Coming off from their successful show in 2016, the members of UP Samaskom—an organization based at the College of Mass Communication, University of the Philippines Diliman—are back again with “Live Aids 32: #trendingNOW,” which promises a brand new season of non-stop laughter.

Giving off a fresh take on socio-political issues and pop culture without sacrificing the classic Live AIDS formula, the 32nd installment of one of the most anticipated events in UP Diliman will be helmed by four young directors Bill Barrinuevo, Tero Diaz, Porsche Mendijar and Arvin Carlo Sicat.

From being a mere applicant’s batch project in 1995, ‘Live AIDS’ has become one of the most attended events at the University of the Philippines–Diliman

Together, they will be incorporating a brand new treatment on stage production and presentation, utilizing the classic brand of comedy that is quintessentially Live Aids.

With Live AIDS being a parody of the country’s current experiences, it tackles the present, the new, the trending, and the viral, by fusing comedy with the hard-hitting realities of this twisted socio-political sphere in the country.
The show gets inspiration from these daily phenomena and aims to provide a different take, by providing a night filled with fun, spectacle, and entertainment.

“There is pressure to outdo ourselves every year. It is terrifying but it is a welcome challenge we take on. UP Samaskom is very passionate in creating a show that speaks out and entertains at the same time,” noted director Barrinuevo.

Moreover, as a venue for UP Samaskom members to enhance their wit, creativity and leadership potentials, Live AIDS is a playground for members to get invaluable orientation in the different fields of media.

As such, this installment, a commentary on the Philippine society and on the experiences and travails that the Filipