes was their immersive

something new from his movement experiences. Sorilla

media television increases the popularity of song andexperience at a night club. For example, for a step such

reflects, “It is important for me to still move and know mydance movements of the time. Now, with the internet,

as jumping or chugging, Sorilla inserted the idea andbody more to create more,” although sometimes he is

the availability and accessibility of music and dance arerecalled the memory of being drunk saying, “Walwal ka

torn “between being a performer and a choreographer”

amplified a hundred times more.

na sa alak (you are drunk or wasted from alcohol), thenyou are finding your balance. You are intoxicated and(Sorilla 2019). Nonetheless, he is open to different ways,
methods and processes of creating. This is because he

CHOREOGRAPHIC PROCESS

you do not have any control but you still want to be inis exposed to working with different choreographers andAs regards the choreographic process, Erl Sorilla firstthe beat and you are forcing yourself to still be happy”

artists. He embraces the idea of increasing his movement

isolates his thoughts of who his dancers are portraying(Sorilla 2019). Sorilla made his dancers drink to loosen up
73

Fig. 2POWERFUL MOVE:
The Influence of Budots in Philippine Society

ART ARCHIVE 03

Dance thus acts as a formof representationof one’s culture, where emotionsof the people are revealed
through their movements andaccompaniment. Whether life is goodor bad, the people echo theirexperience through movement.
Fig. 4and recall the experience of being drunk, dancing thethe teenage sector. The boys played the roles ofThen they danced the budots together with the

The second part of the piece was most interesting

budots and having fun, to be able to replicate the moment

being a bastard, an addict, a robber, and the rest

techno music, their legs opened and closed while theiras the choreographer wittingly chose and edited multiple

for the piece.

represented the children of the Philippines. They wore

upper body was freely released with the use of their arms.

news clippings and media reports of the extrajudicial

For the budots music, Sorilla “studied it even if it

worn-out clothes, projected that they were tambay and

Visually interesting was the use of lights by Katsch Katoy.

killings, drugs, rape and murder from YouTube. The

was awkward. ‘I wanted the dancers to be on the beat’”squatters. The six friends danced in silence, reflecting“It was a visual pleasure from the audience’s viewpoint,”

choreographer stitched the news recordings together(Sorilla 2019). The music intensifies and interweaves fromthat they were in a very tight space, living in the slums.

commented Angela Baguilat during the Q & A part of theas the accompaniment and music to the dancers. In

flowy and the techno beat. The flow of the Sama di Laut

It was dirty, dark, and had lots of mosquitoes for thechoreographic performance (Baguilat 2017). The light

this part, the movements became intense, serious and a(Badjao) music reflects the movement of the water or thedancers kept slapping and scratching themselves.

focused on each of the dancers frozen movement, which

sense of terror for their life was evident due to what was

waves where the Sama di Laut Badjao comes from. It

They squirmed and pushed against each other while

quickly changed when the light was focused on anotherhappening in society.

can also mean being laidback, careless, or relaxed. The

covering their noses to show that their surrounding

dancer. Watching on video the dancers appearing and

The final part of the piece was tragic. The backgroundtechno-music that is superimposed on the flow depicts

was stinking or had a foul smell. There was a sense of

disappearing while dancing their interpretation of themusic became a collection of Rodrigo Durterte’s cursing

the “here-ness” of society, a new and a faster way of life.

lightness with their comedic gestures and comments

budots was interesting and exciting. There was a sense ofand vulgar language. The clippings were edited together

such as “Sino umutot? Umamin ka na!” (Who farted?

nostalgia, a moment of reminiscing and flashback. Therewith the movements of pain and fear of the six friends.

Admit it!). There were laughter and a sense of

was a sense of thrill and curiosity to see who appeared

One of the edited news recordings showed the audience

THE BUDOTS DANCE BY ERL SORILLA

74

There are three parts in Sorilla’s ‘Budots.’ The first

family among the friends, a sense of belonging andnext and what movement was being done. The girls now

of Rodrigo Duterte enjoying his cursing and laughing withpart presents a group of friends from the slum areas incomfortability as well as the Filipino relationship andadapted the roles of being a mother (Jessa Tangalin) andhim. The choreographer here reminded his audience

Manila. Sorilla used Ballet Philippines dancers Jessa

respect among friends in being a “kuya” (big brother)

the daughter (Ramona Yusay) where they are drugged. In

about the kind of people in today’s society. In the end the

Tangalin, Ramona Yusay, Mark Balucay, Luigie Barrera,and “ate” (big sister). The six friends were intrigued

a daze, they appeared to have no life (Sorilla 2019). The

children are raided by the police and one of them died.

Bryan Abaño, and Justine Orande. He chose theseand mesmerized by a light strongly shining fromdaughter represented the young girls dancing in the red

Then the lights slowly faded.

dancers because they looked young as they had to portraystage right. They slowly walked towards the light.

light district while the mother is pained and drugged.
75

POWERFUL MOVE:
The Influence of Budots in Philippine Society

A CHOREOGRAPHER’S CHALLENGE
Initially, Sorilla did not plan his piece (‘Budots’) to bepolitical. However, with the guidance and advice of his

We (Filipinos)

mentors (Reyes and Beltran), “he was pushed to dig inand learn what is more with the budots, to lay it out andbe literal” (Sorilla 2019). The biggest challenge for Sorilla
was to have the courage to expose and let it out. Another
trial for Sorilla was the reaction of some of his audience
who disagreed on how the budots dance was reflected.
“Some people said that it is not budots. So I asked them,

are trying
to look‘What is budots?’ This is how I want to dance budots. It isfree style. Why can’t I be free? Some like it, some don’t”(Sorilla 2019).
A CHOREOGRAPHER’S REFLECTION“What is budots? ‘Budots’ is about humanity. I was justmirroring the time. It is a reflection of reality and it hurts

for temporary
happiness,because we are Filipinos. We are lovable and we are being
killed. It is about humanity and compassion. ‘Budots’ isvery personal for me. I find it interesting because of it
being wasak (broken). It is broken but it is also beautiful.
There are times that you find that temporary happinessin having quick pleasures. Then you go back and ask
yourself, what happiness really is? I realized that it is justan escapefrom the reality

ART ARCHIVE 03

References
Baguilat, Angela. 2017. Koryolab . Video, Manila: Cultural Center of thePhilippines.
Banes, Sally. 1994. “ Power and the Dancing Body.” In Writing Dancing in theAge of Postmodernism, by Sally Banes, 43-50. London:: Wesleyan University
Press.
Bourn, Jennifer. 2019. Bourn Creative. Accessed October 18, 2019. https://www.bourncreative.com/meaning-of-the-color-white/.
CCP Choreographers Series. 2019. Koryolab 2019. Accessed October
17, 2019. https://www.culturalcenter.gov.ph/events/dance/koryolab-2019/details.
Celera, Lex. 2019. Vice: The Origins of Budots, the Philippines’ Catchiest
Viral Dance Craze. September 10. Accessed January 30, 2020. https://www.
vice.com/en_asia/article/xwewa3/the-origins-of-budots-the-philippinescatchiest-viral-dance-craze.
Coconuts Manila. 2019. Netizens slam senatorial candidate Bong Revilla for‘Budot dance’ campaign video. May 6. Accessed October 18, 2019. https://coconuts.co/manila/news/netizens-slam-senatorial-candidate-bongrevilla-for-budot-dance-campaign-video/.
Enriquez, Virgilio G. 1992. From Colonial to Liberation Psychology: The
Philippine Experience. Quezon City: The University of the Philippine Press.
Homans, Jennifer. 2010. Apollo’s Angels A History of Ballet. New York:
Random House Trade Paperbacks.
Kaeppler, Adrienne L. 1992. “Dance.” In Dance Folklore, Cultural, Performancesand Popular Entertainments, 196-203. New York-Oxford: Oxford University
Press.
Kauman Sama Online. 2020. Information on the Sama. Accessed January
30, 2020. http://sinama.org/about-sama-people/the-bajau-and-samapeople/.

PaoLul. 2019. PaoLul. May 10. Accessed October 18, 2019. https://www.
youtube.com/watch?v=yC9BTdak3U4.
Pepper, Henny. 2012. Let’s Talk About It: Budots. November 11. Accessed
January 30, 2020. http://hennypepper.blogspot.com/2012/11/budots.html.
Philippine Canadian Inquirer. 2017. Philippine Canadian Inquirer. October 2.
Accessed October 21, 2019. http://www.canadianinquirer.net/2017/10/02/
luzviminda/.
PULOTU. n.d. PULOTU. Accessed January 30, 2020. https://pulotu.shh.mpg.
de/culture/sama-dilaut.
Scott-Kemmis, Judy. 2018. Empowered by Color. Accessed October 18,
2019. https://www.empower-yourself-with-color-psychology.com/colorwhite.html.
Sorilla, Erl, interview by Desiree Peralejo-Medina. 2019. Budots: Koryolab
2017 (August 19).
Tagalog Lang. 2019. Baduy. October 16. Accessed October 17, 2019. https://www.tagaloglang.com/baduy/.
Tan, Michael. 2019. Inquirer: ‘Budots’ and Filipino. August 23. Accessed
January 30, 2020. https://opinion.inquirer.net/123486/budots-and-filipino.
TFC, Balitang America. 2017. Luzviminda Project: A Mosaic of Traditional
Philippine Dance and Culture. November 3. Accessed October 21, 2019.
https://www.youtube.com/watch?v=7Z_PLsF6ERo.
Wolffram, Paul. 2011. “Singing Spirits and the Dancing Dead.” In AustronesianSoundscapes Performing Arts in Oceani and Southeast Asia, by Birgit Abels,
103-204. Amsterdam: Amsterdam University Press.

an escape. It is just an escape. We (Filipinos) are trying tolook for temporary happiness, an escape from the realityof things. It is merely a band-aid solution” (Sorilla 2019).
Making sense of a dance such as the budots goesbeyond the simple description of the movement. The
word budots has different implications, meanings, impact
and memory to different sectors in Philippine society. Theof things.
It is merely

budots may have different functions depending on whereor when it is performed. The budots can be seen andheard on numerous social media channels, television,and radio, used as a political campaign, in private homes,
night clubs and even on stage. More ‘freestyle’ dancing
and the combination of the Sama di Laut and electronic
music, the budots is also a reflection of the current

a band-aid
solution.

society. It is about the people who dance the budots, how
the budots make them happy and forget their current
anxieties. It is about the present problems and how the
budots dance elevates their worries to a higher Being(Bahala na si Bathala). It is about finding quick solutions
and happiness in spite of the depressing reality. It is

Fig. 1

about the family and being united as a group when theydance together despite material deprivation. ■76

Fig. 2-5

Asukarap Tiktok Budots Budodts Dance Best of Team
Camus 7. Uploaded on YouTube. Thumbnail courtesy of
Sherwin Calumpang Tuna
Koryolab 2017 Budots choreographed by Erl Sorilla.
Photo courtesy of Marveen Lozano

1 “Barangay Camus in Davao is a small quiet town until the techno music

2 Sama di Laut (People of the Sea) are one of the ethnic groups ofplays that signals the whole town folks to get out of their houses to dance
Budots” (Pepper 2012)

Southeast Asia known as the ‘Sea Gypsies.’ The Badjao are a subgroup of
the Sama that are renowned worldwide as the sea nomads of Southeast
Asia. (Kauman Sama Online 2020)

Fig. 5
Fig. 577

words by

ART ARCHIVE 03

MUSIC FESTIVALS IN THE PHILIPPINES:
Tropicality, Identity, Cosmopolitanism

TUSA MONTES

Fig. 1

For a musician like me, performing at a music festival

The music festivals in the Philippines are some of thehere or anywhere in the world is the stuff of bucket lists.

most important, interesting musical phenomena in the

To be invited to perform at a music festival is, morecountry. They capture and embody the Filipino’s passion

often than not, considered an honor. The festivals offer

for the arts, keen sense of identity, and lively celebration

opportunities for the musicians to experience a differentof community. Furthermore, most of the music festivals inkind of gig, one that is memorable, musically satisfying,

the Philippines offer a full range of music: as audience orand enjoyable. In a festival, musicians get to showcase

production crew or performer, attending and participating

their music and expand their network both locally andin them allows one a peek into the current music

globally, enjoying and appreciating others’ music, while

scene, with its diversity of styles and eclectic blend ofgaining support from them. At the same time, accepting

musicians and artists. One gets to witness, appreciate

an invitation to perform at a festival greatly benefits theand enjoy the Philippines’ local musical culture, while atfestival organizers as well. The musician-artist who getsthe same time providing opportunities to watch live top

invited plays a significant role in influencing the festival’sand distinguished international talents who travel all thedesired marketability, image and reputation. The quality

way to the islands. This essay deals with contemporaryof these music festivals is greatly defined by the roster oftransnational festivals initiated by non-governmental

talents that they present. Thus, in any ideal music festival,organizations with significant participation and support

performing musicians are expected to be treated andfrom expatriates and local government units.

featured fairly as “artists,” unlike the mundane “racket”
and harang (paid gig) where a musician is usually regarded
as an unnamed and unrecognized talent.
78

79

MUSIC FESTIVALS IN THE PHILIPPINES:
Tropicality, Identity, Cosmopolitanism

THE MUSIC FESTIVAL AS CULTURAL, TOURIST AND
AESTHETIC EXPERIENCE
Every music festival has their own traits that identify

the mangoes, etc. I argue, however, that to understandand distinguish them from each other. Important factors

deeply the country’s tropicality, one needs to go beyond

such as venue, concept, musicians/artist lineup, genre, andthe physical qualities. Historian David Arnold, in his booksocial/cultural context provide the festival’s unique features

The Tropics and the Traveling Gaze, stated that tropicalitythat are definitive proof that not all music festivals here arecan be understood as a “conceptual, and not just physical,

the same. In the Philippines, some festivals are genre-

space.”6 In Philippine context, further exploration andspecific, like the Philippine International Jazz Festival,1 thediscourse can be done on tropicality as a conventionally

Wanderland festival featuring indie artists and rock bands2

perceived cultural trait of the Filipino.

and the Philippine hip-hop music festival called “The Fliptop

It is in the music festivals in the Philippines where

Festival.”3 However, in spite of the distinct qualities of someone can discover and appreciate this. In varying degrees,

festivals, most of the music festivals in the Philippines havethe physical qualities of tropicality seen in these festivals

shared similar traits. As an industry, the music festivals in theprovide significant value. What is fascinating, though, isPhilippines are regarded as cultural, tourist and aesthetic

how tropicality is heightened from an aesthetic, cultural

possible genre available.11 Every single one of these pocket

on June 21, 1982, the first day of the summer solstice,experiences that, in spite of their differences, tend toand musical perspective. As community gatherings, thesestages was fully packed. Throughout the years, Fete de la

wherein any musician, professional or amateur, can makehighlight the country’s attractive qualities as both tropicalfestivals show where the tropical and the cosmopolitan

Musique always draws a big crowd. For a couple of nights,

music outdoors.14 The event was free and open to theand cosmopolitan.

experience intertwine and mingle. In the music festivals in

Fete de la Musique magnifies ten times over the country’s

public. For Fleuret, Fete de la Musique was to be a kind of

the Philippines, this mingling is an inevitable experience.

lively music scene.

“’revolution’ in the field of music, which tends to make all

In this essay, I discuss three music festivals in thePhilippines to provide some insight on the Philippines’
music festival industry. They consist of two festivals in theFig. 2

One other addition was a 25-minute multi-genre

music meet—without any hierarchy of genre or origin…”15

FETE DE LA MUSIQUE: 25 YEARS CELEBRATING
THE LOCAL FILIPINO

musical montage titled “#GlobeFete” that was created toSince then, Fete de la Musique has been held in more thanPhilippines’ capital of Manila, namely, the local Fete decommemorate the 25 years of Fete de la Musique in the

120 countries.16

la Musique and the Brasilipinas Festival, and one festival

The well-known music festival in France, the Fete dePhilippines. The montage was a medley of assorted Filipino

I have performed at the Fete de la Musique in theoutside Manila, the Malasimbo Music and Arts Festival

la Musique, which is now held in many parts of the world,

popular songs from the 1970s to the present. “#GlobeFete”

Philippines a number of times since my first Fete gig in

in Puerto Galera, Mindoro. These three festivals display

is celebrated in the Philippines in a spectacular way.

was a tribute in honor of those who made a significant

2003. My performances at the Fete have been usually at thevaluable traits that are, locally and globally, culturally relevantStarting out as a small, intimate street party in Malate,

impact on OPM (Original Pilipino Music). This part of theWorld Stage and a couple of times at the Main Stage, either

and meaningful. They have been around long enough to

Manila in 1994,7 Fete de la Musique, now in its 25th year in

production consisted of Filipino popular singers andwith the Afro-Brazilian percussion ensemble “Brigada,” or

influence the Philippine music landscape and yet, at thethe Philippines, has grown into a very big music festival, amusicians such as singer Bituin Escalante, world musicwith my world pop fusion band “Anahata.” Throughout thesame time, they have become tourist attractions thatfull-scale production with corporate sponsors, organizedicons Joey Ayala and Bayang Barrios, rapper Abra andyears, I have seen and observed the growth of Fete de laforeigners attend. I examine their impact on the Philippine

by Alliance Francaise de Manille, the French Embassy

acoustic singer Cookie Chua.

Musique here. Venues have changed, until the past few

music scene as tropicalized, i.e., conceptually renderedin Manila, and a local production outfit called B-Side

local, and cosmopolitan representations of Philippine

Productions.8 It now has an app that one can download to

percussionists

Philippine

in the musical acts and genres, the extensive venues andculture. As one who has participated in these festivals bothaccess all the necessary information about the Fete in theindigenous gong instrument called kulintang in the Worldnumerous pocket stages, reflect the strong cosmopolitan

as fan and performer, I argue that these music festivals

Philippines: a guide and map that shows the pocket stages,

Music segment of the montage. It is not everyday thatnature of the local music scene.

are significant community events that celebrate Philippine

schedules at the main stages as well as music playlists ofthis type of meaningful, grand musical number, a coming

On the other hand, I have also seen firsthand how the

popular music culture.

the artists performing in 2019.

together of some of the best in the local scene, is mounted.

Fete here has not changed in its intended vibe, atmosphere,

Through “#GlobeFete,” one gets to experience, watch andand character. The festival is held at around the same time

perform the history of Philippine popular music.

every year, as it is in France, in the month of June, and it is

While this particular festival highlights French culture
and music,9 this is the one annual music festival in the

COSMOPOLITANISM IN THE TROPICS

I became part of “#GlobeFete” as one of the
of

the

band,

playingtheyears, when the Fete was always held in Makati. The diversity“What has all this got to do with coconuts and rice?”4

Philippines where almost every Filipino musician shows

Fete de la Musique in the Philippines has certainly

free and open to the public, thus giving many people the

The late composer and Philippine musicology pioneer Jose

up to perform. The Fete de la Musique is a big deal for thecome a long way from the time it started 25 years ago.

chance to enjoy and discover what the local music scene

Maceda asked himself this question, contemplating on (his)local music scene—it has become an annual celebration of

However, time has not diminished the true spirit behind theis live, beyond the confines of TV, the radio, or the internet.

Filipino music identity while he was living in Europe andPhilippine music. I argue that the local Fete de la Musique

festival. Started in 1982 in France by Minister of Culture

It is moving to see the streets of Makati full of people

performing piano recitals there in the 1940s.5 “Coconuts

is a large community event that supports and showcases

Jack Lang and Director of Music and Dance Mauricebarhopping, trying to get from one stage to the next toand rice,” Maceda’s metaphor to describe the Philippines,

Filipino music and culture in ways no other music festival

Fleuret, Fete de la Musique was a response to Fleuret’s

experience different kinds of music. For the musicians, theconjures images of tropical island life.

could.

vision of the French musical landscape and practice: “theFete has become a form of panata (devotion), an event one

As a tropical country in Asia, the Philippines’ tropicalAt 25 years, Fete de la Musique in 2019 did not hold backmusic everywhere and the concert nowhere.”12 Surveys

tries not to miss, whether or not one is performing. Those

qualities that are seen and felt in its physical aspects

in making the event a massive Philippine music festival.

indicated how there were many young people in France

who do get to perform also have a knack of keeping track

like food, climate, and environs can never be overstated.

There were nine main stages spread out in different parts

who can play musical instruments and yet only a handfulof how many stages they will perform in each year. In its 25

The country’s tourism campaigns tend to highlight theof the country, in Manila, Baguio, Pampanga and Palawan.10

get to perform in the musical events there.13 In orderyears of existence in the Philippines, Fete de la Musique,

Philippines as a “tropical paradise”: the 7,100 islands,

In Manila alone, there were over 50 pocket stages—mostly

to encourage more musicians to perform and express

albeit with French origins, has become a localized music

the beach life and fine white sand, the coconut trees,bars and clubs in the city of Makati—that featured every

themselves, the first ever Fete de la Musique was launched

festival that is embedded in Filipino music culture.

80

81
Fig. 2MUSIC FESTIVALS IN THE PHILIPPINES:
Tropicality, Identity, Cosmopolitanism

ART ARCHIVE 03

pianist Anomalie, Jordan Rakei, Robert Glasper, and Hiatus
Kaiyote have all made their way to Mindoro Island. Cynthia

The music festivals

Alexander, Joey Ayala, Grace Nono, Bob Aves, Radioactive
Sago Project, IV of Spades, Nyko Maca, Apartel, Sino Sikat,
Brass Pas Pas Pas Pas are some of the most sought-after,
iconic, top-of-the-line local acts that legitimately represent thebest of Filipino music.
Indeed, speaking as one who has been to the Malasimbo
Festival more than once, to be able to watch and enjoy thein the Philippines
are some of themusic of this cosmopolitan artist lineup that Malasimbo has
become known for, in a scenic outdoor tropical environment,
is a thrilling experience and a feast for the senses. For Miromost important,

Grgic, a Croatian producer/DJ who is also the festival’s music
director, the dynamic mix of local and foreign artists in thefestival’s lineup also “keeps the festival’s musical integrity.”21
Fig. 3

Grgic also believes that while the international acts greatly
impact the musical and tourist value of the festival, the local
acts are equally important in the festival’s holistic vision, as well
as “keeping the local economy in circulation.”22

THE TROPICALITY OF THE MALASIMBO MUSICAND ARTS FESTIVAL
is located at a private property owned by the d’Abovilles, a

has curated so far tends to have a genre bias.23 In a CNN

always talk about the “#MalasimboMagic” and how the

French-Filipino family who set up a foundation that started

Philippines online article, Grgic mentioned that the music ofexperience of being there makes one see the value of thisthe Malasimbo Festival.18 The d’Abovilles envisioned a

the Malasimbo Festival is more of a “niche thing”24 —soul, jazz,festival as an exciting musical and cultural phenomenon.

music festival that promoted not only good music and theand world are mostly the kinds of music that one enjoys inStarted in 2011,17 the Malasimbo Music and Arts Festival isarts but also advocated for the environment and cultural

Malasimbo, and for Grgic, there is not much rock music.25 On

an international festival held annually in the early part of thepreservation.19 Mindoro is known as the home of one of thethe other hand, according to writer Alyana Cabral, there is still

Philippines’ summer season, around late February to the firstPhilippines’ indigenous tribe called the Mangyan. Thus, one

diversity that can be seen and heard “…not just in the artists’weekend of March.

of the festival’s supposed aim is to support and promote

mixed bag of native origins, but in musical perspectives.”26

The festival is known for its beautiful and inspiring venue,

Mangyan livelihood and culture by including them in the

I believe that, along with the cosmopolitan mindset inan outdoor natural grass-terraced amphitheatre in the foothills

festival events, selling some of their local crafts and otherthe festival’s music aesthetics, tropicality and identity areof Mt. Malasimbo, Puerto Galera, in Oriental Mindoro, an island

Mangyan art at the festival, at the Mangyan village replica thatprevailing concepts that define the Malasimbo Festival’s music

south of Manila. To get there from Manila entails taking a two-was built on the festival grounds.20 The food that is available

programming and repertoire. The music is about expressing

hour road trip to a port, then riding a ferryboat to get to Mindoro

at the Malasimbo Festival are local Filipino dishes that havein the coolest way the “tropical island vibes” that the venue

island. The element of traveling by boat to an island, thebecome staples of the festival. Besides the coconut drinks,

inspires. It is inevitable, then, that the festival featured a lot

outdoor amphitheater with its tall coconut trees, the beaches

some famous dishes are the “dabo-dobo,” a rice meal withof what has been widely regarded as “island music”—a lot ofthat the island is known for—these are the reasons why thechicken adobo, mushroom and garlic chips, and their “kesong

world music, and a lot of reggae. The festival’s headliner artists

Malasimbo Festival truly inspires and embodies tropicality.

puti pandesal,” a mini sandwich with locally-made, herbed

have more than once included leading local and international

carabao cheese and olive oil. These Filipino dishes add to thereggae acts like Jimmy Cliff, Ky-Mani Marley, who is a son of thefestival’s island tourist experience.

late reggae legend Bob Marley, Big Mountain, I-Dren Artstrong

and gives it its edge. Basically, it is all in the details. Aside fromthe country. They
capture and embody
the Filipino’s passion
for the arts, keensense of identity, andlively celebration of

the venue, the environs and the means of travel, there are also

While all of these contribute significantly to the so-and Kooii. Every year since 2011, the festival has never failed

the poster art, the coconut drinks they sell along with the beer

called “#MalasimboMagic,” at the heart of it though, is theto feature both local and international world music artists

and alcohol, and the outdoor art installations surrounding themusic. From the very beginning, the Malasimbo Festival has

such as Grace Nono, Joey Ayala, Bob Aves, Kadangyan, theamphitheatre. While the location of the festival is close to abeen known for its unique, eclectic, hard core artists’ lineup.

Adrinkra Lumads Djembe Community, Cebuano reggae band

number of hotels and beach resorts, festival-goers can also

Throughout its nine-year run, the festival managed to build

Junior Kilat, Gongmyeong ensemble from Korea, Gocoo Taikocamp out on the festival grounds. Indeed, Malasimbo’s tropicala track record of bringing in a diverse, good quality roster offrom Japan, Dayaw, and the Philippines’ premier Afro-Brazilian

quality enables the festival to become one of the forerunners

musicians and bands from both the local and international

percussion ensemble Brigada.

of Philippine eco-tourism.

scene. Foreign acts such as renowned Japanese DJ Krush,

Amidst the sense of tropicality, the numerous international

British Jazz pianist/singer Jacob Collier, RnB singer Joss

acts and the musical diversity, however, the Malasimbo

Fig. 2 Anahata performing at the World Stage Fete 2017

Festival never fails to include awesome artists that empower

Fig. 3 Brigada at Brasilipinas 2018

Aside from tropical qualities, there is also Malasimbo’s
cultural significance as a local festival in Mindoro. The venue
82

phenomena in

Grgic admits though that the music the festival

Anyone who has been to the Malasimbo Festival will

Tropicality, in fact, is what defines the festival’s branding

interesting musicalStone, Bobby Mcferrin’s son Taylor Mcferrin, French-Canadian

community.
Fig. 1

Joe Bataan at Malasimbo 2012. Photo credit Brendan
Goco

83

What is fascinating is how tropicality isheightened from an aesthetic, culturaland musical perspective. As community

For the performing bands like Brigada, Brasilipinas

Brasilipinas is the meeting of two musical cultures,is a form of panata. As a member of Brigada, I have not

the Filipinization of Brazilian musical traditions, in various

missed a single Brasilipinas performance. We also plan

spaces, from the academe to the party, from the singer to thegatherings, it is in these festivals where theand prepare carefully for it, with the goal of featuring theteacher, all forming part of a tropical, cosmopolitan Manila.

“Filipino” in Brasilipinas. In one Brasilipinas show, I was also

And as long as there are the party-lovers, the tropical islandable to jam with Nyko Maca on the kulintang. In other words,

life, the samba fanatics, all things enjoyable, inspiring andtropical and the cosmopolitan experience

the Brasilipinas party combines fun with cultural depth. I

pleasurable, the music continues.

intertwine and mingle.

musical and cultural experience. It is where tropicality andargue that Brasilipinas is a unique party worthy of authentic
tropical cosmopolitanism in Manila is more intense andclearly manifested.

MUSIC FESTIVALS, MUSICAL PHENOMENAThe Fete de la Musique, the Malasimbo Festival, andBrasilipinas are only three out of many music festivals held in

Furthermore, the Brasilipinas party is a legitimate

the country. As tourist and musically rich experiences, music

space for the transmission of traditional Afro-Brazilian

festivals have the potential to culturally and economicallyand celebrate the Filipino identity. My first time in Malasimbo

it was moved to a private nature reserve that is nearer to White

music in Manila, a valid musical field where one canpromote the country, given the right support, direction andwas in 2012. I was one of the percussionists for the band of

Beach of Puerto Galera.34 Tropicality comes with great cost.

combine musicological discourse with pleasure. Borrowing

attention. The music festivals are also all exciting musicalJoe Bataan, the festival headliner that year. A New York-based

For Malasimbo’s tenth year next year 2020, the festival’sRichard Shain’s words to describe cafes and nightclubs inphenomena that provide a broader perspective of the local

African-American-Filipino singer who grew up in the streets ofwebsite already announced that it will be held at the La Mesa

Senegal, the Brasilipinas party is an important laboratory

music scene beyond TV and radio. Examining them provides athe Latin Harlem,27 Bataan became known as the “King of Latin

Ecopark in Manila, featuring Hawaiian reggae artist Mike Lovefor “incubating ideas and developing modern forms ofdeeper understanding of another Philippine music culture with

Soul”28 because of his pioneering contribution to boogaloo,29

as one of the headliners, along with Brigada and Project Yazzsociality.”37

its cosmopolitan and tropicalized aesthetic. ■latin soul fusion and the disco.30 In 1976, Bataan released his

as some of the local acts.35 With the possibility of no longer

song “Ordinary Guy (Afro-Filipino)” in Salsoul Records as abeing associated with Mindoro local culture, it is my hopetestament to his Filipino roots.31 All these years, it was not untilthat the best that the Malasimbo Festival template has to

the Malasimbo Festival that he got to visit the Philippines foroffer, that #MalasimboMagic, the unique cosmopolitanism

1 Concepcion, Pocholo. “14th Pijazzfest features UK, Israeli, Polish, US,

21 Cabral, Alyana. “The music festival that wants you to care about cultural

the first time.32 I argue that Joe Bataan’s Philippine premiere atand tropicality, the advocacy for Philippine local culture andthe Malasimbo Festival is an important moment in Philippine

environment, will be just as good as it was in Mindoro.

NZ artists.” INQ.net, April 21, 2019. Accessed: https://lifestyle.inquirer.
net/332469/14th-pijazzfest-features-uk-israeli-polish-us-nz-artists/
2 https://wanderlandfestival.com
3 https://www.fliptop.com.ph/article/the-fliptop-festival-lineup
4 Tenzer, Michael. “Jose Maceda and the Paradoxes of Modern
Composition in Southeast Asia.” Ethomusicology. 47, 2003, 93-120.
5 Tenzer, Michael, “Jose Maceda,” 94.
6 Arnold, David. The Tropics and The Traveling Gaze: India, Landscape, andScience, 1800-1856. Seattle: University of Washington Press, 2006.
7 Pascual, Jam. “’You can’t keep a good thing small’: Looking back on Fetede la Musique, the early years.” ABS-CBN.com, June 29, 2019. Accessed:
https://news.abs-cbn.com/ancx/culture/music/06/29/19/you-cant-keep-agood-thing-small-looking-back-on-fete-de-la-musique-the-early-years
8 FetePH App
9 FetePH App
10 CNN Philippines. “‘Fete De La Musique’ Celebrates 25th Year in PH.”
YouTube, YouTube, 19 June 2019, www.youtube.com/watch?v=gXvA4_
htH4M.
11 FetePH App
12 Ministry of Culture. “History of the Festival of Music,” accessed
October 29, 2019, http://traduction.culture.gouv.fr/url/Result.
aspx?to=en&url=https%3A%2F%2Ffetedelamusique.culture.gouv.fr%2FLevenement%2FHistorique-de-la-Fete-de-la-Musique
13 Ministry of Culture. “History of the Festival of Music.”
14 Ministry of Culture. “History of the Festival of Music.”
15 Ministry of Culture. “History of the Festival of Music.”
16 Ministry of Culture. “History of the Festival of Music.”
17 Aportadera, Aussy A. “The Malasimbo Experience.” Philippine Tatler. 20
January 2014. Accessed: https://ph.asiatatler.com/life/the-malasimboexperience
18 Cabral, Alyana. “The music festival that wants you to care about culturalpreservation.” CNNPhilippines.com, 16 March 2017. Accessed: https://cnnphilippines.com/life/entertainment/music/2017/03/16/malasimbomusic-and-arts-festival-2017.html
19 Cabral, Alyana. “The music festival that wants you to care about culturalpreservation.”
20 “Malasimbo 2012—A Music and Arts Festival Like No Other.” 14 February
2012. Accessed: https://www.eccp.com/articles/?id=171

preservation.”
22 Cabral, Alyana. “The music festival that wants you to care about culturalpreservation.”
23 Cabral, Alyana. “The music festival that wants you to care about culturalpreservation.”
24 Cabral, Alyana. “The music festival that wants you to care about culturalpreservation.”
25 Cabral, Alyana. “The music festival that wants you to care about culturalpreservation.”
26 Cabral, Alyana. “The music festival that wants you to care about culturalpreservation.”
27 “Joe Bataan.” Fania.com. Accessed: https://fania.com/artist/joe-bataan/
28 Zialcita, Carlos. “Joe Bataan, Ordinary Guy With An Extraordinary
Heart.” PositivelyFilipino.com. 15 January 2013. Accessed: http://www.
positivelyfilipino.com/magazine/2013/1/joe-bataan-ordinary-guy-with-anextraordinary-heart
29. Goodman, Fred. “The Return of Joe Bataan, the Boogaloo King,”
NYTimes.com. 4 March 2016. Accessed: https://www.nytimes.
com/2016/03/06/nyregion/the-return-of-joe-bataan-the-boogaloo-king.
html
30 “Joe Bataan.” Fania.com.
31 Zialcita, Carlos. “Joe Bataan, Ordinary Guy With An Extraordinary
Heart.” PositivelyFilipino.com. 15 January 2013. Accessed: http://www.
positivelyfilipino.com/magazine/2013/1/joe-bataan-ordinary-guy-with-anextraordinary-heart
32 Zialcita, Carlos. “Joe Bataan, Ordinary Guy With An Extraordinary Heart.”
33 Cabral, Alyana. “The music festival that wants you to care about culturalpreservation.”
34 Parpan, Lara. “Why the Malasimbo music festival almost didn’t happen
this year.” ABSCBN.com. 26 March 2019. Accessed: https://news.abs-cbn.
com/ancx/culture/music/03/26/19/for-the-love-of-music-the-struggle-tostage-malasimbo
35 www.malasimbo.com
36 “Brasilipinas.” Facebook page.
37 Shain, Richard M. Roots in Reverse: Senegalese Afro-Cuban Music andTropical Cosmopolitanism. Connecticut: Wesleyan University Press: 2018.

music history.
Another artist who empowers the Filipino is Ruby Ibarra,

BRASILIPINAS: ONE BIG PARTYa female Filipino-American rapper whose album, “Circa ’91,”

Brasilipinas is an annual festival organized by the Capoeiracontains songs that deal with issues of nationalism, female

school, Sempre Capoeira (formerly Escola de Brasiliera deempowerment, and the life of a Filipino immigrant in America.

Capoeira Philippines). Described as the “cultural epicenter of

Ibarra’s powerful performance in the 2019 Malasimbo Festival

all things Brazilian in the Philippines,”36 Brasilipinas is a week-

was made extra special with her band, The Balikbayans, whoselong Brazilian culture festival offering special workshops on

members were raised by Filipino immigrant parents. At the

Capoeira, Brazilian dance and music. It is usually held—but

Malasimbo, Ibarra rapped solid as she preached about being

not strictly—around the Carnaval festivities of Brazil before

Filipino amidst the party atmosphere. Some of her songs also

the beginning of the Catholic Lenten season. Started in 2007,

featured Philippine indigenous instruments incorporated in

Brasilipinas continues to be the biggest Brazilian cultural event

her hiphop sound.

in Manila.

The Malasimbo Festival truly provides an unforgettable

84

ART ARCHIVE 03

The highlight of Brasilipinas is the big party on theexperience for festival-goers, artists and audiences alike.

final night.

Attendees can try Brazilian/South American

Logistically, however, it is not without its issues. As one who

food and cocktails like the Caipirinha. The heart of thehas attended the festival three times, twice to perform (withparty, though, is the musical program showcasing all the

Joe Bataan and with Brigada) and once to watch, I haveBrazilian-influenced bands, musicians and ensembles

observed and experienced inconveniences with regards

in the country. In other words, Brasilipinas is where all theto disorganization, travel, and artist treatment. For a festival

artists, singers, escolas and musicians who are activethat celebrated its ninth year in 2019, there is definitely

in performing and promoting Brazilian music in theplenty of room to grow and improve on. Miro Grgic himself

Philippines converge. The musicians and bands are given

admitted that a growing festival brings with it some serious

the opportunity to perform and share their music in a longchallenges, with each year becoming “a struggle to makenight of partying and dancing. EBC Capoeira/Sempre

ends meet.”33 In fact, in 2019, the festival was not held in its

Capoeira, as founders and organizers of Brasilipinas, isiconic natural amphitheater. Due to logistical constraints,

the point of unity of Afro-Brazilian music culture in Manila.

85

A R T AARRTC A
HR
I VCEH 0
I V3E 0 3

NARRATINGSUSTAINABILITY, BY DESIGN
Stories of Responses
to Sustainable Futures

In August 2019, an exhibit called “Alon!” opened at the De La SalleCollege of Saint Benilde (DLS-CSB) School of Design and Arts. Curated by
one of the editors of this volume, Ar. Gerry Torres, the show focused on the
problem of plastic waste in the country. Seen through the lens of six surfing
communities outside Manila, the exhibit presented the dire situation in thePhilippines, a country identified in a 2015 study by the University of Georgia
as the third most plastic-polluting country in the world, next only to China
and Indonesia (with the authors of the report expecting this trend to be thecase until 2025). As an archipelagic country, the porous borders of the islands
became easy conduits for the trash to reach and pollute the oceans. The
problem is compounded by relentless plastic production, systems of disposal
and the increasing dependence on plastic by people.

words by

AR. LEONIDO GINES, JR. AND AR. GERRY TORRES
86

The knowledge of the plastic problem begged us, both practicing
architects and designers, to pause and reflect on its effect on ecologicalvolatility within the broader issues of sustainability and climate change.
87Fig. 1

Fig. 2

As part of an informed and concerned community ofFig. 3Fig. 4

Fig. 6

DESIGN AND SUSTAINABILITY

designers, our professionals and their practice became

Storytelling and narrating can inform design,and time is left for on-site learning. Being informed

as Sudarshan Khadka and Alex Furunes contend inby personal observations that storytelling brings,

their essay. As a style of passing on local knowledge,

both in academic and practice-driven journals liketraditionally learned storytelling, like epic chanting

this, proves to be an effective tool. Many believe thator poetry, 2 or, even the everyday story throughstrategies like infographics and other propaganda-

become the cornerstones for framing the themes ofFig. 1 Luke Landrigan, San Juan, La Union.

daydreaming, children’s drawings, and the notorious

like forms may be a new way of relaying andconversation and topic for this volume. We thought that

Fig. 2 Kamea Rodrigo, Baler, Quezon.

gossiping, may inspire designers. Yet the ability topopularizing, with speed, the story of sustainable

investigating design production through this project

Fig. 3 Adelardo Pompa, Dulag, Leyte.

communicate a design proposal is part of what design

practices.

would present an opportunity for us to look deeper into

Fig. 4 Summer Puertollano, Siargao Island.

professionals do. In this volume, while not all the

Most design practitioners learn from experience

contributors are designers, we found the group had aand research through actual fieldwork. Some decidecollective voice. They expressed common observations

to leave corporate design practice to learn better on

and aspirations, linking Philippine local resolves (there

the ground. Some even critique design practices thatover two decades now. 1 In our purview as educators,

are many and more obvious than we expect) thatare seen as haute design, perceived as extremely

the concern of the design professions affecting

should let us think about our environment in a simple

overpriced as it is supposedly ‘sexy.’ Perhaps because

the environment has increasingly been included inand practical way.

when one hears ‘design,’ the thought of the impracticalsuspect due to the nature of its systems of production.
When the Japan Foundation, Manila approached us
to collect essays for this journal, we decided that thesame issues on sustainability in design practice will

the role of design in creating and sustaining a healthyplanet.
Both of us editors have also been academics for

Surfers from six surfing communities outside of Manila
pose with plastic trash picked in under five minutes fromtheir beaches. Installed at the College of Saint Benilde
during the ‘Alon!’ exhibition, September 2019, theexercise demonstrated the extent of marine plastic trashfound in the Philippines today. All photos by Luis ManereFig. 5 Javen Laraga Gubat, Sorsogon.
Fig. 6 Juan Plaza, Mati, Davao.

our academic agendas. As a mentor, Ar. Jun Gines

88

Fig. 5

Designers do think about complexities in problem-

and the pricey is immediate. However, as the writers

explicitly injects issues of sustainability and thea sustainable agenda in the work that they do, and how

solving, and while the design process is sometimes

in their essays tell us, design is really more about

volatilities in ecological change in his architecture

they understand sustainability issues affecting theircomplicated, most of the time, design can be derived

processes, materials, negotiations, content, and utility

studios and design classes, both at the University of the

projects. As design storytellers, they opened their own

from modular templates or by synthesizing essential

than the resultant ‘form.’ Few design objects become

Philippines and at the College of Saint Benilde (CSB).

design process and learning curves to be expressed,

ideas. This is crucial to designers and thinkers alike‘classic’ in both style and utility.

Ar. Gerry Torres, the present Director of the Center forsurprisingly, as a collective with similar assumptions

since part of the design process is that of ’iteration,’

Campus Art, tasked to curate and produce exhibitions

and principles in mind. While we intended to cover aa process of repeatedly synthesizing ideas into adesigning

for CSB, delves on topics about the environment for

wide set of voices from the different design disciplines,

working idea and ‘product.’ Design iteration is a

popularizing this aspirational ‘classic’ ideal: it is usable,

his exhibits to foster awareness among the Benilde

to pause for writing was a constraint, and the availability

tediouschain,

pretty, long-lasting as it is fashionable, and in somecommunity.

of designers between their project schedules werebut often, a process disappears in form. This is one

cases, sellable in the long term. Furthermore, even as

research-driven

problem-solving

Many designers agree that the challenge insustainableproducts

also

requires

The essays in this volume are part of this ongoing

considered. In the short period that we had to searchreason why we also asked a literary/”zine” writermore products are presented as ‘sustainable,’ this idea

concern, and this collection of design narratives arefor contributors to this volume, we were fortunate to findto weigh in, as communicating design knowledge

is still misunderstood.

in response to sustainable issues, collecting stories

seven individuals whose professional practices involve

sometimes needs to come from ‘outsiders.’ In theabout how designers in the Philippines struggle to keepsustainability.

topic

of

sustainability,

unfortunately,

littleroom

Our initial assumption was that currently there islittle publication by Filipino designers in the past five89

NARRATING SUSTAINABILITY, BY DESIGNART ARCHIVE 03

Stories of Responses to Sustainable Futures

years that focused on sustainability. While we are notpolicies, design processes and everyday life. This brings

see several of them in the essays as technical, localized

and living with strong bamboo is a surprisingly

claiming that this collection is the first or the only one,us back to storytelling as design devices. Readers will

and contemporized list of principles:

unique and identifying register of the quotidian lived

we do acknowledge that the essays here, written by

notice that each essay tells a story of design. The wide

1. Design concepts are derived because of:experience in the Philippines.

designers representing a varied range of professions,

impact of the idea of sustainability must implicate thea. Dialogues and collaboration, by transforming

Collectively, the abovementioned list of principles

narrate for the first time the struggle of having a design

storytelling of design through process, material handling,

the germ ideas into concepts useful for the process

is evident in the stories of sustainability and social

practice in the Philippines with a sustainable agenda.

the cultural implications of production and post-

and the design output (product, architecture, material

responsiveness told by our contributors. Again, Ning

The collection is by no means complete, but those who

production, dissemination, disposal, and practice.

development, etc.);

Encarnacion-Tan reiterates that bamboo can outlive

MULTIPLE MEANINGS AND FIRST PRINCIPLES
OF DESIGN

or

responded to our call represent contemporary practicein key design fields today.
The term ‘sustainable’ is an important keyword
incontemporary

nomenclatureandthrough

specific

problem-solving

steel as a construction material, if treated properly.

iterations,Sudarshan Khadka and Alex Furunes experienced

manipulating forms, or other strategic and experientialthat bayanihan has been and still is a sustainable andprocedures;

responsible way to make design production and long-

vernacular.

We see design as having multiple definitions in

The broad definition of sustainability offered by thecontemporary Philippine society. We can start with a given,

United Nations Educational, Scientific and Cultural
Organization (UNESCO) focuses on ‘development.’ It
offers a model with a set of dimensions as a framework,

principles of stability, usability, functionality, well-beingof

designers (a professional relationship that is normallyand we wish to express both support and advocacy

and aesthetics. Yet some of the list of sustainable design

constructive possibilities, whether they are fromnot interdependent on their interests) is through thinking

for this paradigm. We want to stress, however, thatprinciples also challenge many of these ‘age-old,’ if not

local

actionabout the life cycles of the product. This product life-cycle

understanding this idea of ‘sustainability’ as well asarchaic principles. As designers from the Third World,(like bayanihan), the use of endemic or introduced

principle is important, as Lulu Tan-Gan contends, even asthat of ’development’ be limited within the limitations

we also include, in this constantly growing list, some

raw material (bamboo or pineapple fiber), local

she transitions from a ‘foreign’ market to a more inclusiveof this project. At the onset, we qualified the lack ofprinciples of economy of scale, and social responsibility.

consumption patterns (such as ‘piecemeal’ or tingi), or

local and global, with shifts in production cycles andcollected writing by designers. While we acknowledge

Designers understand that meaningful objects andself-production and self-distribution (zines).

materials. Indeed, while not a designer, Adam David adds

the importance of ‘development’ goals set globally toimages are more likely to communicate better through

2. Material

only

the insight that, in the absence of necessary materials

mitigate the grave effects of climate change, we wanted

their materiality, offering clear and direct messages

available locally can identify useful design languages

produced locally, the creative discovery of new means of

to focus on how designers have attempted to ‘produce’of what they are for, value, strength and social andand patterns through the local and the vernacular.

production may support a crucial need, not afforded byknowledge on sustainable issues through their projects.

economic purposes. Designers are also aware of

3. The local (endemic, native, introduced, adopted) ismarket-driven cycles or State bureaucracies.

This narrative on development also sets theephemeral principles, that products as physical objects

the unique design identity by itself, because some oflimitations of the goals against state and corporate-

invoke and contain messages that are interpreted by

the local materials, practices and processes are part

capitalist actions. It is our belief that sustainable

the cultural values of the times. This is evident even inof the locally lived experiences.

development must also be pulled down to the levelproducts that have a utilitarian function, or materials that

The principles above are not new, but the innovation

to the issue of sustainable design, we provided our own

of individual responsibility (professional, advocate,contain symbols and signs of national aspirations or

towards sustainable design will be more evident in theset of questions. Designers are used to being offered apersonal). The narrative of sustainability must therefore

local culture.

stories of the writers, as we introduce them and theirbrief, even as ours was a little complex. The wide variety

c.

the

term maintenance synergistic. Or as Dan Matutina

that design is still essentially a problem-solving process,concepts to form design contexts, programs; forand Dang Sering discovered, the way towards synergy

both scientific and heuristic, guided by the same age-old

sustainability and environmental responses; andbetween corporate clients and environmentally sensitived.

Analyzing,

A

local

practices

articulating

and
of

and

vernacularsupportive

knowledge

andorganizing

understanding
community

technical

skillsTHE WRITING BRIEF
In finding ways on how designers should respondbe made more popular and proactive. By providing this

There are historical precedents for these firstwork. In an early interview with one of the writers, Ningof professionals we initially approached complicatedconcept, designers (as professionals and advocates,

principles, even as they have been widely disseminated.

Encarnacion-Tan, co-editor Jun Gines noted that living

this writing project. We had to acknowledge that manyor as producers and consumers) are challenged to use

Axiomatic statements are important to designers,

in a house made mostly of bamboo is obviously not awill be writing in the middle of their own projects.

UNESCO’s paradigmatic framework in their work,and often, ‘products’ from allied design professions

new practice in the Philippines, even as it is sometimes

We asked them to reflect on the following questions:3

whether it is architecture, material use and choice,(architecture, interior design, product and industrial

romanticized on one hand, or associated with poverty

1. How ready are the designs of our products andconsumption

design, graphic and media studies, fashion, advertising,on the other. Compared to other countries though, eveninfrastructure, and the modes by which they are

anddisposalmanagement,

culturalpractice, even information dissemination.

90b. Processes, whether learned from formal educationetc.) are driven by slogans popularized within different

those with abundant bamboo populations, residing incommunicated or produced, for volatile change?

We felt that by letting our writers express the ‘voice’global movements in their field. Messages like “form evera house fully made of bamboo is mostly a novel idea,

2. How sustainable will they be?

of their work, and the ‘vernacular’ in their projects, we canfollows function” (Louis Sullivan), “architecture without

as Ning would reiterate. Wood is still the preferred

3. Are there paradigmatic design principles that renderlearn several local “first principles” that they themselves

architects” (Bernard Rudofsky), “the medium is the

traditional material for house construction to live inthis concern for the social and physical environment,

learned along the way. The set of first (sustainability)

message” (Marshall McLuhan) are old adages included

for these regions, until recent trends of manufactured

and the volatility associated with human interventions

principles include advocating (actively or subtly) for a

within the literature canons of design. They make familiar

bamboo became more popular. In other words, while

to it, tenable to both human adaptation and resilience?

collaborative design language in the production process;the goals of designing, as well as the process they invoke,

not completely unique to the Philippines, living in a

Are the communication of information (multimedia, inter-making material information and production (as well as

not to mention the experiential message of the observed

bamboo house is not just traditional, but part of an

media, virtual, etc.) also designed properly for its wide

end-of-life product awareness) widely available as part(modernist) movements at the time.

everyday, if not taken-for-granted practice. This might

dissemination?

be too obvious as an observation, but for those whose

4. How do designers respond to the increasingly popular

lives did not include bamboo as material, living inconcern for sustainability?

of contemporary cultural processes; or even providing

In this volume, the contributors add to this growing

ways to simplify the interface between sustainable goals,

list of definitions and first principles of design, and we91

NARRATING SUSTAINABILITY, BY DESIGNART ARCHIVE 03

Stories of Responses to Sustainable Futures

FRAMEWORKING DESIGN THROUGHSUSTAINABILITY AND SOCIAL RESPONSIBILITY
Sustaining the stories (oral accounts and theand forming part of a national narrative of historical, social

usually poor, even if we notice that in many Philippine

zines are relatively free in form and content, thenarratives in this essay collection) of the life cycle ofand cultural importance, the sociological and economic

cities with communities around landfills, poverty drives

popularity is wider among the ‘truth seekers’ rather

products and the design process is key to teaching all ofconsiderations provide cues to solvency that bamboo

the recycling of plastics for small profits. However,than the purveyors of fake news and propaganda.

us the cultural value of sustainability. This cultural value,

can offer as a sustainable material. It is not difficult tothe poor who are ‘earning’ from recycling are the ones

Adam, in fact, expresses its potentially useful truth

as we editors believe, is key to providing a localized

understand this narrative as she offers her story boththat bear the brunt of the plastic pollution blame, aagenda and its dissemination for education. His

framework on the issue of sustainable design. In theas an architect and an expert of bamboo construction:

narrative about their waste disposal habits propagatedsuggestion to a local book fair organizer on the

essays following this editorial, we organize the views of

we can live in bamboo houses despite the classist

by big business and governments. We see this stigma

lack of educational materials for children written ineach contributor as part of the unfolding framework.

association with poverty, bamboo is a strong construction

despite the broader problem of plastic pollution, fromlocal mother tongues was poignant, practical andmaterial and a cultural symbol of sustainable power.

its untrammelled production to the systemic gaps ofself-evident: teachers could print the educational
materials they wrote themselves.

The two architects Sudar Khadka and Alex Furunes
subscribe to the belief that involving the community in theSifting through design processes, hybrid materials

disposal. (One interesting idea that came out of thedesign process leads to the creation of more meaningful

and community empowerment, the stories of self-interviews of other designers by Dan and Dang was thespaces and empowers them to respond successfully inawareness and shifts in design focus led Lulu Tan-Gan toattempt to ‘ritualize’ the habits of recycling.) Throughtimes of natural and man-made calamities. In articulating

foray into a new direction. Distinct yet aligned to knits, a

all of their examples, the new challenge of propagating

the idea of mutual support, the architects blend twomaterial synonymous with her brand, intends to restore thesustainable habits in plastic packaging depends on the

Parenthetical to the discussion of first principles incommunity practices of similar traditional systems

soft power of tradition of the long ignored, often exploited

institution as well as on the individual. Within this sphere,

design, it might be of interest that academics startof collaborative volunteerism, the Filipino bayanihan

weaving communities in the country. Through the use of

the designer becomes the medium.

a design course with a reminder of Plato’s disavowal

and the Norwegian dugnad, into a concept useful for

piña as a new material that can be melded with knits to

Finally, the challenge of popularizing any informativeof the attempt to imitate nature into forms that wemutual support, as a “structure for self-organization.” It

come up with attractive fashion options, Lulu hopes toidea is always present in design, and no more is thiscreate. If so, any contemporary design effort will

provided them a framework both for their design process

open new mercantile avenues that will increase demandvisible than in the publishing industry. When driven by

probably have no philosophical bearing (at least to

and the community’s participation in the architecturalfor this extraordinary, uniquely Filipino fiber, extracted

profit, product designers as well as information creators

those who study Platonic aesthetics). Most designers

productions of projects. As they learned from thefrom the leaves of the red Spanish pineapple (Ananas

test ideas and products, usually called prototypes,

today won’t heed this archaic call to originality or

ground by working closely with individual and kin’s

bracteatus) to uplift the social and economic conditions

with a sampling of the target population prior to actual

abstraction. Furthermore, we often see nowadays how

storytelling (expressions of experiences, poetry writing,of the weavers. Through the exploration of weaves using

production. This is done to predict acceptability, potential

designers respond to challenges of natural and man-drawing), the framework for collaboration they offered

two distinct and dissonant materials, yarn and piña, avaluation and profit margins. Monetizing information

made causes by the application of ‘bio-technologies,’

produced not just conversational principles or ideas for

new textile and its subsequent typology will be designed

must also be manifested by the ‘material’ form throughor natural technologies inspired by nature. Currently,

negotiation, but more importantly, voices from a common

and promoted to the global garments market. As athe publication of newsprints, magazines, books, etc.

we think of them as ‘advanced’ technologies despite

collaborative, meaningful and architectural language that

contrapunto to fast fashion and its profligate industries,

In virtual non-printed media like radio, television andthem being ‘bio-mimicked’ technological operations.

inform the first principles for a community architecture of

Lulu’s hand-crafted textiles highlight the artisanal andthe internet, profit is collected through advertising or

They are often adroit human interpretations of nature,mutual support. The examples of their two projects in thesustainable practices of indigenous and traditional

subsidies, depending on popular ‘viewership.’blending anthropomorphic aesthetics into the ‘natural’

Philippines and Vietnam were exercises in harnessing

weaving communities as ways for Philippine design tocommunity cultural capital as a sustainable power

move forward.

that can operate despite economic and environmental

operations of ecosystems.

information comes in the form of what he calls

Designers are caught in the nature-vs-culture

In Dan Matutina’s and Dang Sering’s essay, we see a“the most egalitarian expression of printed thought.”

conflict more often than we know it. Beyond theconcern for the life cycles of production-consumption-

Information in this form, though, is not the normalized,

archaic Platonic-metaphysical concern and the new

Not surprisingly, power is also a concern for Ning

disposal, and how designers struggle to be a part of theauthorized and public prints but the small press

technological

Encarnacion-Tan, one that complicates class cultures

sustainable agenda. Their industry network, through the

publication of what are called ‘zines.’ While some zine

principles of mimicry and imitation in its infancy are

and driving development towards excessiveness andinterviews they gathered, offers a unique peek into thispublishers turn a small profit, they usually don’t depend

still somewhat problematic for design. If we are to beunsustainable practices. As she started exploring in her

struggle, and while sustainability is beginning to be parton it. Zines often leave controversially marked written

responsive and responsible designers and innovators

essay, power from the elite or moneyed class and theof corporate conversations, the institutional plug-ins ofword and visual forms through literary, propagandaof sustainable futures, we need to rethink thesesystemic force of capitalist or commercial development

the agenda are still malleable. Stories from practitioners

or politically charged print art, as Adam reminds

and offer other paradigmatic (sustainable) design

stifled green sustainable efforts in urban Philippines.

in the corporate-enabled advertising, packaging andus. Zines are not motivated by the limitations ofprinciples, especially for our volatile contemporary

She offers the observation that to counter unsustainablegraphic design industry are filled with “we want to, but...”mainstream media concerning design, form andrealities. Designers must not just imitate ecology, theycommercialization requires a wider understanding ofdemonstrating their good intentions but revealing that

content. In fact, the strength of zines is in its ‘free

also need to comprehend the systemic workings ofclass and cultural processes. Part of this understanding

the gap in sustainable practice is still wide.

challenges.

92

In Adam David’s essay, the materialization of

CONCLUSION: RESPONSE TO SUSTAINABLE
DESIGN

inspirations

frombio-cultures,

theform.’ Both fascinatingly intriguing and thought-

ecology and ecosystems, as our contributors will spellof the need for a ‘counterculture’ is offering a holistic

One might need to clarify that plastics have longprovoking, their design and content are expressedout.

knowledge of endemic and long-lasting materials likeshelf lives, which normally end in the waters or in landfills

by artists, poets and writers mostly ignored by

As we were commencing this project earlier

bamboo. Learning from the archaeological record

due to the disposal habits of communities, who are also

mainstream publishing. Interestingly, even while

this year (January and February 2020), a new form
93

NARRATING SUSTAINABILITY, BY DESIGN
Stories of Responses to Sustainable Futuresof volatile reality slowly unfolded before us. The threatof the designers-contributors, the contention is clear

of a pandemic, what we now know and experience asthat the vernacular, the local, the endemic, and the

COVID-19, happened. It rapidly expanded into phenomenal

hybrid may be the avenues that can show us the

proportions, literally halting almost all human activities

way forward to expressing stories of responses toand productions, including the publication of thissustainable futures, and one that can naturally bemonograph. While we were surprised and locked down byachieved ‘by design.’ ■ART ARCHIVE 03

the health emergency with its confusion and fears, many
designers

quickly responded to calls for community

action by providing free design and fabricating services
for personal protective equipment (PPE), manufacturingmakeshift medical off-site triage and producing valuable
infographics. This response was sustained long enoughto offset the impotence of governments and politicalleaderships in responding to the emergency. Was thisa sign of the readiness of the designers’ sustainability
resolve? Far from it, as the gaps were also revealed.
Nonetheless it was evident that designers possess
the conceptual tools that can be tapped to respond todisastrous events.
We have seen Philippine cities and local governments
temporarily

haltregulations

that

were

initiatedfor sustainable development. Quezon City halted
its plastic ban regulation to address the need for
emergency supplies or food take-outs, mostly madeof or requiring plastics. The retraction becomes asetback for sustainable agendas. On the other hand,
we see images that show clearer skies and cleaner
streets as vehicles and pollutant public and privatetransport were indefinitely halted. For the several
communities of climate activists, the call for climatechange mitigation became louder, even though theseare drowned out by the regular health advisories.
Collecting new stories about this health emergency,
while already preceded by similar cases (e.g., the1918 flu pandemic or previous viral epidemics) will
be daunting as we unravel its myriad implications
to people’s (and designers’) lives. Integral to theseinvestigations and the discourse that would ideallyfollow are questions of sustainability. That, too,

1 Architects Gerry Torres and Leonido (Jun) Gines, Jr. have been teaching
design, art and architecture courses at the De La Salle-College of Saint
Benilde. Jun also joined the architecture faculty of the University of thePhilippines Diliman–College of Architecture in 2019.
2 Co-editor Jun Gines’ own involvement in a museum project (Rizal Shrine
in Talisay, Dapitan in Zamboanga del Norte) over a couple of decades backrecalls his company fabricating a template outdoor exhibition element aboutthe ‘narrative’ of Philippine National Hero Jose Rizal’s private life, expressed
as exhibit text signage along the long concrete boardwalk, in which part of
the text was literally taken from his poem, ‘Mi Retiro.’
3 The full brief given to the designer-writers was as follows:This volume collects different essays about how the design professions andtheir allied practice are responding to questions and issues of sustainability inthe context of socio-economic conditions in the Philippines today and in the
future. The connections between social responsiveness and responsibility,
and the physical production of sustainable products are now increasingly
tight. It is often the designer-as-thinker, and designer-as-producer who
create not just the products but also the discourse for consumers of
information, media, objects, habitats, even culture and the environment as
a whole.
These questions include the following:
1. How ready are the designs of our products and infrastructure, and themodes by which they are communicated or produced, for volatile change?
2. How sustainable will they be? (you can site your practice here)
3. Are there paradigmatic design principles that render this concern for thesocial and physical environment, and the volatility associated with humaninterventions to it, tenable to both human adaptation and resilience? Are
the communication of information (multimedia, inter-media, virtual, etc) also
designed properly for its wide dissemination?
4. How do designers respond to the increasingly popular concern forsustainability?
The questions above point to the value being placed on innovations andpracticality of design production and product industry as well as thecommunicative power of design itself. This ‘design industry’ in the Philippines
faces many challenges that are not just about aesthetics, but also practicality
and long-term sustainability. In this current period of cultural, social andecological uncertainty, design is no longer just about formal agendas ofbeauty or functionality but also about responsibility and solvency. But havedesigners provided the agenda for these innovations and productions thatwill also pave the way for the synergy of the aesthetic, the practical and the
responsive? This proposed collection of essays attempts to provide wide
conversations and visions to these issues.

remains to be retooled and retold by global experts,
industry

executives,

end-users,

and,

yes,

local

designers.
We find in this volume of essays that the problem
of sustainability is local and global. Ecology andecosystems

have

no

culturalborders

but

local

production and consumption challenges disrupt
thembeyondtheadministrative

bordersofnations. Through the stories and narrativization
94

95

words by

ART ARCHIVE 03

UNDERSTANDING MUTUAL SUPPORT:
Creating More Meaningful Spaces

SUDARSHAN
V. KHADKA, JR. &ALEXANDERERIKSSON FURUNES

Fig. 1

Over the past decade there has been an increase in

The Norwegian Dugnad is called for in moments of

the intensity of natural and man-made disasters around therestoration, maintenance or management of organizations.

globe. Architecture is built on natural and human resources.

Historically, it has contributed in shaping Norway’s modern-Power lies in the capacity to decide how, where, who, andday labor unions and the reconstruction efforts after

for what purpose structures are built. The currency of this

WWII. The Filipino bayanihan is mainly practiced within the

power is financial capital, but this has not always been thevillages whenever local communities need a collective

case. Largely, in the rural parts of the world, collaborative

effort to build schools, host weddings and funerals, among

traditions have offered a different perspective on theother things.

exercise of this power and the decisions related to it.

There are five core principles of mutual support

One such structure for self-organization is calledsystems, namely: common goal, collective work, social

mutual support; it exists in many forms around theevent, reciprocity, time specific. When it is required, people

world and has been a means to support each other throughcome together for collective work to achieve a common

different seasons, natural disasters and conflicts. These

goal. It is a process that builds social relationships andtraditions are fading away in our modern-day society, where

community cohesion through a series of time-constrained

the currency of wealth is measured by money rather thanevents founded on reciprocity.

the relationships we build around us.
9697

UNDERSTANDING MUTUAL SUPPORT:
Creating More Meaningful Spaces

ART ARCHIVE 03

STREETLIGHT, NGO FOR CHILDREN IN TACLOBAN
Ten years ago, we designed and built a Study
Center for the NGO Streetlight and their community in
downtown Tacloban. Streetlight provides health careand educational support for children from the informal
settlement. They also provide homes for those livingon the streets. We worked closely with the children andtheir parents through the designing and building processof the Study Center. They later described this processusing the Filipino term bayanihan, referring to the tradition
where a group of people come together to achieve a
common goal. For the community, the Study Center is notjust a building. It became a symbol of the relationships
built on the design process and the parents’ efforts fortheir children.
On November 8, 2013, super typhoon Haiyan, one of
the strongest typhoons to ever hit land, destroyed morethan four million households and claimed thousands of
lives in Tacloban. The staff and children of Streetlightsurvived by climbing onto a nearby roof where they saw
the waves caused by the typhoon flattening the informal
settlement and the Study Center.

Fig. 2

Fig. 4The process of designing the Study Center before
the typhoon provided a platform for the families to cometogether again after the disaster to rebuild their own

was made to minimize heat and gain benefit from thehouses as well as a makeshift study center.

shade provided by the existing trees.

After the disaster, the city government decided torelocate the coastal settlements 16 km north to Tagpuro.

by the typhoon highlighted, for the group,

Due to the urgency of the situation, the communities were

importance of the two dual concepts of “open andnot given a voice in the decisions that directly affected

light” and “closed and safe.” The heavy concretethem. People lost their sense of belonging and struggled

volumes were designed to provide refuge during

to fit into the new community they were placed in. The sitetyphoons, while the light and ventilated timberof the new Streetlight buildings is located near the main

structures gave natural ventilation to allow strong

relocation zone in Tagpuro.

winds to pass through the buildings.

Fig. 1 Laying the tiles of the mockup structure together

theFig. 2Workshop with the community to translate theri model
into drawing

Fig. 3 Model-making workshop
Fig. 4 The doors of the open area can be closed when needed

are located in between the open areas. The study

Construction on the new site was an opportunity to

Once we determined the activities, qualities andcenter houses the teachers’ offices, music room, library,

involve the community in deciding what was needed.

sequencing of each space, we focused on the design

kitchen and bathrooms in the heavy volumes; in between

What we learned from the concept of bayanihan was thatof the detailed building elements. The children madeare classrooms with activity areas for song, dance

our role as architects was to provide a framework fordrawings and poems to show what a window and a door

and theater. At times, the building also functions as acollaboration. More than 100 workshops were organizedmeant to them. They described how they used windows

to program, conceptualize and design the new buildings.

to look out at stars or a place where they would

Through drawings, models and full-scale mockups, theserenade the girls they liked. The fathers used thesecommunity developed a common language to express

poems and drawings as a reference to find windows

and negotiate ideas and solutions that mattered to themin their neighborhood, which they presented to one

When put together, the various elements of theand trees around the site, serving as a safe space for

as a group.

another. They then made new designs and createdbuilding form a cohesive framework that the community

the children to play in. Streetlight utilizes the garden formockups using various materials.

can inhabit. The main living room of the orphanage has a

private events such as graduations or, in this case, theopening ceremony of the center.

We used the existing alignment of trees as the98

The brutal power of the winds and waves caused

Fig. 3vocational training center serving as the public face ofStreetlight that connects them with the larger communityof Tagpuro.
The internal garden is enclosed by the buildings

primary circulation axis and divided the site between

The chosen construction methods were deliberately

loft space for the bedrooms, and service spaces locatedprivate and public zones: the private zone consists

simple in order to enable the local community to

inside the concrete block of the ground floor. The large

It took three years and a hundred workshops to plan,of an orphanage, playground and study center, while

gain ownership of the entire project from design toscreened doors and windows can be opened to form

design and build back what was lost. We aimed to create

the public zone consists of a sports ground, office andconstruction and beyond. The architecture explores thea naturally ventilated recreational space. The officearchitecture that embodies the values of authenticity anda vocational training center for the community. The

values of honest materiality, craftsmanship, expressive

consists of three heavy volumes containing meeting

sensitivity to context, and to represent the community’s

decision to place the buildings along the east-west axis

tectonics, and vernacular sensitivity.

rooms and utility spaces. The shared workspaces

shared meanings through their architecture.
99

Fig. 5

Fig. 6

Fig. 7

LUNG TAM TEXTILE COOPERATIVE IN VIETNAM
the discussions were led by members of the community.

Maximizing natural light and ventilation had to be

one of our ongoing projects in Vietnam. Lung Tam

We began evaluating the current situation in terms ofbalanced with the possibility of closing-off the bottom

textile cooperative is a women’s organization based in

the qualities of spaces they wanted, and the concept ofpanel as protection against strong winds during winter.

the mountainous regions of Ha Giang, Vietnam. They

the cooperative as a symbolic “community house” began

produce batik and hemp textiles according to Hmongto emerge.

Since most traditional houses are single story,
the reclaimed wooden structure will be combined

customs, which are shared orally in the absence of aWith the knowledge we gained from understanding

with a concrete core and framing system to meet theFig. 5 Interior of the orphanage building

written language. Initiated by the textile cooperative’smaterials and available construction skills, we built a

program requirements. A few days after our last trip,

Fig. 6 Model making workshop

leader, Ms. Mai, and a handful of women sixteen years

small shed that can be used for group performances, forunprecedented heavy rain caused landslides andago, the cooperative has grown to accommodate more

displaying Hmong textiles, or for visitors who want to learn

flash floods around the site and the villages nearby.

than a hundred members from the surrounding areas. We

more about their culture. The design uses the concept of

Mud buried several households and the textiles thewere invited to design new facilities for the cooperative“the grid” and “the section” as a spatial ordering system,

community were working on got washed away. Thisso that they can increase production capacity, improve

which allowed us to maintain a connection between thecalamity underscores the urgency of the situation and theworking conditions, and showcase their design andproposed design and its vernacular references. The

necessity of empowering a community to take decisive

weaving process.

importance of the grid and section was derived fromaction. The cooperative is now back up and running, andstories of vernacular houses and their corresponding

we are currently raising funds for the construction of themeanings and use over time.

new community house. It is our hope that this process

Fig. 7

A small structure built to test construction skills andmake something together

FRAMEWORK
Learning from our experience in the Philippines and100

To break down this process further we will describe

considering the standard phases of design of a typicalAround the village, one can find modest rammed

project, from planning, conceptualization, design, andearth buildings with wooden structural frames that

construction, we aimed to synthesize a method of

have low mezzanines for storing rice, corn, or farming

Due to the planned road expansion that will remove

working, which allows for a greater integration of theequipment. There are also full timber buildings clad in

half of the site, we had to consider a two-story building

values, knowledge, and resources of a community at theeither wood planks, split bamboo slats, or a mixture ofat the back of the property that would fit all the program

With this framework, we hoped to demonstrate how

inception of a project.

becomes a precedent for future developments in theregion.

these. By studying and learning the local context, we

requirements. In the meantime, a temporary, open-plan,

the principles of mutual support can be applied to the

It is necessary to begin the planning stage with abegan to understand the way people live and how theirwooden shed will be positioned in front until the roadarchitectural design process. Throughout history, mutual

mindset of humility, openness, and empathy in orderworldview is shaped not only by the house itself, but also

is built. We came up with two options for the plan andsupport has been employed by local communities into collectively learn about a community’s culture andby the flora and fauna that surround them. Aside frommocked them up on site, in full scale.

times of crisis and natural disaster. In some cases, it iscontext. Next, we stimulate discussions that collectively

learning about each house, we studied their customs,

The use of a regular grid allowed us to communicate

still the way communities organize themselves today.

question their values and try to find ways of clarifying

rituals, and spiritual beliefs. These actions helped us

scale better and relate the drawings to the actualIts principles are rooted in empathy, care, and seeing

intentions so that these may become shared visions.

understand the root of the values they ascribe to thebuilding. We used bamboo sticks to mark the plans on

ourselves in each other. One could go as far as to say

From these shared visions, we make an object that distills

spaces they inhabit.

the empty lot, and put in the actual equipment on sitethat what was made together through a shared work

this new understanding into something tangible. The goal

In order to understand how much space was needed

so that we could role-play and simulate its use. We thenprocess allows some of the ascribed values, memoriesof these first three steps is to form a common language

for each process of their production, the workers drew

made models to focus on detailed space planning andand meanings to be embedded in the building itself.

that becomes a framework for meaningful engagement

the activities in the spaces where these would take place.

the design of the architectural elements like windows,

Architecture then becomes more than an object

among all members of the project team.

They began to see the multifunctional and overlapping

walls, doors, stairs, and the roof, among others.

when it becomes a symbol of values, knowledge, andArchitecture conceptualized in terms that directly

way their spaces are configured, leading them to realize

Mockups of the window system clarified therelationships developed in the process of its creation,

engages a community allows for deeply shared meanings

the importance of maximizing synergy of their activities.

functional implications of our design decisions. The

and that the essence of architecture is not space but thethat can be ascribed to architecture, which can thenHaving encountered some difficulty communicating

weavers wanted to maximize natural light because they

meaning ascribed to the space. ■reflect and reinforce a community’s identity over time.

fromattach the looms to the window frames when they work.

EnglishtoVietnamese

and

to

Hmong,

101

words by

ART ARCHIVE 03

BAMBOO ARCHITECTURE
AND ITS SUSTAINABILITYROSARIOENCARNACION TAN

Fig. 1The Philippine top elite, the forty richest Filipino

This objective encourages a myopic way of thinking:families comprising 0.1 percent of the population, own

that as long as the elite is making money, awareness ofmost of the wealth of the Philippines. Corollary to this,the surroundings is only of secondary importance.

the commercial interests of this elite group resulted

Secondly, unsustainability of infrastructure arises

in a proliferation of damage and unsustainability infrom the fact that such infrastructure only services theinfrastructure and communication.

minority and not the majority of the population. It is

In a 2013 article by Julian Keenan, the collective

true that most of the population has access to public

growth of these families was calculated at 76.5 percent

schools and, in some urban centers, access to health,of the country’s overall increase in GDP.1 Most of the

sports and cultural facilities. However, most of thesegrowth is concentrated on developing Metro Manila’s

facilities lack the infrastructure amenities for cultural

skyscrapers and the emerging beach towns, such as inlife which account for holistic sustainable living. A

the island of Palawan. The wealth of these families does

majority of the population does not have access to

not trickle down. In the meantime, according to politicallibraries, theaters, recreational facilities, urban parks,science professor Louie Montemar at Manila’s De La

man-made landscapes and wildlife parks. These places

Salle University, tens of millions of Filipinos live in poverty.

are easily accessible to populations of First WorldThe elite own most of the commercial malls in the

countries whose enjoyment of these sites feeds theirurban areas of the Philippines. They proliferate at asouls. In the Philippines, one has to be in the top one

maddening pace in most cities of Manila. According

percent of the population to enjoy culture and the arts,

to Colliers International, in 2016, new retail space ofsports, and premium health services.

724,620 sq.m. was to be constructed in the country.2

Thirdly, the waste and garbage produced byUsing this context I would like to frame the relationshipthese mostly commercial developments contribute

between economic class differentiation and sustainable

to unsustainability. For example, Metro Manila, with

development

approximately one-tenth of the population of the

deployed

in

urban

and

architecturalprojects.

102

country, is responsible for 25% of its trash. 3 Pollution, inThough it may be argued that these development

the many sense of the term, intensifies unsustainability.

projects employ green practices, the overall impact ofOne may say that the lack of understanding orcommercially driven developments in the Philippines

consciousness about material pollution, including

amount to unsustainability. This is because profit rather

materials produced by development and building

than sustainability is the driving force of the development.

construction, precedes the problem of unsustainability.
103Fig. 3A SUSTAINABLE ARCHITECTURE AND
ALTERNATIVE PRACTICE

Fig. 2

THE NEED FOR A COUNTERCULTURE
IN CONSCIOUSNESSThis paradigm shift will allow us to recognize the wisdom

Filipino’s survival, and helps effective sustainability forof practicing bamboo architecture as our ancestors

our environment. Bamboo can be readily harvested in justdid and to harness this knowledge to allow us to move
forward into the 21st century.

Sociologist Dr. Cynthia Bautista says that thriving

cultural constructs of sustainable ecosystems andfive years, and can then be constructed into structures bycultural practices empower local communities and are

the production of systems for sustainable buildings.

the people themselves, an activity long practiced in theimportant to development, particularly development

However, this background outlook is directed towards

Philippines.

based on social justice, inclusivity and sustainability.

practices that articulate how understanding a particular

The Philippines is blessed with at least 2,300 years of

Bautista says that these cultural practices are inbuilding material may help architects, designers, andrich, traditional bamboo architecture.6 Though bamboo isthemselves the primary sources of knowledge and thatbuilders become willful purveyors of environmental

a grass and seemingly non-permanent, why do we say that

Even on subsoil, bamboo grows quickly, andtheir practitioners become the potential recipientsawareness. This essay does not delve into why there

bamboo architecture has been practiced in our land forhelps reforest, locks carbon, registers negative carbonof the development efforts as well. Bautista points

is a lack of environmental awareness and politicalthousands of years? This must have been because of strong

footprinting, and is totally recyclable as it goes back toout that even the United Nations recognizes that thiswill.

Rather, it will go into examples of sustainable

oral tradition passed on from generation to generation.

the earth.

alternative development can help achieve Sustainable

activities through bamboo architecture in the realm

Until today, constructing with bamboo is a familiar

On the other hand, concrete, steel, glass, and metal

Development Goals “on many levels, improving theof the author’s professional experiences. The author

technology in areas where these houses are present.

are all extractive materials. Collecting these materials

livelihood and well-being of people.” And bamboo

believes that these examples produce sustainability

Men, women and children can build with bamboo based

eject carbon into the air and harm the earth.

architecture is part of this way of life.

in the infrastructure of cities and towns beyond theon the author’s interviews with residents of Panay in the

A bamboo harvest, the ensuing treatment andconsciousness

Bamboo is a purely benevolent material thatcan provide the basic needs of food, clothing andshelter. For shelter, bamboo fulfills all the criteria forsustainability.

particular,

years 1980-1990. Bamboo does not grow on its own. To

processing, and the bamboo architecture itself produce

solution is to research on and adopt existing alternative

this essay shares examples of bamboo design andflourish, it has to be planted by man and this was done byincome that goes straight to the local population, which,practices. Adopting these practices is the most direct

construction and a gleaning into the thinking of the

our forefathers.

in turn, helps establish self-sustainability in communities.

way to counter the Filipino elites’ “conceived market-

dwellers that live in them.

Dr. Eduardo Tadem further believes that theofcommercialism.

In

One anthropologist surmises that a settlement was
bamboopresent in archaeological sites in the Philippines where

region’s natural resources and productive capacities.” 4architecture and architectural practices as a counterpoint

bamboo grows. For example, hundreds of years ago,

I cannot give a bird’s eye view of all the sustainable

He says that the elite marginalizes and disenfranchises

to unsustainable commercialization. It inhabits thepeople dwelt in the mountains where bamboo grew—andlifestyles generated from building with bamboo. Buta large portion of the country’s population. He

consciousness that designs products, structures andmost of our mountains have bamboo. Our forefathers

through almost 30 years of researching and building

espouses that the solution is to encourage people

infrastructure and a counterculture lifestyle that bear inand bamboo have coexisted since hundreds of years

with bamboo, and working on 45 projects that have usedpresently working on the ground to be in solidarity with,mind what is beneficial for the majority of the populationago.

bamboo, there are many lessons, a lot of them humbling,

and work for mutual benefits and common principles ofwhile being sustainable.

centered and state-supported process to control the

This

essay

focusesonexamplesof

But what is most important is to reorient Filipinosthat confirm the sustainability of bamboo as a building

the community. Tadem says that this is the antithesis

Even with the absence of infrastructure support fromthat generations ago, we had the capacity to build ourmaterial. Also, designing and building with bamboo hasof the “cutthroat competition, the insatiable thirst for

the elite of the Philippines, the author sees that spirited

own houses from bamboo materials available on thecompelled me (and my husband) to take on a simplified

profits, narrow patriotism and chauvinism.” 5 He also

individuals and communities can don alternative lifestyles

land where we lived. Back then, building with bamboo

and sustainable lifestyle.

says that “culture is essential in lending a human andthrough bamboo structures. These bamboo dwellers are

was common knowledge or a skill that could be easily

spiritual face to political and economic dimensions

aware of the environmental crisis and possess a calling

learned.

and should therefore be nurtured and developed.” 4

or commitment, along with practices that prove theirThisgeneraloutlook

expresses

the

role

of

how society and social differentiation play into the104

Bamboo architecture may be a strong point for thecommitment to sustainability.

Bamboo architecture is an alternative architecture.
But this architecture would be given a boost once we

I will also share stories from various clients andcollaborations with researchers and architects. All thesepoint to potential successes for sustainability of bamboo
design and construction.

realize that it had been around for thousands of years.
105

BAMBOO ARCHITECTURE& ITS SUSTAINABILITY

ART ARCHIVE 03

RESEARCH AND WRITING FOR FOLKARCHITECTURE (1979-1990)
In 1979, I was an intern with Urban Designers

about it. They are well ventilated, with high pitched

Associates under Prof. Honorato G. Paloma. Paloma

roofs, usually surrounded by an edible garden, andwas a favorite professor of many students, including

stilted to avoid floods.

me, at the College of Architecture, University of the

The ten years of experiencing the bamboo house

Philippines (UP). Paloma had an excellent grasp ofalso caused a major paradigm shift. The classic Filipino

design and architectural concepts, and his words

bamboo house, a Southeast Asian term called the bahay

were compelling. We all looked up to him.

kubo, is a classic piece of people architecture, and it

I mentioned to him that book publisher and writer
Gilda Cordero Fernando commissioned me to be theThis essay focuses on examples of bamboo
architecture and architectural practices
as a counterpoint to unsustainable
commercialization. It inhabits the consciousness

is fully sustainable. It would take another generation ofscholars to buttress this realization.

that designs products, structures andmain researcher of the book, Folk Architecture. 7
Paloma said that the bamboo houses of Panay
should be a topic. I enthusiastically told this to
Fernando, who promptly commissioned Paloma to do
the second section, Panay Houses, of the book Folk
Architecture.
Paloma, Fernando’s daughter Patricia (or Wendy)
and I went around the island of Panay in 1980 andinfrastructure and a counterculture lifestyle that

It is clear that bamboo is earthquake-proof.

bears in mind what is beneficial for the majority

But can bamboo withstand typhoons? There was a
research that looked into this with experts from theOxford Center for Disaster Studies (OCDS) in 1995.

discovered at least a hundred bamboo houses in its

Nick Hall and Roger Bellers of OCDS, UK,four provinces: Iloilo, Antique, Capiz and Aklan. For

contracted my husband Julio “Juju” Galvez Tan

the most part, we took the scenic route by the sea,

and myself to help them look into bamboo houses,

but we also traveled inland to the farms, especially inand determine whether these houses are typhoon-

the province of Iloilo.

resistant.

Sadly, Paloma could not turn in a text. I believe

OCDS gave the criteria for the research. The

he got writer’s block. After years of waiting, Fernando

houses must have a traditional design; be locatedasked me to write the article, with her and two otherin a traditional or old town; be free of warlords; andeditors editing my thoughts.

have the presence of women leaders. We identifiedof the population while being sustainable.

Fig. 1

A view of the dining area and kitchen in the Three- Story
Bamboo House in San Mateo, Rizal

Fig. 2 One of the best form examples of a bamboo house
Fig. 3 Panay bamboo house photographed in 1980

CENTER FOR ECOZOIC LIVING AND LEARNING(1999-2000)

To this day, I still look up to Paloma, and I have a

Igbalangao, Antique, a fourth class municipality at

In 1999, Fr. John Leydon and Elin Mondejar initiatedtheory of what happened about his writer’s block. With

the delta of the Antique river. Intuitively, I knew thatthe vision for a Center for Ecozoic Living and Learning

all the beautiful pictures of bamboo houses that he took,

old civilizations happened around rivers and their(CELL). Leydon and Mondejar commissioned me to

Paloma could not frame the lovely houses into a theory.

deltas.

In the succeeding years, the research buttressedbuild two big bamboo structures: a seminar space and a

Unlike today in the 21st century, there was nothing

After a week of working with Josephine, thethe conclusion of Hall and Bellers that the bamboo

two-story dormitory, roughly 8 meters x 12 meters eachpublished in the 1980s that described Philippine

woman leader, and interviews with carpenters, Hall

houses are typhoon-resistant. And, of course, again,in size. This was in line with their permaculture farm,concepts of vernacular architecture, folk architecture,

and Bellers asked the carpenters to demonstrate

it can be noted that the bamboo houses are stilted,

eco-spiritual activities, and advocacy for sustainability.

indigenous architecture and people architecture.

connections of bamboo. The carpenters had difficultythus protected from the sudden flood.

For the first time, we constructed structural bamboo

carpenters

In this case, it is the design strategy of the Southeast

parts of posts, beams, and roof trusses. And, as usual,

did intensive library research. I scoured Filipiniana

asked us to come back after three days. When we did

Asian bahay kubo that is ingenious. The bahay kubo isthe floors, walls and openings were of bamboo, too.

publications in many libraries, looking for leads oncome back, they had built a full house, showing all

stilted and thus flood-free, light in structure, woven

The roof was made of anahaw.

houses and house implements; songs and poetry thatthe house parts and the connections. Hall and Bellers

in construction, and with high-pitched roofs. Duringmentioned an experience of the house. I went backconcluded that the building system of bamboo was

typhoons, the wind goes through the structure, and theto the province once to live in a town in Antique for aholistic. It could not be explained in parts but as ahouse sways resiliently.

week, and went back in 1989 to research once morewhole. And because of this, all the structural parts

But what if the houses fall from the typhoon winds?

I observed that the bamboo outriggers of the bancas

around the island. For the next nine years, I gatheredshared compressive and tensile stresses with each

The people replied to OCDS that within days afterused this for fastening. Upon inquiry, the boatmen told

many field notes, interviews, and my personal photos.

other. The sharing of stresses gave the bamboo

the fall, the houses could be put up again because

me that the nylon lashings were at least 30 years old.

Ten years later, in 1990, photographer Joseph Fortin

structure superior strength.

of the small dimension and relative lightness of the

I surmised that nylon lashings are strong because itbamboo houses, and with the help of the members

could take salt water and the ultraviolet rays of the sun.

Having to move on with the team of writers, I

again took hundreds of pictures.

106

RESEARCH WITH THE OXFORD CENTER
FOR DISASTER STUDIES ON TYPHOONMITIGATION (1995)

expressing

themselves.

Instead,theThis field research reaffirmed a theory that I held

Another important discovery was the use of nylon
twine, similar to fishing twine, as bamboo lashing.
The discovery of lashing with nylon happened when

From the field interviews, we gathered thefor 15 years. And in the next years, and through moreof the community.

This again is a good point forfollowing data: costs of the house, house rituals, age

research, it was clear that bamboo is stronger than

the

of

architecture—andMore importantly, I realized that the vision of Leydonof the house, and floor plans. What is clear now issteel in tensile strength, and stronger than concrete indemonstrates how the use of bamboo mitigates theand Mondejar was the wind behind the back of bamboothat the bamboo house also had sustainable qualities

compressive strength.

severity of damage caused by typhoons.

construction in the context of sustainability.

sustainability

bambooThis was another vernacular (local) lesson learned.

107

BAMBOO ARCHITECTURE& ITS SUSTAINABILITY

Fig. 4 Three-Story Bamboo House at San Mateo, Rizal
Fig. 5 Del Monte Bamboo House

THE HOUSE OF IPAT LUNA AND HOWIE SEVERINO(2014-2015)
Ideal clients come few and far between so it was agreat boost when the owners possess a nationalistic
Fig. 5

vision and are willing to lead a sustainable lifestyle.
Bamboo construction is part of the equation ofthis sustainable lifestyle; this, plus the owners’ will,leadership, and inner power.
This happened when we built the mostly bamboo

Fig. 4but with mixed material house of Maria Paz “Ipat” Lunaand Horacio Gorospe “Howie” Severino.
First, Ipat and Howie tapped the inventive andcreative potential of Nato Espiritu, foreman, artisan andinventor, who is passionate about bamboo.

QUEZON CITY (1991-1996)

THE BAMBOO MODULAR HOUSE IN THE BAMBOOADVANTAGE EXHIBIT (2000-2003)

In the spirit of keeping life simple, and following

In 2002, we upped the bar of bamboo sustainability.

the parts, the panels, and the system of connections,

Previously, Nato, on his own, built a bamboo

his calling, I asked my husband Juju if we could build a

We created a modular bamboo house from a confluenceespecially the lashing. We successfully transferredtreehouse for Ipat and Howie. It cost, P200,000.00 orbamboo house. It immediately caught his imagination.

of factors.

this modular bamboo structure, assembling androughly P32,000.00 per sq.m. Ipat and Howie presently

And so in 1991, we built our first house that would be a

My husband Juju and I did not really know whererent it out, with 70% occupancy, via Airbnb.

dismantling five times.

combination of bamboo, concrete and lumber. I had thewe would settle next. Just about then, the owner of

The first time took two weeks to assemble at

We built a 10-meter spanned structure with theconfidence in building with bamboo for the first time,

Pinto Gallery, Dr. Joven Cuanang, asked if I could do an

the Pinto Gallery for the Bamboo Advantage Exhibit

support of steel I-beams. We also recycled materials

from four years of intensive training in construction,

exhibit on bamboo.

2003. After four exhibit extensions, from two to eight

and, of course, built bamboo floor framing, floors, andplus 11 years of design experience.

roof framings.

When we started to build, I just employed theWe then thought of a bamboo modular house. This
became a 65-sq.m. house in 2m x 4m modules ofmonths, it took only one week to disassemble thestructure.

Nato also learned the limits of the strength ofcarpenters we would work with. There was one very

bamboo and how to fashion long nailers, which are sogood carpenter, Peralta (I only remember him by

We had a star artisan in Rudy Encinares, whotook three days to disassemble and dismantle, and one

much stronger than the usual wooden nailers. I taught

this name), who hailed from Iloilo, Panay. Peralta

led the 7-man team. Rudy and I had been working

week to assemble. This shows we had created a system

Nato techniques and, not to be outdone, he created his

immediately took on to the bamboo, slatting, weaving,on other conventional projects, and I realized that

where the construction became 50% more efficient.

own.

bamboo.

By the fourth time the house was transferred, it only

flattening, studding. Within two weeks, other workers

Rudy was just not an able foreman. He was brilliant

Throughout this operation, except for the trucking’s

The four of us worked in synchronicity. Ipat

took on to Peralta’s technique. Bert Gallano, alsowith both conventional and bamboo constructionuse of diesel, the efforts were sustainable, with zeroand Howie’s total commitment to the environment,from Iloilo , and who has worked with me since 1984,

apart from the fact that he was hands-on with thecarbon footprint.

sustainability, and an alternative lifestyle gave a totally

took to bamboo construction right away as well. It

work. He did neat and wonderful carpentry. By thisnew angle to building with bamboo—a leadership that

was as if we could assume that it was natural to build

time, too, I knew that the most talented workers

THREE-STORY BAMBOO HOUSE IN SAN MATEO

the 21st bamboo tradition needed. We were all in awith bamboo.

that work with bamboo are the ones who had the(2007-ONGOING)

cusp of high motivation, encouragement and creativity.

Even when I was single, the concept of “Voluntary
Simplicity” struck me hard. I personally resonated with

We were able to do bamboo floors, railings andartistic bent. Also, aside from carpenters, welders

The dismantable bamboo house finally settled

balusters, and the traditional tadtad walls. Tadtad walls,

easily handle the material. Perhaps it is becauseback at the border of Metro Manila, at Patiis Road,

which are commonly seen in Panay island, are madethese welders handle the round pipes.

San Mateo. We purchased a 600-sq.m. land for theby framing flattened bamboo poles into panels withvertical and horizontal weaves.

it, and pursued it. I met my husband Juju who was into

Because we were mimicking vernacular (local)

voluntary work with NGOs and committed to working withfinishing techniques, we had the easy confidence inthe people. I knew I met the right person for a life-longbuilding.

journey. Our journey created the next three structures.
108

OUR VERY OWN BAMBOO HOUSE IN DEL MONTE,

Since 1991, Bert Gallano, too, remained very

bamboo house. As usual, we rented one six-wheeler

consistent in the quality of his bamboo carpentry.

truck and loaded all the pieces, including the anahaw

At present (2019), he is a master bamboo carpenter,roofing.

producing very good bamboo work.
With our dream team, we easily assembled anddisassembled the modular structure. We all worked out

With 500 more pieces of bamboo, we extended themodular house, integrating its dismantable panels into
a permanent structure.
109

BAMBOO ARCHITECTURE& ITS SUSTAINABILITY

ART ARCHIVE 03

Then came the floods. Our street was flooded. The
water swelled to 0.50 meter high. Higher than 0.50
meters above the road, the flood waters started flowing
to the surrounding lots. A major step was to fill up theland one meter high, which meant that the ground level
would be 0.50 meter higher than the road. This wasdone after the deep foundations of bamboo, concreteand some steel bars were planted.
After we raised the lot, we designed the bamboo

Fig. 6 The house built by B’laans in 2018

house to have a silong, which is an open stilted groundFig. 7

floor area and multipurpose area.

The Bamboo Theater designed by Arch. Fuminori
Nousaku with Arch. Rosario Encarnacion Tan

Fig. 8 Lashing anahaw roofing with nylon twine

This made it flood-proof, a concept resonating
again with another sustainable criteria. From this, I also
realized that flood mitigation means to integrate silong

Fig. 6

designs in Filipino dwellings where floods occur.

FUMINORI NOUSAKU AND THE BAMBOO THEATER(2017)The second floor was the living space: kitchen,dining and living area with a balcony that overlooks a

For Japanese architect Fuminori Nousaku, the

1.3-hectare empty lot, and the San Mateo mountains.

challenge was to come out with a crossover design for

The third floor contained the workroom, the bedroom
and a complete bathroom on bamboo slats flooring.

110

the 2017 exhibition Almost There at Vargas Museum,

THE B’LAANS AND JAIME GALVEZ TAN(2018-PRESENT)University of the Philippines. He fused similarities

By now, we had taken the effort to give the whole

Dr. Jaime Galvez Tan is what we call a “doctor

between the cultures of Japan and the Philippines,

house a lot of bamboo features. Aside from the posts,

to the barrios,” or doctor to the people. Early in his

and made sure to include the bamboo installation hemost of the other structural parts—beams, joists,

profession (in the 1970s), Tan found his calling to serve

called the Bamboo Theater, which would capture thenailers, slat flooring, and roof framing—were of bamboo.

the communities. He and his wife Rebecca came out

imagination of Filipino culture.

Walls, windows, and a bangguerahan (a protruded shelfwith a book in the 1980s on the medicinal qualities

Nousaku agreed to having me as co-designer

for drying dishes) were also of bamboo.

of plants endemic to the Philippines. This book has

because of my knowledge of designing and building

All these construction came from lessons frombeen republished many times over. Tan says that hewith bamboo. We worked on the link on Japan’s bamboo

vernacular houses in Panay, done during the researchcombines Filipino, Western and Ayurvedic treatments

farm A-frame structures for drying produce with the now

in the 1980s for Folk Architecture. Again, the wisdom

for his patients.

21st century image of a 10-meter high bamboo A-Frameof our forefathers made bamboo construction very

But Tan does not stop there. Currently, he is livingwith very colorful Filipino rice sack designs. Nousaku

doable. I believe that one of the additional criteria

in a bamboo house (2018-present) that the indigenouscommented that these colorful sacks would not work

for sustainability is to adopt traditional methods thatgroup, the B’laans, built for one-third the cost of a usualwith Japanese sensibilities, but he understood thecreate more economical, easily transferable and fastervernacular house. He challenged the community that if

visuals as appropriate for the Philippines.

techniques in building.

they build him a house, he would stay with them for a

After the end of the Almost There exhibit, theyear and serve them. And that is exactly what happened.

Bamboo Theater remained standing onsite for eightThis act of his also inspired the B’laans to realize

more months. Two other exhibition artists, Junyee andAgain, there is a small group of people who have thethat there is wisdom in their vernacular architecture.

Agnes Arellano, included the Bamboo Theater in theirvision and they go for it. In the Philippines, despite theCurrently, they were also able to build another house tonext installations. Thus, the Bamboo Theater lasted

negative effects of globalization on identity, despite neo-

rent out via Airbnb.

four times longer than initially planned, as if poeticallyliberalism stemming from three centuries of colonialism,

And while Tan lives with the B’laans, he reinforces

there are globally sensitive Filipinos and Filipino designers

the good living habits they already have since their

who are deeply rooted in their culture. There are also

forefathers’ time. These are eating nutritiously andAlso, if an idea is ingrained deeply in culture, andforeigners who respect the Filipino values and design

constantly stoking the community spirit that is so alive

happily even deeper in these two cultures, modern

in appropriateness and sustainability. They understandthere. Tan lauds the fact that in the village, there are 32

expressions of very traditional practices are very

and appreciate our history, tradition and environmental

centenarians, precisely because of the high quality ofpossible. What is further intriguing is that thesesituation. These are the game changers and leaders forlife, which is encompassed by sustainable practices in

traditional practices uphold sustainability as one of itstrue sustainability.

their food, attitude, and simple life.

declaring that sustainability indeed is in its ability forreuse and recreation.

Fig. 7

values.
111

BAMBOO ARCHITECTURE& ITS SUSTAINABILITY

ART ARCHIVE 03

5 Conference on Alternatives in Southeast Asia: Keynote Speech by Eduardo
Tadem, Ph.D.: October 2018 Manuscript is still unpublished. This was held in
Madison 101 Hotel, Quezon City
6 Zialcita, Fernando N. and Tinio, Martin I. Jr. Philippine Ancestral Houses.
Quezon City, Philippines: GCF Books: 1980
7 Perez, Rodrigo D. III, Encarnacion, Rosario S., Dacanay, Julian E, Jr. Folk
Architecture. GCF Publications: Quezon City, Philippines: 1990

Fig. 8PAULO G. ALCAZAREN AND THE FREEDOMMEMORIAL COMPETITION (2019)
Paulo G. Alcazaren is a heavyweight with his writings

In conclusion, it is heartening to realize that aand knowledge of Philippine architecture history andstrong solution for architecture and sustainability in theculture. But Alcazaren also has the benefit of working

Philippines is a result of a deep understanding and use

internationally for decades in Singapore.

of traditional knowledge and moving it on to 21st century

With his team of five, Alcazaren invested a heftymodels of architecture. It strongly suggests that theamount and joined a competition: the Freedom

answer is definitely in the hands of the majority of theMemorial in July 2019. The entry made it to the finals.

Philippine population, and not with the elite. ■A ten-story-high bamboo tower took the attention ofpeople and the judges. And this bamboo tower is atake on the future of architectural sustainability. With
the current research on bamboo technology, Alcazaren
argued that this could be done.
Happily, it seems that a person with Alcazaren’s
credentials can afford to have such vision precisely
because he can put on track what Filipino architecture
could and should be.
112

1 The Grim Reality Behind the Philippines’ Economic Growth, by Julian
Keenan, The Atlantic, May 7, 2013
2 Mall Culture and Consumerism in the Philippines, Jore-Annie Rico and Kim
Robert C. de Leon, State of Power, 2017
3 Metro Manila Produces a Fourth of the Philippine Garbage, by Kristine L.
Alave at inquirer.net. Philippine Daily Inquirer, August 16, 2011
4 Conference on Alternatives in Southeast Asia: Keynote Speech by Eduardo
Tadem, Ph.D.: October 2018 Manuscript is still unpublished. This was held in
Madison 101 Hotel, Quezon City

8. 2018: Residence of Dr. Jaime Galvez Tan. Designed and constructed by
the B’laan Community located at Sitio Amguo in Polomolok, South Cotabato
9. 2019: The Freedom Memorial: Finalist at the Competion of The Freedom
Memorial. Head Designer: Paulo A. Alcazaren

References:
Dransfield, S. and Widjaja, Elizabeth A. (Editors). Plant Resources of SouthEast Asia. No. 7. Bamboos. Backhuys Publishers: Leiden, the Netherlands:
1995
Hidalgo Lopez, Oscar. BAMBU: Su Cultivo Y Aplicaciones.
Estudios Tecnicos Colobianos Limitada: Cali, Colombia: 1974
Oliver, Paul. Dwellings. Phaidon Press Ltd.: Country London, United
Kingdom: 2007
Perez, Rodrigo D. III, Encarnacion, Rosario S., Dacanay, Julian E, Jr. Folk
Architecture. GCF Publications: Quezon City, Philippines: 1990
Powell, Robert. The Urban Asian House. Select Books: Singapore: 1998
Scott, William Henry. Barangay. Ateneo De Manila: Loyola Heights, Quezon
City, Philippines: 1994
Stuttgart, Karl Verlag Kramer. Bamboo. Institut fur leichte Flachentragwerke(IL): Stuttgart, Germany: 1985
Tay, Kheng Soon. Mega-Cities in the Tropics: Towards an Architectural Agenda
for the Future (Social issues in Southeast Asia).
Institute of Southeast Asian Studies: Singapore: 1989
Velez, Simon. Grow Your Own House: Simon Velez and Bamboo Architecture.
Vitra Design Museum: Weil am Rhein, Germany: 2000
Virtucio, Felizardo D, Ph.D., Roxas, Cristina A., M.S. Bamboo Production in thePhilippines. Ecosystems Research and Development Bureau, Department ofEnvironment and Natural Resources. Laguna, Philippines: 2003
Waterson, Roxana. The Living House: An Anthropology of Architecture in
South East Asia. Oxford University Press: Oxford, United Kingdom: 1990
Zialcita, Fernando N. and Tinio, Martin I. Jr. Philippine Ancestral Houses.
Quezon City, Philippines: GCF Books: 1980

Projects Mentioned in the Article:
1. Research for Folk Architecture: 1980-1990 under GCF Publications led by
Gilda Cordero Fernando
2. 1990-1996: Residence of Julio Galvez Tan and Rosario Encarnacion Tan,the Del Monte Bamboo House at Del Monte Avenue, Quezon City. Design
by Roario Encarnacion Tan. Construction by Rosario Encarnacion Tan with
Ernesto Carino
3. 1999-2000: Center for Ecozoic Living and Learning. Located at Silang
Cavite. Owners were Elin Mondejar and Fr. John Leydon. Design by Rosario
Encarnacion Tan. Construction by Rosario Encarnacion Tan with Ernesto
Carino4. 2003-2007: Modular Bamboo House first exhibited at the Bamboo
Advantage Exhibit, Pinto Gallery Antipolo on November 23, 2019. It traveled
five times before being integrated into the Three-Story Bamboo Houseat Patiis Street, San Mateo, Rizal. Design and Construction by Rosario
Encarnacion Tan
5. 2007-2010: Three-Story Bamboo House of Mr. and Mrs. Julio Galvez
Tan located at Patiis Road, San Mateo Rizal. Designed and constructed by
Rosario Encarnacion Tan; assisted by contractors Jose N. Nacu and Avelina
G. Gabat
6. 2014-2015: Residence of Ipat Luna and Howie Severino. Kapusod Place,
Bgy. Lipute, Lipa, Batangas. Design by Rosario Encarnacion Tan with NatoEspiritu. Constructed by Nato Espiritu with Rosario Encarnacion Tan
7. 2016-2017: “The Bamboo Theater” for the Exhibit of Almost There at
Vargas Museum, University of the Philippines. Design by Fuminori Nousaku
and Rosario Encarnacion Tan. Constructed by Rosario Encarnacion Tan,assisted by Avelina G. Gabat

113

v
words by

ART ARCHIVE 03

INTUITION AND FASHION INNOVATIONLULU TAN-GAN

114

Fig. 1In the Philippine fashion scene, Lulu Tan-Gan hasborn ten years apart.) School allowed me the enjoyment

been synonymous with knitwear since the mid-’80s. Noof learning history, geography, chemistry, art, and a subject

one would need a sweater in a tropical country, unlesscalled home economics, which enabled me to tinker withyou live up north, like in Baguio, Mountain Province. It took

craft projects. I enjoyed working with my hands and neversome guts and the desire to create travel-friendly fashion

had to struggle with them. My last year in high schoolthat I would see beyond this thinking and create pieces

was spent in Baguio after which I pondered between

for an unexpected market, the expatriates and tourists

Political Science and the Arts for a college degree. I chose

who came to Manila, and the jet-set Filipinos who traveled

Bachelor of Fine Arts and it became my destiny.

to colder destinations. (In hindsight, I spent senior highI was still sheltered even in college at the University

school in Baguio and the time spent there might haveof Santo Tomas. But in between classes, I would

helped me to imagine cooler weather when I createdgallivant with friends or alone to downtown Manila andspring and winter fashion while living in hot Manila.)

Ermita. Rizal Avenue was then the center of the city’scommercial life, its streets lined with coffee shops,

THE FASHION NEWBIE

bazaars/department stores, and stand-alone movie

Being the youngest in the family with ten older

theaters designed by prominent Filipino architects

siblings made my parents very protective. Weekends andof the day like Pablo Antonio and Juan Nakpil. Bothsummer vacations were locked-down days with my big

are now National Artists for Architecture. Bookstoresfamily, spent visiting relatives and family friends. When

were Alemar’s, National and a specialty book shop, La

alone, I would spend a lot of my time reading American

Solidaridad. In the Manila area I was impressed with one

books and magazines, in particular, fashion magazines. I

church, the San Sebastian Cathedral, a Roman Catholic

was always doing something or having something made;basilica known for its Gothic Revival architecture andI would doodle, draw, and engage in some craftwork,as the only steel church in Asia. The arrival of thelike rug-making and mosaics. Needing constant visual

Americans at the beginning of the 20th century turnedchange in my room, I would redecorate and create

Escolta into one of Manila’s most famous streets; inmatching bed covers and curtains. Eventually, I designed

its premises were stand-alone department stores

my own clothes, buying fabric and trimmings, and had

Heacock’s, Botica Boie, La Estrella del Norte, Oceanic,

them made.

Berg’s, and Aguinaldo’s. Mabini Street had tailoring andHigh school was liberation from home. I enjoyedfashion schools that taught illustration, pattern making,

moments with girlfriends different from the sports

and sewing. I went to Madonna’s School of Fashion

activities of four older brothers. (My elder sister and I wereduring my college summers.
115

INTUITION AND FASHION INNOVATIONMy love for crafts,

A ‘TRAVEL-FRIENDLY’ DESIGNER BRAND
My love for crafts, color, and texture led me to knits.

and Dusseldorf. We took orders at the Paris Prêt à

As an artist, I always seek growth to step beyond myself

Instead of buying fabrics, which everyone else was doing,

Porter Féminin, now called What’s Next, at the Portes

and my own expression. Being the first and only Filipino

I started to use yarns. It intrigued me that yarn would allow

de Versailles, Paris. We presented fashion shows indesigner to date who has mastered and been recognized

me to weave my own material. I would order them from myGermany, where the fair was called the Mode Woche.

for a craft-based brand, I wanted to explore otherproducer, customize the colors, weave the combinations,

We did backstage tasks, helped set up shows, pulled

possibilities without sacrificing what I have established inand fabricate textures. I was amazed with the knit loom,

together the lineup of models and clothes. An exposure

the past decades. Poised for a new challenge, I steppeda hand-operated device used without electricity, allowing

trip to Europe in the early ‘80s was quite an experience;

forward to redefine all within my reach.

of buying fabrics,

for an eco-friendly way of producing fabrics.

color, and texture led
me to knits. Instead

globalization had not set in yet so each country had

I saw that knits were meant for more than justMy buying trips with Tessie led me to know more about

its own food, fashion, and art. It was an exhausting,clothing the Filipino in an unexpected fashion. Knits canknitwear. We regularly attended the Hong Kong trade

exhilarating, but fruitful first promotional sales trip for thealso be the perfect material that can amalgamate withwhich everyone elseshows, when the event featured pop-up brands. Traveling

Philippines.

indigenous textiles, which are distinctly Filipino but havewith clothes that needed ironing or paying for laundry

When I returned from Europe, Redson was not eager

become dissonant with our everyday lives. Due to three

didn’t sound practical so I thought of reintroducing

to take the orders, which were too small for an exporting

hundred years of colonization under Spain and fifty years

was doing, I started

knits. During the ‘70s and early ‘80s, knitwear came incompany that was used to significant volumes. I wasunder America, the Philippines is quite westernized.

limited forms, there were only tank tops, sweaters, anddisappointed and unsure of what to do with this dilemma.

Colonial mentality continues to persist today, even withcardigans. Responding to these limitations started my

To learn the technical side of knitting I had invested in

the rise of nationalism in the 1950s through the ‘70s andto use yarns.

career. I focused on knitwear and transformed basica knit loom, and since Redson was not accepting the‘80s. This thinking has also been evident in fashion andclothing into fashionable pieces. I recall the repeatedEuropean orders, I decided to take over. This decision

merchandising.

comments: “Knitwear? Who is going to buy knits when it isturned into an opportunity for me to export.

It intrigued me that

so hot in Manila?” I turned a deaf ear. I simply knew what I

During the day I was in SM, at night I worked towas bigger than my art, even bigger than the fashion

wanted and that was to create what was unavailable in thefulfill my export orders. I added three more looms andindustry. Besides our individuality, our fashion choices

market. More than following trends, my path as a designer

three knitters, worked till midnight and on weekends,

define our collective cultural identity as a nation. In

yarn would allow

was through the innovation of products not found inoutsourced hand crochet works in Carmona and weaving

my search for direction, my advocacy has become athe Philippine market. The knits I created attracted thein Baguio, cities outside of Manila. In 1985, Tessie

question of Filipino identity. Wearing a cultural trademark

expatriates and tourists who came to the country and the

Sy heard about my export pullovers, sold in limited

is tantamount to expressing this. I still love to work withme to weave my own

jet-setting Filipinos who traveled to colder destinations.

quantities from excess orders to a few enthusiasts, likeknits, but in the second phase of my career, I believe it isMore than market analysis, my business template camesocialites Chona Kasten and Mary Prieto. She offered metime to give back.

from innovation and intuition, practical quantitative andto be a consignor at SM Boutique Square, where I was

I represented the Philippines in various international

material.

qualitative assessment, and the addition of fashionable

once a buyer. I never had plans of going on my own but

trade events for several years, as co-founder of ourelements to an essential product without sacrificing its

I trusted Tessie, who said that I was capable of doing it.

industry councils. Since 1992, I have played an activefunction. The concept of the Tan-Gan line as a “travel-

My brand expanded as Shoe Mart did, through its chain

part in the Filipino Designers Group (FDG) and thefriendly” designer brand was born.

of department stores. In 1989, I opened my first stand-

Fashion and Design Council of the Philippines (FDCP) in

I realized that the advocacy I was about to embrace

In 1983, the Center for International Trade Expositions

alone store in Greenbelt 1, Ayala Mall, in Makati City. The

organizing missions that support the industry through the

One of the most exciting days of my life was whenand Missions (CITEM) of the Department of Tradenext shop was at SM’s first mall, Megamall, next to thecontinuous participation in events like the International

I applied for my first job and met Tessie Sy, daughter ofand Industry (DTI) tapped me to join a group of eight

Asian Development Bank (ADB). As SM expanded, so did

Young Fashion Designers Competition in Paris. Together

Henry Sy. Mr. Sy’s unassuming store Shoe Mart (SM),1

fashion designers to collaborate for the promotion andour branches.

with other fashion frontliners like Josie Natori, Barge

became the biggest retailer in the country and madebranding of Philippine fashion in the international arena.

Iconic fashion brands have been defined by specificRamos, Inno Sotto, Mike de la Rosa and Cesar Gaupo,

him the richest man in Southeast Asia. Tessie, who was

The project was headed by Department of Trade andsignature styles borne from the designer’s derring-do

we organized projects, partnered with the Philippine

then heading their department stores, took me in. The

Industry (DTI) Minister Roberto Ongpin, CITEM Executive

to trailblaze trends that remain relevant for generations.

government and searched for opportunities to improveyear 1976 was an exciting time when I joined Shoe Mart,

Director Mina Gabor and Head of Soft Goods Director

Etched in our minds are menswear-inspired fashion andthe local fashion design industry.

which was transitioning from being a department store

Fe Agoncillo-Reyes. Together with designers Cesar

expensive simplicity pioneered by Coco Chanel, cone-

In 2002, the president of Alliance Francaise deinto a fashion store. I was assigned to shoe productGaupo, Danny de la Cuesta, and Pando Manipon, I joined

bra corsets by Jean-Paul Gaultier and wrapped jersey

Manille (AFM), Aurelio “Gigi” Montinola III, invited me

development and the following year became a buyer for

Redson, the knitwear exporting company, known in the

dresses by Diane von Fürstenberg, brands that continue

to be a board member. I had been Philippine fashion’s

Boutique Square, a space within the SM store that soldlocal market as Vonnel. I made prototypes of pullovers,

to inspire today’s new generation of designers.

French connection, working to give young designers the

top local and foreign designer labels like Chito Vijandre,

100% handcrafted, using a combination of crocheted

Auggie Cordero, Ernest Santiago, Cesar Gaupo, Dannyhand-loomed knit with accents of hand weaves, pigskin,dela Cuesta, Mike de la Rosa and Azabache by Helena

calfskin, and snakeskin. They were eco-friendly and what

Guerrero. Three years later, I joined the creative design

we now call sustainable.

team, the group that would work on domestic fashion
trends every season.
116

ART ARCHIVE 03

opportunity for recognition in Parisian fashion design
POISED FOR A NEW CHALLENGE

contests and promoting a bond between French andIn the Philippines, Tan-Gan has become synonymous

Filipino designers. One of our goals was to professionalize

with knitwear. Why did I decide to move after establishingand strengthen the education of fashion designers andDuring fashion weeks we traveled across Europe

the brand and go beyond the comfort zone of ato reorient garment and textile manufacturers on the

to attend the fashion fairs in Paris, London, Milan,

successful niche now considered a fashion staple?

need for product development. Through AFM’s annual
117ART ARCHIVE 03

CONTRASTING KNITWEAR AND PIÑA WEAR
As a fashion brand, the challenge now begins with“combining contrasts.” What has been established in thepast two decades, knitwear, and what has to be innovated,piña wear, is a contrast. There is an extreme contrast from
Fig. 2

Fig. 3the opposite ends of these two materials, both visuallydifferent, as well as by texture. These four factors in the
product development stage made the process even morechallenging, like considering the construction, color,

BRIDGING OPPORTUNITIES FOR SUSTAINEDLIVELIHOOD

texture, and fall of the garments.
Construction:

Beyond the business of the fashion industry, mygoal is to support communities of women whose skills inin 1521, weaving cloth from silk and plant fibers was

Unlike traditional weaves, knit fabric stretches easily.

weaving and embroidery are endangered due to the lackalready a flourishing art, as was embellishment with

It is of key importance to use the right material for theof a supportive market. By imbuing my designs with theirembroidery, perhaps learned from the Chinese. Underright part of the garment. To make both the knits and thefabrics and employing their embroidery skills, I hope to

Spain, Western styles of embroidery were introduced andpiña comfortably fit and flatter the figure, we had to apply

identify and bridge opportunities for sustained livelihood.

taught to girls in convent schools. The soft, fine, flexible

piña to areas that need to be stiff, and knits to areas that

I want to garner the fashion industry’s support towards

piña fabric has always been used for the barong tagalog3

need to be fluid.

cultural program called “French Spring,” I paved the way

this direction and hope that with increased demand, skillof the elite ilustrado4 class, to be worn only for special

Color:

for collaborations in fashion with the FDCP and AFM.

sets will be taught to the next generation of weavers andoccasions like weddings or as a Philippine national

The challenge was getting the right tone of yarns to

The FDCP fashion designers would take inspiration

embroiderers, and preserve our cultural traditions.

dress on national holidays. Contemporary designers whomatch the natural, vintage hue of old piña, and get the

Redefining luxe in Tan Gan’s “Indigenous Couture”
Fig. 1collection
Fig. 2 Lulu Tan-Gan, August 2018
Fig. 3 2015 Salon 3 Fashion Show

Piña (Ananas comosus) is a traditional Philippine

use the fabric employ it for haute couture, and it comesnostalgic feel. Matching the tones allows the indigenous

fiber made from pineapple leaves. The name was derived

with an expensive price tag. For years, many designers

material to keep its “natural” color, and dyes to come out

The collaborative events were greatly appreciatedfrom the Spanish piña, meaning “pineapple.” Cultivation

tried to use the piña for regular fashion in hopes ofdifferently depending on fiber content. We spent timeand recognized by the French Embassy in Manila andof the Red Spanish pineapple,2 where the fibers are

resurfacing its relevance only to find their creations

experimenting on dyeing techniques to get the correct

by France’s Ministère de la Culture. I was conferred

extracted from, is an age-old tradition dating from thedisconnected and alien to the modern Filipino lifestyle.

color palette.

the Chevalier dans l’Ordre des Arts et Lettres by the17th century. After harvest, the piña leaves are separated

As a ready to wear designer, the Tan-Gan brand hopes

Honorable Ambassadeur de France Renee Veyret. In thefrom the trunk. The fibers are then manually separated

to bridge the gap between traditional and contemporary

Getting the right texture and fall of the finishedawarding ceremonies, Ambassador Veyret raised a toast

from the leaves by a method of hand-scraping calledfashion by combining knits and piña. Tan-Gan will bringgarments was a challenge. Texture-wise, knit is stronger

to my name, stating, “Fashion design is a very special

decortication. This extraction process from the long,it to a new direction by combining the traditional fabrics

and more tactile while the piña weaves are floaty andform of visual art. In France, Sonia Rykiel, Yves Saint-

rather stiff leaves is very labor-intensive. The leaves

with present trends, and redefine luxury. It will support

fragile. In order to be able to combine the knit and piña,

Laurent, Jean-Paul Gaultier are highly regarded among

are then scraped with a coconut husk and the fibers

community livelihood and bring back traditional weaves

we had to source finer gauge yarns to create knitted

the great artists, painters, sculptors, writers, all brilliant

knotted one by one to form a continuous filament. Spunto the global market, using the successes of piña in the

fabrics that will mix well with the softness of piña.

stars of our civilization. Lulu, as an artist yourself, youby hand, these filaments are converted into yarns. The

past to jumpstart the next generation of designers.

Fabric Fall:

have had tremendous success in fashion; the originality

next step, a time-consuming process, is warping andMy love affair with the so-called antiquated fabricWhen it comes to the fall of the fabric, piña beingof your approach and use of fabric and materials havesetting the piña yarns on the loom, ready for weaving.

awakened me to meld the richness of the piña with thefeatherweight has the tendency to float while knits

made you shine with the brightest stars on the catwalk,

Because the piña fiber is fine and breaks easily, working

softness of our knits. Three years in the making, thecollapse. We had to sew some hidden trapezes to get theboth in the Philippines and abroad.”with it is slow and tedious and workers are continuallyexperimentation of marrying knit with local hand-woven

knits to float together with the piña.

knotting broken threads. Frequently, piña is blended withfabric started early for our team. Successfully marrying

Transforming a material known to be stiff, costume-from French exhibits of French fashion photographers,architects, illustrators, perfumers and scent designers.

Tan-Gan’s advocacy today takes on a deeper meaning
as I attempt to help move the fashion industry into new

cotton, abaca, or silk to create strength and to provide

two different fabrics was a real challenge especially whenlike, and expensive is the design challenge that we

directions and make it relevant to present issues. We

an assortment of textured fabrics that can be utilized

the end product had to be both wearable and feasible.

embarked on. We softened the look and feel of piña byneed to herald the best of our traditions and fibers intofor different purposes. Since the fabric is hand-loomed

The challenges of combining two dissonant materials

combining it with quality knits, a material I know best. My

contemporary forms, support the fast-disappearing skills

by only a few old weavers and the material is seasonal

have proven to be a valuable advocacy and allow adesigns veer away from utilizing the piña traditionally, as

and livelihood of our small weaving communities, produce

due to the monsoon seasons, piña can be difficult

bigger perspective for the fashion industry. The end

my brand reflects a fascination in reconciling seemingly

local that has potential to be global, and in the process

to source. The material therefore becomes costly.

product shows that there is promise in bringing back piña

dissonant materials and techniques. This challenge is aposition Filipino fashion brands in the international“The Piña: Resurfaced” will identify Tan-Gan’s luxury

successfully and reviving the long-ignored indigenous

perfect inspiration for the new phase of Tan-Gan, one thatand traditional community-based industries.

will create wearable piña relevant to the present market.

market.
118

Texture:phase. When the Spanish arrived in the Philippines

119ART ARCHIVE 03...our fashion
choices define
our collective
cultural identity
as a nation. In my
Fig. 4search for direction,
Fig. 5‘THE PIÑA: RESURFACED’
Beautiful traditional craftsmanship is on the verge

proper education and exposure, more young people fromdesigns because of its uniqueness and global appeal.

of extinction. With the proliferation of globalized

these communities will appreciate their roots when they

It is this appreciation that continues to inspire me as

production, the highly skilled craftsman has becomecome of age and be encouraged to continue their legacy

a designer and to seek ways to support our beautiful

an endangered species. More young people from thethrough the next generations.

indigenous arts and craft. Reflected in the new phaseweaving, crocheting and knitting communities choose

A vital key for the traditional craftsman to survive inof Tan-Gan, which highlights the everyday luxury of theother work options or to work overseas. Though somethe modern world is to make their products accessible

artisanal design is the “Indigenous Couture” collection.

indigenous crafts and textiles were utilized before, they

through the proper means of distribution. There areWith intricate workmanship and local community spirit

were unethically sourced, minimizing the great value of

two extreme options on opposite ends of the priceto our signature look of eclectic, global, bohemianthe crafts and leaving the draftsman at the lowest level

spectrum that consumers have today: cheap fast-fashion

sensibility, I hope to bring a culturally rooted designof the economic sector. Without sufficient financial

or the highly-styled but expensive. There should beaesthetic. Influenced and inspired by a journey in searchresources, many of these small community businesses

more choices in-between: clothes that look fresh andof my roots and identity, my efforts stem from wanting

are not able to sustain their eco-friendly business models

modern, last a decent amount of time, and reasonably

traditional textiles to be more wearable for a generationand fail to attract a new generation of skilled talent. Thus,

priced. Everything must adapt to stay relevant, including

in love with traveling in an increasingly borderless world.

as a designer, creating the demand for traditional crafts

traditional craftsmanship.

became my other mission.

readily

identifiableclassic

Tan-Gan,full-

Most fashion design students seem to be interested

fashion hand-knits merged with piña in the designs are

The design of traditional craft can be stuffy and stale

only in becoming “designers.” Our culture has taught

embellished with exquisite embroidery and beadwork.

and often needs to be updated to attract new customers.

them that only the “designer” is celebrated, while

Geometric lines and forms recall traditional woven cloths

Like any traditional craftsman whose skill is the making,those toiling behind the scenes are undervalued. Theirsuch as the patadyong5 of the Visayan island of Panay,

innovating is not the custom. Designers must work

exposure to the beauty of a perfect craft like traditional

the geometric patterns of the northern highland tribes

hand in hand with the makers. They should be aware of

weaves will make them appreciate the technical skills andand the lumad6 ethno-linguistic groups from the southern

consistent craftsmanship to produce quality work. Evenpatience for learning them. Perfecting a craft takes time,

Philippines. The form also picks up inspiration from theif most consumers today buy fast fashion, they are still

dedication, and practice and cannot be achieved withelegant and sinewy serpentina7 silhouettes of the ultra-

inclined to pay the price for quality. When the consumers

speed. Awareness of other career pathways in making andfeminine ternos8 of the 1940s and 1950s. To each element

mature in taste through awareness and exposure, they

manipulating fashion must be highlighted; textile design,of the past, a contemporary twist like asymmetrical cuts

will demand quality and be willing to pay for artisanallyfabric printer, fabric manipulation, fashion technician,and layering is included, providing ease and comfort

made products.

pattern making, and construction are some examples.

so compulsory for modern clothing. The creations

They can be as enjoyable and rewarding professions.

are radical in execution as the traditional elements

The younger generation of craftsmen can be taught

120

The

awareness of the beauty of their traditional arts and crafts

It is just a matter of time for people to value artisanal

are rid of its antiquated feel and modernized withand to value and be proud of their tradition. Throughproducts. We get compliments when we wear Filipino

sophisticated design sensibilities inspired by the past

my advocacy has
become a questionof Filipino identity.
Wearing a cultural
trademarkis tantamountto expressing this.

Fig. 4

Fig. 5

Blouson crochet-over-knit body with hand-woven
leather strip. Photo by Jun de Leon. Modelled by
Gina Leviste
Redefining luxe in Tan Gan’s “Indigenous Couture”
collection

121

INTUITION AND FASHION INNOVATIONART ARCHIVE 03

1 SM Supermalls, owned by SM Prime Holdings, is a chain of shopping...my goal is to support communities
of women whose skills in weaving
and embroidery are endangered dueto the lack of a supportive market.
By imbuing my designs with theirfabrics and employing their embroideryskills, I hope to identify and bridge
opportunities for sustained livelihood.

and enhanced by traditional design patterns, embroidery,vividly unique in look and soothing in feel. Our textiles areand beadwork. The fusion of the elegant designs ofalso good representations of the best of what we have tothe past and the edgy present successfully results inoffer from the Philippines.

eclectic, bohemian garments that can be worn for casual

After tedious challenges of studying the techniquesor special occasions, dressed up or down, allowing the

involved in marrying knitwear with piña, my teamwearer the versatility to add her own personal style.

and I created the first-ever “Indigenous Couture,” aThe concept of Tan-Gan is travel-friendly wear, whichcollection that showcases design sensibilities thatis most harmonious to knits. Sticking to this concept,

marry the traditional with global sensibilities. “The Piña:

I designed piña in such a way that it becomes easy for

Resurfaced” is tradition revived and renewed for retailhandling and transportable. The “Indigenous Couture”

and modern wear. Our aesthetic and process reflectpiña-knit creation is created for luxury traveling in

the rich and varied Filipino culture with a design that isstyle. The whole collection is 98 percent hand-made;deeply rooted in heritage, and retells the Filipino history

hand-loomed, hand-sewn, hand-embroidered and hand-in a contemporary setting. ■malls in the Philippines that, as of October 2019, has 74 malls located acrossthe country and about two dozen more scheduled to open. It also has 7
malls in China, including SM Tianjin, which is the third largest in the world interms of gross leasable area (GLA). SM Supermalls has become one of thebiggest mall operators in Southeast Asia. Combined, the company has about
9.24 million square meters of gross floor area (GFA). It has 17,230 tenantsin the Philippines and 1,867 tenants in China. https://en.wikipedia.org/wiki/
SM_Supermalls
2 The Red Spanish Pineapple is one of the four varieties of pineapple thatare being grown in the Philippines, along with Smooth Cayenne or Hawaiian,
Queen or Formosa, and Cabezona. But due to the fibrous, sweet and coarse
taste of its fruit, the Red Spanish Pineapple is mainly grown for its fiber.
https://businessdiary.com.ph/14710/research-to-improve-fruit-size-fiberquality-of-red-spanish-pineappleunderway/
3 The barong tagalog, more commonly known simply as barong (andoccasionally baro), is an embroidered long-sleeved formal shirt for men anda national dress of the Philippines. Barong tagalog combines elements fromboth the precolonial native Filipino and colonial Spanish clothing styles. It
is traditionally made with sheer textiles (nipis) woven from piña or abacá;although in modern times, cheaper materials like silk, ramie, or polyester are
also used. https://en.wikipedia.org/wiki/Barong_tagalog
4 The ilustrados (Spanish: [ilus’traðos], “erudite”, “learned” or “enlightened
ones”) constituted the Filipino educated class during the Spanish colonial
period in the late 19th century. Elsewhere in New Spain (of which thePhilippines were part), the term gente de razón carried a similar meaning.
https://en.wikipedia.org/wiki/Ilustrado
5 The patadyong (pronounced pa-tad-jóng, also called patadyung,patadjong, habol, or habul), is an indigenous Philippine rectangular or
tube-like wraparound skirt worn by both men and women of the Visayas
islands and the Sulu Archipelago, similar to the Malong, or Sarong. It wasalso historically worn in parts of Luzon like Pampanga and Sorsogon. https://en.wikipedia.org/wiki/Patadyong
6 The Lumad are a group of Austronesian indigenous people in the southern
Philippines. It is a Cebuano term meaning “native” or “indigenous”. The
term is short for Katawhang Lumad (literally, “indigenous people”), theautonym officially adopted by the delegates of the Lumad Mindanao Peoples
Federation (LMPF) founding assembly on June 26, 1986 at the Guadalupe
Formation Center, Balindog, Kidapawan, Cotabato, Philippines. It is the selfascription and collective identity of the indigenous peoples of Mindanao.
https://en.wikipedia.org/wiki/Lumad
7 Gowns that are fitted at the waist and hips before flaring out into a fishtail
silhouette. https://www.cosmo.ph/style/what-to-wear/highlight-your-curveswith-these-mermaid-wedding-gowns
8 The María Clara gown, sometimes referred to as Filipiniana dress or
traje de mestiza, is a traditional dress worn by women in the Philippines.
It is an aristocratic version of the baro’t saya. It takes its name from María
Clara, the mestiza protagonist of the novel Noli Me Tángere, penned in 1887
by Filipino nationalist José Rizal. It is traditionally made out of piña, the samematerial used for the barong tagalog. A unified gown version of the dress withbutterfly sleeves popularized in the first half of the 20th century by Philippine
National Artist Ramon Valera is known as the terno, which also has a shorter
casual and cocktail dress version known as the balintawak. The masculine
equivalent of baro’t saya is the barong tagalog. https://en.wikipedia.org/wiki/
Maria_Clara_gown

finished. After an excess of machine-made fabric, there
is nothing like materials that are indigenously made,
122

123

words by

ART ARCHIVE 03

WADING IN PLASTIC:A Graphic Design Packaging Dilemma

DAN MATUTINA& DANG SERING

Fig. 1

It’s the monsoon season and there’s much to be
cautious about; we brace ourselves for the snarling
traffic that burdens Metro Manila and the frequent
flooding of the streets that immediately follow, making
the situation worse.
As it flows through the streets, the murky waters
pick up trash — dirt, clear plastic bottles, cigarettebutts, an assortment of sachets (and the products
they contain), to name a few. Small pieces that passthrough the drain grilles will surge on, snaking their
way downstream to the Pasig River, and eventually into
Manila Bay.
Metro Manila, a sprawling megacity of 16 cities andone municipality, is home to approximately 14 million
people. In 2018, the minimum wage was PHP 500-537
or USD 9.72-10.44. ¹ The country’s population is 108.12
million people, with 22 million living below the poverty
line or almost 1/5 of the total. 2

124

THE WORLD’S TOP CORPORATE PLASTICSPOLLUTERSIn the 2019 environmental report Plastics Exposed:
How Waste Assessments and Brand Audits are Helping
Philippine Cities Fight Plastic Pollution, the Global
Alliance of Incinerators Alternative (GAIA) 3 named thePhilippines as one of the world’s top marine plastic
polluters, after China and Indonesia. The report gave
Filipinos a jolt. The audit pointed to single-use plastics
as forming the bulk of the trash, a staggering 60 billion
sachets — packaging for commodities ranging fromcoffee to shampoo, used once and discarded — a year.
In
Vol.

the
II

same

Identifying

year,

anotherreport,Branded:theWorld’sTop

Corporate

Plastics Polluters, 4 by the Break Free From Plastic
memberorganizations

(of

which

GAIA

is

also

member), named Coca-Cola as the number one
polluter for two years in a row, with 11,732 of its
branded plastics recorded in 37 countries acrossfour continents, “more than the next three top
125The audit pointed

ART ARCHIVE 03

to single-use plastics
as forming the bulkof the trash,a staggering 60 billion
sachets — packaging
for commodities

126

THE PRACTICE OF CONSCIOUS CONSUMERISM
These reports only reveal the bleak reality low

Although individuals are encouraged more than ever

Zealand-based supplier needed to focus on theincome families face in trying to access these essential

to practice conscious consumerism and adopt a healthy

growing demands of their local market. In hindsight, if

commodities in single-use sachets that are badlifestyle, any real solution to the city’s pollution problem

the order pushed through, we would have added to thefor the environment and have a negative impact as

requires a structural shift in policy and lifestyle withincarbon footprint.

unmanageable plastic pollution in their communities.

wider communities.

Another client makes freshly roasted arabica

Since the reports were released, companies have ramped

One of our clients, Charles Paw, a food and gadget

coffee beans sourced from local farmers in theup or expanded their own initiatives in addressing these

retail entrepreneur, was interested in the commercial

Cordilleras. They mentioned that in one of the seminars

long-stated problems caused by their plastic packaging.

and business viability of a refillable concept store. He

they attended with the Department of Trade (DTI),

commissioned Curiosity, a Manila-based design research

the agency recommended the use of biodegradable

firm, to look into the possibility of applying this concept toand sustainable packaging like kraft paper bags.

the mainstream market.

But to them, it is still not 100% biodegradable since

COMMITMENT TO PLASTICS REDUCTION
In a 2018 press release by Nestlé, CEO Mark
Schneider said, “Plastic waste is one of the biggest

Based on the findings of their report, “Refillable

the ones that they need to use are lined with plastic

sustainability issues the world is facing today. TacklingStore Concept Research,”10 Curiosity suggests that thisor aluminum and feature a valve for releasing gas

ranging from coffee

it requires a collective approach. We are committed tokind of business concept is presently feasible if it targets

after roasting coffee beans. They mentioned that thisfinding improved solutions to reduce, reuse and recycle.

a more affluent market: people who have the means topackaging does not evoke “freshly roasted coffee” to

Our ambition is to achieve 100% recyclable or reusable

make environmental and health-conscious decisions andcustomers. Bringing these packaged roasted coffee toto shampoo, used once

packaging by 2025.”6

support local, artisanal and organic products for personal

events outside of the shop, and packing them in andand household use, pet products and ready-to-cook foodout of containers, makes the packaging look old easilyin eco-friendly packaging.

because of so much handling.

and discarded —from March 23 to April 14, Unilever (Philippines) opened

Apart from brick-and-mortar stores in the city

There is a need to look for more viable packaging

their first pop-up refilling station called “All Things Hairthat provide refillable and sustainable products, there

in the country, without risking freshness, and still be

Refillery” in three locations around Metro Manila: Trinoma,

are weekend markets that have grown popular forable to come up with great design. The goal of gooda year.

Glorietta 3 and Alabang Town Center.8 The first two malls

attracting people who are generally more aware about

design packaging is to help products stand out in theare located in the Makati Central Business District, whileenvironmental concerns. This demographic brings theirmarket and communicate values to buyers, while also

the third is right across a higher-income subdivision

own bags when shopping in markets that mostly offer

conveying a range of messages, from taste to benefits,

located south of Metro Manila.

fresh produce from nearby farms and artisanal products

health and the environment, and value for money.

Unilever committed to reducing their productionof virgin plastic packaging by 50% by 2025.7 In 2019,global polluters combined.” Coca-Cola is followed

The initiative allowed customers to use their own

by Nestlé (4,846 pcs. of plastics in 31 countries) andempty bottles of the same brand for refilling and pay only

The report also shares insights on why single-use

PepsiCo (3,362 pcs. of plastics in 28 countries). The top

for the weight of the product restocked. If they didn’t

plastic packaging is rampant in wet markets, stating that

We reached out to other design studios in Metro

common plastic items found were plastic bags, sachets

have the same bottle, it was exchanged with a new 100%

cleanliness and weight accuracy are the reasons sachets

Manila to find out what their thoughts were on theand plastic bottles. In the Philippines, Coca-Cola is also

recyclable bottle. In their All Things Hair PH Facebook

or items in pre-packed plastic are preferred by sellers.

impact of the Break from Plastics report and otherthe top branded polluter, followed by Nestlé and Universal

page,9 many lauded the initiative but wished it had a

Robina.

permanent setup in more locations so that it would be

produced by small business owners.
LOCAL DESIGN STUDIOS ON SUSTAINABILITY

questions on sustainability.
PROVIDING BETTER DESIGN CLOSER TO HOME

BJ Abesamis, partner at And a Half, an independent

The report presents plastic production and its

more accessible to other communities. Those who gave

As graphic designers and visual communicators

branding and design studio in Mandaluyong City, says,

negative effects on public health, its contribution to the

feedback also wished that in the future, the company

working in Metro Manila, we wanted to figure out what

“It’s so hard to think of sustainability when you’re

climate crisis (the majority of its production comes fromshould allow customers to use their own containers evenoptions were available to us in providing better design andthinking of sustenance. For our clients, some of themfossil fuels), and the companies’ exploitation of the global

if it isn’t of the same brand.

packaging solutions for our clients and the companies wesmall businesses, they have to be profitable in orderwork with.

to pay their employees, afford overhead expenses

south of lower income communities. The report states:

According to the previously mentioned Reuters’“Poverty is also often used as a justification for somearticle, the Philippine Alliance for Recycling and Materials

Our studio, Plus63 Design Co., usually works withand operational costs, and invest in the next phaseof the worst forms of plastic packaging such as single-

Sustainability (PARMS), which includes Unilever, P&G andpackaging materials sourced in the country. As a result,of their business. With all that in mind, the question

serve, multi-layered sachets. Companies claim that they

Nestlé among its members, is building a PHP 25 million

designing packaging has always been a challenge sinceof providing and shifting to earth-friendly solutions inare ‘pro-poor’ by allowing those on low daily incomes to(USD 475,000) facility that aims to turn sachets into

locally available biodegradable materials are hard to find.

branding and packaging becomes of least importance.

purchase goods such as shampoo and soy sauce.”

plastic blocks and eco-bricks.

Some are expensive, which makes it hard for clients to

Oftentimes, these solutions are not easily available orpurchase.

are expensive.”

In a Reuters’ article, “Slave to Sachets: How Poverty

But will the use of eco-bricks be enough to manage

Worsens the Plastics Crisis in the Philippines,” Lisa Jorillo,

the tons of plastics and sachets that are still continuously

42-year old mother of four living in Manila’s Tondo slum,

being produced and discarded? And are these bricks

for

their

to come by from our experience. As a branding andsays, “Money is hard to come by so I only buy sachets.”5

also good enough as alternative building materials?

requirements in New Zealand. Unfortunately, that New

design studio, we’re still at the level of ‘how do we

A client was looking for biodegradable packaging
their

product

and

found

one

that

fit

He adds, “And [these solutions] are really hard

127

WADING IN PLASTIC:ART ARCHIVE 03

A Graphic Design Packaging Dilemma

There is a need to look
for more viable packaging

Rex shares valuable insights from their client, an

which incurred a lot of costs. But in the end, he foundorganic and biodynamic farm. “They tried to sell their

it was worth it even if customers may not immediately

fresh produce without plastic in other retail stores,

notice this change.

but no one was buying the products in the chillers,” heThere are so many companies and multinationalsays. “Apparently, consumers wanted them in plastic

companies that have R&D departments and are aware

containers because they felt it was unhygienic withoutof the alternatives to plastic packaging. With suchit. When they shifted to sealed plastic containers, sales

companies that have a huge influence on the demand

started to pick up. It was a perception of freshness

for possible alternatives, smaller businesses may befrom the side of consumers.”

able to access these if it becomes readily available andFor another jewelry and collectible objects client,affordable in the market. Of course, the demand for thein the country, without risking

Inksurge proposed a one-size fits all box in order toavailability of these alternative materials starts at thelessen production. However, there was the challenge of

top, if the government makes the shift in prioritizing the

packaging jewelry in one box size, since jewelry comes

environment and the needs of its citizens for safe andin various shapes and sizes. In the end, they had toaffordable commodities.

freshness and still be able

design a few boxes in various sizes that can properly

retail spaces, and they laud the efforts of Ritual, locatedPhilippines

to come up with great design.

in Makati and with a space at the Legazpi Sunday

individuals change their lifestyle, and no matter how

Market. “There should be more of these companies. I

much cities push for proper waste management

appreciate the efforts of Ritual in providing this service

practices, millions of plastics and sachets are still

for those who want to live a more sustainable lifestyle,”

being produced. The poor are rarely heard or given asays Jois.

voice in the discussions on sustainability, but theyhold these products.
They also noticed that there are more refillable

THE WAY FORWARD TO STOP POLLUTION
The

current

state

shows

of

that

sustainabilitynomatter

how

in

the
many

are the ones who suffer most from the consequences
PREMIUM = SUSTAINABLE?

128

of climate change and bad waste management

Philo Chua, founder of Theo & Philo Artisan

systems. If we think of solutions that will greatly

Chocolates, shares challenges encountered in his bid

benefit their well-being and environment, we will

to shift to more sustainable packaging. The challenges

have a healthier and thriving society.

make this product popular and sell?' One example isclients on more sustainable practices. We exchanged

began with the availability of these materials, followed by

The Greenpeace report, Throwing Away the Future:

La Lola Churreria — we had the idea of selling churros

information on innovations in reducing waste in thethe cost and, lastly, how these should be used properly

How Companies Still Get it Wrong on Plastic Pollution

like donuts, and focused on its packaging and thedesign industry, such as the design of typefaces forsince some materials require proper storage to extend"Solutions," 11 insists that multinational companies

experience of how people would carry and eat it aroundless ink coverage, and the like.

its use or shelf life.

invest in reusable and refillable delivery systems for its

the mall. Hopefully, through the packaging, it will also

BJ continues, “I guess in a very tangible way,

He explains, “An example would be our pouch maker.

catch people’s attention by making it recognizable

as [business owners], our priorities are keeping

They know these sustainable solutions, but they can’teven in the trash bin!”customers instead of promoting so-called alternative
solutions.

the business running and paying your employees.

invest in it right now because it’s too expensive for the

In the Plastics Exposed report that rang the

In retrospect, the studio also worked with a

Of course, we have to balance it out with one ofPhilippine market. As for me, I can’t afford to purchase a

alarm, the Global Alliance for Incinerators’ findings

company that pushed them to think about sustainable

our studio’s values, which is creating designs thathuge order for my products. Manufacturers of alternative

are adamant: “Single-use disposable plastic ispackaging. Last year, And a Half was able to work on

positively impact society. On one hand, we areplastic sell it by the ton to flexible packaging makers.

the greatest obstacle to sound waste and resource

the rebranding for Humble Market, an outfit that offers

looking into more environment-friendly and general

But these packaging makers are also dependent on the

management.

sustainable and refill shopping / grocery options: “Idesign solutions leaning towards sustainability; atmarket conditions, whether people are also willing tosystems and human negligence are often cited asguess in general, also as a design studio, those are

the same time we also think of the sustainability ofinvest in that. So, definitely, if the big businesses will

the main contributors to plastic waste leakage into

the projects that we’d like to take on. And admittedly,

our design business.”

Inadequate

waste

management

start using it, then these flexible packaging makers

terrestrial and marine environments — but waste andthere’s not much budget there. We worked on it pro-Rex Advincula and Jois Tai run Inksurge, a branding

will sto ck up on all these alternative materials

brand audit data in many parts of the world are helping

bono/ex-deal. At this point as a design studio [in theand design studio and one of the founding studiosthat they can spill over to their other clients — smaller

reveal that the unfettered production of disposable

Philippines], you have to pick your shots because it’sof Hydra Design Group. Inksurge found that morecompanies like mine that can benefit from its availability

plastic is the actual problem. As long as the mass

not feasible as a business to take on a lot of projects

sustainable products and packaging are most feasible

in the country.”

production of throwaway plastics continues unabated,

like that, sad to say,” says BJ.

at the higher end of the market, with production costs

Since he had to start somewhere, he took small steps

cities and countries will find it harder and harder to

We were later joined by And a Half designers

driving prices up. Rex and Jois see this as a challengesuch as removing plastic lamination from Theo & Philocope. Put simply, disposable plastic is a pollution

Clara Cayosa and Mark Andres, who also shared theon how clients respond to these perceptions and the

chocolate packaging. In the beginning, there was a lot

problem, and the only way to prevent it is to stop it atchallenges they encountered in providing and advisingsystem of product distribution.

of trial and error on the production side with his printer,source."129

WADING IN PLASTIC:A Graphic Design Packaging Dilemma

The poor are the most vulnerable to the climate crisis,

4. Try to lessen or avoid using OPP (Oriented

struggling with health concerns by living near garbage

Polypropylene) lamination for paper packaging. Whiledumps and engaging in the dangerous work of sifting andit adds protection to the paper, it is unnecessary.

sorting trash.

There are available alternatives to OPP lamination, like

Meanwhile, small, independent and well-meaning
designers and their clients grapple with limited supply

and well-meaninglamination/cellogreen/).
5. Look for more alternative packaging materials.

Then there is the big question of whether changing

This is challenging since information is not readily

consumer attitudes will be influential enough in pushingavailable. Do research and talk to printer suppliers

for the adoption of anti-plastic government policies, andabout these materials.

to act and stop the production of single-use plastics. ■Small, independent

cellogreen (https://www.celloglas.co.uk/print-finishing/of nature-friendly packaging materials for their products.

in forcing multinational companies in the US and Europe

ART ARCHIVE 03

designers
and their clients

6. Use sustainable inks. Printing in production isusually petroleum-based. Soy-based ink is a goodalternative, more environmentally friendly and produces

grapple with abetter color. A new alternative is an algae-based ink
A CHECKLIST FOR PACKAGING DESIGNERS

called Living Ink (https://livingink.co/).

In designing packaging, the final design is usually

7. In designing packaging for FMCG (Fast Moving

a compromise of various conflicting factors. We

Consumer Goods), think of reusability and recyclability.

approach the problem bearing in mind the context

Since these products are bulk-produced, consideringof living in a developing country, and hoping that thisthese factors will help the environment.

limited supply

checklist will be a good start to a more sustainabilityconscious packaging design in the Philippines.
WORKING WITH CLIENTSDesign is a collaborative process and it is ideal to
get your clients involved in the process.
1. Talk to your clients and ask if they’re open to
more sustainable packaging options. It might result in abudget adjustment, experimenting with the production
processes and a longer time frame. While there is no
assurance of a 100% sustainable packaging solution,
this is a good start.
2. Have discussions with your clients about otherpackaging possibilities aside from existing packaging
solutions like plastic bottles, cans, etc. Knowing theirpreferences and constraints can help you determine
alternative packaging solutions, e.g., if they prioritize
freshness, using glass bottles can be an option.
FOR DESIGNERS
1. How can we improve on current packaging
and what are options that consider function and

1. Engage and collaborate with your printer partners.
They are knowledgeable about available materials
country.
2. Sourcing is important and close collaboration

than function. Find ways to design packaging with fewer
materials.
3. Packaging should keep products safe, hygienic
and in good condition. Design packaging that fulfills
these conditions yet minimizes product waste.
130

for their products.

with suppliers is key to coming up with alternative
packaging solutions.
3. Work with institutions doing research in thisspace like the Design Center of the Philippines, which
recently worked on producing paper using pineapple
leaves. While still in the early stage of production,
engaging them early will help provide them withpotential usage and application scenarios.
For more information, please read:
https://www.fdf.org.uk/publicgeneral/Packagingchecklist.pdf
https://www.pac.ca/resources/graphic-packagingsustainability-checklist-english/

2. Think about the amount of packaging materials
more appeal, most of the time, it’s more for aesthetics

packaging materials

and sustainable technologies that are available in thesustainability?
for a single product. While elaborate packaging hasof nature-friendly

PACKAGING PRODUCTION

Fig. 1 Photo by Mr. Fukuoka Yoshiki1https://www.rappler.com/nation/215947-new-metro-manila-minimumwage-500-to-537-pesos Accessed 2 January 2020; conversion of USD 1 to
PHP 51.57 as of March 18, 20202https://cnnphilippines.com/life/culture/2018/06/12/filipino-familiespoverty-line.html Accessed 2 January 2020
3 https://www.no-burn.org/wp-content/uploads/Plastics-Exposed-2ndEdition-Online-Version.pdf Accessed 2 January 2020
4https://www.breakfreefromplastic.org/globalbrandauditreport2018
Accessed 2 January 20205https://www.reuters.com/article/us-asia-waste-philippines/slave-tosachets-how-poverty-worsens-the-plastics-crisis-in-the-philippinesidUSKCN1VO0G3 Accessed 2 January 20206https://www.nestle.com/sites/default/files/asset-library/documents/media/
press-release/2018-april/nestle-packaging-commitment-press-release-en.
pdf Accessed 2 January 20207https://www.unilever.com.ph/news/press-releases/2019/unileverannounces-ambitious-new-commitments-for-a-waste-free-world.html
Accessed 2 January 20208https://www.unilever.com.ph/news/press-releases/2019/the-all-thingshair-refillery-station.html Accessed 2 January 2020
9 https://www.facebook.com/AllThingsHairPH/
10https://www.dropbox.com/s/vjabv2hgwciom2w/Curiosity%20
Refillable%20Store%20presentation.pdf?dl=0
11https://storage.googleapis.com/planet4-internationalstateless/2019/09/8a1d1791-falsesolutions2019.pdf Accessed 18
September 2020

131

words by

ART ARCHIVE 03

ZINE FAST, DIY YOUNG, LEAVE A GOOD-LOOKIN ‘ROX
Disruption by Design Starring the Punks, Poets,& Poseurs of the Philippine Zine Community

ADAM DAVID

Fig. 1

One of the prized zines in my collection is Jane:I love this zine because it reminds me how many

Documents from Chicago’s Clandestine Abortionof our rights are fought for instead of granted, how weService 1968-1973. Its visuals are nothing special,must all constantly fight for our rights even when thesevery perfunctory, and its writing is also very plain,rights are already on paper, how these rights have been

nothing ambitious or colorful. This zine contains thefought for by collectives and communities, how theeducational material and other propaganda prepared

Philippines still has not granted its women citizens theby Jane, a group of women based in Chicago, whoright to choose. I love this zine for its very existencefought for abortion rights in the 1960s, and not

as a zine, how something so ephemeral can be sohaving that, resorted to develop their own network ofdangerous, can be so helpful, can be so historical. The

abortionists and abortion-friendly medical facilities.

collective voices of all the women who assembled the

All of this happened before the historical decisionzine still resounds all these years, from these flimsyof Roe vs Wade that finally gave women in America

photocopied sheets of paper.

the right to choose to have an abortion without muchinterference from the government.
132

133

ART ARCHIVE 03

EGALITARIAN EXPRESSION OF PRINTED THOUGHT
Throughout the relatively recent history and stillongoing development of small press publishing, zines
are still the most accessible, the most immediate, andthe most egalitarian expression of printed thought
available to all. Even in the age of ever present Wi-Fi
Fig. 1PERIPHERY, an accordion zine by Karize Michella Uy.

hotspots and social media’s capacity to transmit

Fig. 2-9

How to make a simple zine (slides from a lecture
prepared by Adam David)

an individual’s every single thought set to virtual
type, zines have proven themselves relevant in theirFig. 2materiality. At its simplest, it is a few sheets of paper

Fig. 3folded along the middle, its words and pictures set
by hand (written or drawn or cut and pasted), its
reproduction done by risograph or photocopier (ascheap as PHP 1 a sheet, sometimes cheaper), its
distribution system personalized (acquired directlyfrom the creator either online or by post). One canmake a zine in the morning with a single sheet of paper
and a couple of ballpens, have it reproduced 300 times
in the afternoon for less than PHP 1,000, and have thewhole print run sold out by evening. Depending on youroverhead and pricing, you either broke even or earned
enough for the next print run. In case corrections haveto be made in the zine, you just need to edit the print
original with correction fluid or cut and paste. You
simply have the newly-edited original photocopied
again before you can distribute the zine again, with its
contents now updated.
It is a medium of communication that wears its

Fig. 4

Fig. 5

Fig. 6

material heart on its sleeve, and practically explainsitself how it is made. It is this simplicity of productionthat makes it a powerful tool for communication—anyone can do it. It is this simplicity of production thatallows the zine and the zinester who makes them to
evolve through the times and adapt to the spaces theyfind themselves in again and again. I continue to teachzinemaking to grade school, high school, college kids,
kids within the autism spectrum, Lumad kids, orphansof EJKs (extrajudicial killings), public and private school
teachers, farmers, migrant workers, engineers, writers,and I have been teaching it primarily as a means ofcommunication. It is a practical art form in the sensethat its priority is to be a container of ideas first before
looking aesthetically pleasing. It is in that sense thatit becomes a highly adaptable form. In short, zines
are cheap, zines are quick, and anybody with pen andpaper and scissors and tape can make zines, and zines

Fig. 7134

Fig. 8Fig. 9can be about anything.
135

Fig. 10

Fig. 12Fig. 13

THE LARGER UMBRELLA
Zines are part of the larger umbrella of the small

treating the zine as a non-mainstream book; thepress, along with other ephemera such as pins,

propaganda zines treat the form as a container of

buttons, stickers, fliers, posters, and slogan shirts.

ideas with the politics explicit, basically treating the

In the Philippines, the small press has appeared,

zine as a manifesto; the gallery zines treat the form

disappeared, and reappeared under various names

as a container of images with the politics implicit,

in the last hundred and fifty years, configuring

basically treating the zine as a portable exhibit orofsometimes as an art object itself. One can complicate

the situation: “the revolutionary press” during thethese definitions by acknowledging that rare is the zine

Spanish colonization, “the guerilla press” during boththat

the American and Japanese Occupations, “thealways a combination of any two of these three threads,

underground press” and “the mosquito press” duringsometimes a combination of all three.

andFig. 11

Samples of zines discussing progressive, sociallyrelevant topics: migrant workers and state-sponsoredterrorism. (DALOY No. 1 published by the Youth & Beauty
Fig. 10-11 Brigade; WORK IS WORK published by Mission for
Migrant Workers; MGA TUTUL A PALAPA and LAOANEN
No. 1 published by Gantala Press; MA, YO KO NA
published by Mako)

136

reconfiguring,depending

on

the

needs

There are zines that are collections of writing bypress” as an effort to differentiate itself from thewomen migrant and peasant workers that feature

mainstream presses co-optation of non-mainstream

poetry, prose, and art that are autobiographicalaesthetic. My personal preference for “the small press”

and also merely art. There are zines that are novels

is in how the term both includes with humility andthat play around with the design and content of the

excludes with conviction. It accommodates a spectrum

form while telling stories about the EJKs. There areof practices, forms, and content without losing sight ofzines that are photo albums of erotic photography

its ambition where its process is its politics: we haveshowing unconventional body types unembellishedseized the means of production.

by Photoshop; there is a zine that collects sketches

Zines as a form and a process have long beenfrom a weekend spent in a town now besieged bydefined by the maxim “cut and paste,” meaning, on aearthquakes, effectively turning the zine into an

literal level, anything that can be cut out of paper andepitaph. There is a zine that collects recipes frompasted on to another piece of paper can be made into

a city erased from the map by war, effectively

a zine. On a theoretical level, the form and process

turning the zine into an obituary. There is a zine thatof zinemaking promise that anything and everything

caricatures old adverts for ephemeral paraphernalia

can be cut out of its original context and pasted on toacquired from thrift stores that sell items from aa different context to communicate a new, different

time long gone, effectively turning the zine into an

message,thatinterrogation of nostalgia. There are zines that arecontradict the original. It is detournement in praxis,

posters portraying artful anti-fascist cartoons. There

returned to its base origins. In the Philippines, theare zines that are erasures of old literary textbooks.

contemporary zine practice has divided itself into three

There are zines that are tips about dealing withmain threads: the literary zines, the propaganda zines,

menstruation in a more eco-friendly way. There are

and the gallery zines.

zines about the demolition of urban poor communities

containing

messages

In essence: literary zines treat the form as acontainer of texts with the politics implicit, basicallyFig. 14

Samples of zines produced as part of thirty-minute zinemaking lectures and workshops. All content, design, andprinting are done within the alotted thirty-minute time
period.

merely does one thing; in fact, most zines are

the Martial Law years, and more recently “the alternative

potentiallySamples of zines discussing literary and sociopoliticaltheory (INSTRUCTIONS FOR THE INCLINED and THE
Fig. 12-13 PHILIPPINE AUTHOR AS PRODUCER published by the
Youth & Beauty Brigade; ANARKIYA SA ARKIPELAGO
and DEBUNKING DEMOCRACY published anonymously)

to help give way to the gentrification and monetizationof public spaces, told as komix stories.
105
Fig. 14

ART ARCHIVE 03

Zines as a form and a process havelong been defined by the maxim ‘cut
Fig. 16

and paste,’ meaning, on a literal level,
anything that can be cut out of paper

Fig. 15

and pasted on to another piece of paper
can be made into a zine.
Fig. 18

MAINSTREAM: DECADES BEHIND THE CURVE

Fig. 17
Fig. 19

Fig. 20138

Not all zines are created equal. Some zines may

and sci-fi. The same has happened with komiks. Therebe more expensive than most. Some zines use betterare books in the small press that are just like the books

material than most. Some zines are made by zinesters

in the mainstream, but try as they might, there are no

who are better-known than most. Some zines are toobooks in the mainstream that are just like the books

cheap for their size. But all share the politics of thein the small press. Just like in all of history of cultural

independent creator wanting to explore spaces andproduction, the mainstream is always decades behind

topics the mainstream press deems unprofitable; all

the curve.

share the politicized intent of disrupting the status quo

Even the means of distribution practiced andof cultural production. Mainstream publishing has beencultivated by the small press has been co-opted byhistorically harsh to creators, prone to exploitation andthe mainstream: pre-ordering, online purchasing,abuse and calling it tradition and history. CopyrighteBook conversions, library boxes, print-on-demand,is often surrendered by the creator to the publisher,promotional merchandise, the creators as their own

shared with the publisher at best; often the payment ismarketing department. And definitely, mainstream

a lump sum that is barely above minimum wage, oftenpresses have gained more from this cultural pilfering

there are no royalties. All of these have changed in thethan the small press, thanks to the institutional andlast five years, thanks in no small part to creators who

corporate support that mainstream presses enjoy.

have chosen to migrate to the small press because

Some of these mainstream publishers even makethey have found the small press to be far morecommunity-building efforts like organizing their own

accommodating of their work, regardless of genres.

conventions and expos and reading groups, with theirMainstream presses have long ignored publishingown books always front and center beside the cashier.

poetry from young poets until the small press had in

And therein lies the constant major weakness of thelarge part cultivated an audience for the work of thesemainstream: it will always be focused on the profit

young poets. The same has happened with romance

motive, thus, it will not make any decision not inspired

novelists. The same has happened with fantasy

by the promise of peso signs.
139

Fig. 21

Fig. 14

ZINE FAST, DIY YOUNG, LEAVE A GOOD-LOOKIN ‘ROX

ART ARCHIVE 03

Disruption by Design Starring the Punks, Poets, & Poseurs of the Philippine Zine Community

I was once briefed by one of the organizers of

And therein lies the constant major strength ofwhere information is available to all but this information

a local book fair about a hypothetical situation thatthe small press: its capacity to address community-

is disinformation, is fake news, is black propaganda.

might have already repeated itself in real life all

specific problems with community-specific solutions;

Imagine all the untold histories revealed, all the unsung

over the country: to accommodate the Department

essentially, its capacity for community-building. The

heroes feted. All this has happened before, all this isof Education’s Mother Tongue-Based Multilingual

small press’s willful ignorance of the profit motive

happening right now. There have been zines about all

Education initiative for children K to 3, schools aremeans it can make decisions not influenced by market

this before, there are zines about all this right now.

pressed to find educational materials written in theforces, which means there is no need to publish only inThis is why the small press—zines—will always be amother tongues of their students. This has become aEnglish and Filipino. There is no need to publish only

space for the marginalized, the ignored, the weirdos,

problem in places where the language is largely oral

the bankable creators. There is no need to publish only

the oppressed. Zines speak a truer truth. Zines workand practiced by a few, which was how it is for Lumad

the comfortable ideas. There is no need to publish onlyin the grassroots, enrich the grassroots, fortify it, makeschools with only barely fifty students at any given

the cozy stories. This means it can make decisions

it flourish. Zines are disruption by design, changing

time, using a language not previously available in print.

for the advantage of a group of people other thanculture even before culture realizes it has already been

In this hypothetical situation, the teachers reportedly

itself, and that by itself is already revolutionary, evenchanged. Zines are the fairy godmother of invention

requested for educational materials to be written

emancipatory—a true free and independent press.

howling across history from the underground. ■in their language, to no avail. They then resorted to

Imagine the potential of a true free and independent

producing their own educational materials written inpress in an age where labor leaders, the urban poor,

their language but could not find a publisher who would

farmers, and the indigenous are framed and killed as

invest on a book that only fifty students would use at any

addicts and rebels; in an age where women and thegiven time. I suggested the only logical solution to the

LGBTQ+ are harassed and raped; in an age where theproblem: print it themselves. Make just enough copies

uneducated are made even more ignorant; in an age

Fig. 15-16

RATATAT, a foldy zine by Mako.

Fig. 17-19

AS SYLVIA, a flexogram zine by Christine V. Lao.

Fig. 20-26

CONSUME, a compilation of zines featuring various
methods of printing, published by Caev Press.

to accommodate all students in need, pass down the
copies to new incoming students, and make new copies
as needed. If done right, a black and white children’sbook of 24 pages will only cost around PHP25 a copy
if printed in any average desktop publishing service inQuezon City.

Fig. 25

Fig. 24

Fig. 23

Fig. 22

140

141
Fig. 26

C ONTRIBUTORSJOSÉ S. BUENCONSEJO
José S. Buenconsejo studied Musicology
at the University of the Philippines, theUniversity of Hawaii and the University ofPennsylvania where he earned his PhD in
1999. Recipient of grants from the East-WestCenter, Asian Cultural Council, and Mellon
Foundation, Dr. Buenconsejo has publisheda book in 2002 titled, Songs and Gifts at the
Frontier: Person and Exchange in the Agusan
Manobo Possession Ritual (New York andLondon: Routledge), with an accompanying
documentary film The River of Exchange.
He currently serves as liaison officer for thePhilippines in the International Council for
Traditional Music (ICTM). He also served as
the music area editor of the Cultural Centerof the Philippines Encyclopedia of Art, 2ndedition. He has taught at the Universityof Pennsylvania, the University of Hong
Kong, and the University of the Philippines
where he is currently a professor at the
Department of Musicology, and served as
the former Dean of the College of Music. The
National Book Development Board awarded
the Best Book in Social Sciences category
during the 37th National Book Awards toProf. Buenconsejo’s Philippine Modernities:
Music, Performing Arts, and Language, 1880
to 1941, published by the UP Press in 2017.
KRINA CAYABYAB
Krina Cayabyab is an Assistant Professor
at the Department of Musicology at the
University of the Philippines. She is a
researcher and writer of CHED-NCCA’s
Ethnographies of Philippine Auditory Popular
Cultures. As a composer and arranger, she
has written for various stage works andevents produced by UP Diliman, Dulaang
UP, CCP Choreo Series, Tanghalang Ateneo;
and for works commissioned by various
vocal/instrumental groups and events.
142

She arranges and performs with female
vocal trio, Baihana. Krina finished herbachelor’s degree in Choral Conducting
at the UP College of Music (2010), where
she also received her Master of Music in
Musicology (2018).
AILEEN DELA CRUZ
Aileen dela Cruz is an AssistantProfessor at the University of the Philippines
Los Baños where she handles ARTS 1(Critical Perspectives in the Arts), PHILARTS
1 (Philippine Art and Culture), THEA 101(History of Theater), HUM 170 (Philippine
Art and Society) and THEA 115 (Drama forChildren) courses. She is a theater andmusic practitioner. She graduated Master ofArts in Theater Arts in 2010 at the Universityof the Philippines Diliman and a Bachelor ofMusic, cum laude, major in Music Education
with Voice Emphasis, in 1998.
ADAM DAVID
Adam David has been making
books, zines, and komix since 2000.
He is the co-founder of Better Living
Through Xeroxography (BLTX), a smallpress publishing concern that organizes
lectures, discussions, and expos focusedon independent publishing and art activism
since 2010. Before the 2020 COVID-19
pandemic and quarantine, he taught
komixmaking and komix history at thePhilippine High School for the Arts and the
Polytechnic University of the Philippines,
and creative writing to young adults with
autism.
ROSARIO ENCARNACION TAN
Rosario Encarnacion Tan is a practicing
architect who graduated cum laude in 1979
from the College of Architecture, Universityof the Philippines. She has designed over

200 structures. She researches on Philippine
culture and architecture as well as on bamboo
architecture, and has been involved in about
45 structures that use bamboo.
ALEXANDER ERIKSSON FURUNES
Alexander Eriksson Furunes has
spearheaded a series of collaborative
projects with communities in the UK, India,
Brazil, Vietnam, China, and the Philippines
through his studio Eriksson Furunes. He
is currently doing an Artistic PhD entitled“Learningfrom
Bayanihan/Dugnad”(NTNU, 2016-2021) exploring the role ofthese traditions through his completed
and ongoing collaborative design projects.
Furunes and fellow architect Sudarshan
Khadka worked together on the awardwinning Streetlight Tagpuro, a postdisaster rebuilding project in Tacloban
after super-typhoon Haiyan. Now, at the
Biennale Architettura 2020 their proposal“Structures of Mutual Support,” challenges
the way we shape the built environment byclosely examining the role of “bayanihan”
and mutual support in the architecturalprocess.
LEONIDO GINES, JR.
Architect Leonido Gines, Jr. (Jun) is
founding principal of studioGINES, a designcollaborative he founded in 2015. He is a
Master of Arts in Anthropology graduateof the University of California Riversideand is licensed to practice architecturein the Philippines. He currently teaches
architecture and allied courses at the
University of the Philippines, Diliman andat the De La Salle-College of Saint Benilde(DLS-CSB) School of Design and Arts.
He was previously a corporate partner of
TAO Management Corporation, a cultural
resources management company basedin Manila, from which he divested in2006. His research on volatility and space
dynamics was first introduced in an essay
he authored for the Philippine Architecture
at the Venice Biennale’s catalogue for theexhibition titled “The City who had Two
Navels,” curated by Edson Cabalfin, PhD, in
2018.
SUDARSHAN V. KHADKA JR.
Sudarshan V. Khadka Jr. is the principal ofi.incite architects and was a former associate
at Leandro V. Locsin Partners. He was a cocurator of “Muhon: Traces of An AdolescentCity” at the 2016 Venice Architecture Biennale.
He is exploring critical construction as ameans to express shared meanings througharchitecture.
AGNES ASUNTA L. MANALO
Agnes Asunta L. Manalo is a professional
recording and live sound engineer, a music
production and engineering (MP&E) 1995
alumna of the Berklee College of Musicin Boston, USA, and a Master in Music
Technology graduate of the University of
Newcastle, Australia. She is an AssistantProfessor and the former Chairperson of theMusic Production program at the School of
Design and Arts of the De La Salle-College
of Saint Benilde. She is currently finishing her
doctoral studies in music at the University of
the Philippines College of Music.
DAN MATUTINADan Matutina is a designer, illustrator,and founding partner at Plus63 Design
Co. and the Hydra Design Group. He is arecipient of numerous awards, including the
ADC Young Guns in 2013. Dan is currently
the Vice President of the Communication
Design Association of the Philippines.
143

C ONTRIBUTORSLARA KATRINA T. MENDOZA
Lara Katrina T. Mendoza is a facultyat the Ateneo de Manila University,
Philippines, where she has been teachingcourses on research writing, essay
writing, poetry, fiction, and drama with
the Department of English since 1996.
In 2019, she joined the Development
Studies Program of the same university
where she is the Professor for Culture
and Development. She earned her AB
Humanities and MA Literature degrees
from Ateneo de Manila University in thePhilippines. She earned an advanced
master’s degree in Cognitive andFunctional Linguistics at the Catholic
University of Louvain in Belgium. She
is currently finishing her PhD in Music
from the University of the Philippines in
Diliman. She was a Fellow at the Center for
Popular Culture Studies at Bowling Green
University in Ohio, USA from 2016-2017.
Lara also studied at the UP College ofMusic in the Bachelor of Music program for
Choral Conducting from 2001-2003. She
is a member of the Ateneo College Glee
Club, the Brussels Madrigal Singers, andNovo Concertante Manila, also serving as
musical director of several parish choirs
and music groups. Her research interestsin the last several years have centeredon popular music in the Philippines fromthe 1990s to the present, especially thealternative/indie band scenes, bar eventsand beer gardens in Manila, and recently,
hip-hop events such as rap performancesand battle rap. She is the project teamleader of Ethnographies of Philippine
Auditory Popular Cultures (EPAPC), andshe produced, directed, researched, andwrote the documentary on Pinoy hip-hop,
Usapang Hip-Hop: Ambagan sa Eksena at
Kultura.
144

TUSA MONTES
Tusa Montes is a percussionist,
ethnomusicologist, and educator who
specializes in the musics of the Philippines,
Asia, West Africa and Latin America. She
graduated in 2012 with a MM Musicology
degree from the University of the Philippines
College of Music. She taught at the Universityof Santo Tomas Conservatory of Music for ten
years and is currently a Senior Lecturer at the
UP College of Music. She has performed invarious festivals in the Philippines and abroad,with notable local and international musicianssuch as Edsel Gomez, Dana Leong, Joe
Bataan, royal hartigan, Bob Aves, Grace Nono,and Bo Razon.
DESIREE PERALEJO
Desiree Peralejo is a Senior Lecturer at
the University of the Philippines, Collegeof Music Dance program since 2007. She
teaches movement notation, dance history,
technique, pedagogy to dance majors andreading dance to non-dance majors. She
earned her Master of Arts in Art History
and her Diploma in Creative PerformingMusical Arts in Dance at the University of
the Philippines, and her undergraduate
degree of Fine Arts Cultural Studies at
York University, Canada. Desiree also took
the three-year intensive Teacher Training
Program at Canada’s National Ballet School(NBS), and graduated in 2006. She acquired
her teaching certifications with the Royal
Academy of Dance (RTS), ISTD (National
Associate) and Cecchetti Ballet Society ofCanada (Associate) through NBS. Since
she moved to the Philippines, Desiree
continuously upgrades her teaching status
with Cecchetti Ballet Australia and obtained
both her Associate Diploma and Licentiate
Diploma Part 1. She is currently working on
completing her Licentiate Diploma Part 2

with Cecchetti Ballet Australia and taking
her PhD in Music at the University of thePhilippines.

through art and design. He served as the
Director of the Metropolitan Museum of
Manila in 2011-2012.

DANG SERING
Dang Sering is a writer, graphic designer,and visual artist. She usually works on projects
that highlight the work of designers and artists
in the Philippines. Both Dang Sering and
Dan Matutina are currently working together
on a number of projects, mostly organizing
platforms / projects that feature local designtalent and creative exchanges.
LULU TAN-GAN
Lulu Tan-Gan has been synonymous withknitwear since the mid '80s. In a tropicalcountry such as the Philippines, she’s madetravel-friendly fashion for expatriates andtourists who came to Manila, and for Filipino
who travel to temperate countries. Two
decades later, Lulu ventured into merging
knits and piña fabric to revive traditional
fabrics for daywear in the ready to wear
market.
GERRY TORRES
Gerry Torres is the Principal Architect ofGerry Torres Architectural Design, establishedin 2010. He is a tenured professor of the
De La Salle-College of Saint Benilde (DLSCSB) and holds a Master in Design and Art
Education from the University of New South
Wales, Sydney, Australia. Gerry served as
Dean of Benilde’s School of Design and Arts,
and founded the architecture, photography,
animation, and digital film programs. He
teaches architecture but is presently
seconded as Benilde’s Director for the Centerof Campus Art (CCA,) in charge of curatingexhibitions that investigate the intersectionsof popular culture, societal issues, national
identities and the creativity of Benildeans
145

DIRECTORY

www.ayalamuseum.org

ART ARCHIVE 03

www.mc.edu.ph/music-center

www.coca-cola.com.ph/en/cokestudiophwww.gracenono.com/taomusic

www.unilabfoundation.org
www.facebook.com/kaalamangkatutubo
www.facebook.com/blafi.org
www.facebook.com/FetePH

www.upethnom.com

www.facebook.com/casa.sanmiguel.zambales
www.opmph.com

www.facebook.com/rondalla.festival

www.cebuanostudiescenter.com
www.phsa.edu.phwww.ust.edu.ph/research/research-center-for-culture-arts-and-humanities

www.bambooorgan.org
www.culturalcenter.gov.ph

www.facebook.com/PhilippineSocietyforMusicEducationwww.facebook.com/KRFDahilayanwww.facebook.com/groups/201124380011071

www.erehwonartcenter.com
www.taocurators.com

www.facebook.com/musikalawaig

www.facebook.com/thejrghaladmuseum

146

147

DIRECTORY

ART ARCHIVE 03

www.rakrakanfestival.com

www.wsk.io

www.awitawards.com.ph

www.malasimbo.com

www.pulp.ph

www.music.abs-cbn.com/himighandog

www.facebook.com/ManilaGuitarFestival

www.ncca.gov.ph
www.facebook.com/UPFair

www.minpop.com.ph

www.myx.abs-cbn.com

www.facebook.com/visayanpop
www.culturalcenter.gov.ph

www.wish1075.com

www.wanderlandfestival.com
www.facebook.com/philpopmusic

148

149

DIRECTORY

ART ARCHIVE 03

www.ncca.gov.ph

www.anthologyfest.org
www.facebook.com/CDAPdesignwww.citem.gov.ph

www.graphikamanila.com

www.manilafame.com
www.escuelataller.org.ph

www.united-architects.org

www.philartsvenicebiennale.com

www.interioranddesignmanila.com
www.habitextilecouncil.ph

www.piid.org.ph

www.habitextilecouncil.ph
www.designcenter.phwww.facebook.com/Creative-Cebu-Council-155491021146676

www.animahenasyon.com

www.designcenter.ph/international-design-conference

150

151

DIRECTORY

ART ARCHIVE 03

www.mbfoundation.org.ph/art-designwww.adobodesignawards.asia

www.adfoundationph.com

www.youngdesigneraward.ph

www.philcontructevents.com/manila/estilo-de-vida

The editors would like to acknowledge the help of Ms. Corazon Alvina and Ms. Rona Descallar for their contributionsin the listing of the directory of Design.
152

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The Japan Foundation, Manila
ART ARCHIVE 03

Editors
José S. Buenconsejo (Music)
Gerry Torres and Leonido Gines, Jr. (Design)
Copy Editor
Ricci F. Barrios
Art Director | Designer
The Public School Manila
Vince S. África & Reymart V. Cerin
Production Team
Okeda Mariko and Carlos Ortiz, JFM

Publisher
The Japan Foundation, Manila
23rd Floor, Pacific Star Building
Makati Ave. & Sen. Gil Puyat Ave.
Makati City 1226, Metro Manila,
the Philippines
tel: +63 (2) 8811 6155
fax: +63 (2) 8811 6153
www.jfmo.org.ph
Published in September 2020
© 2020
The Japan Foundation, Manila / Authors
All rights reserved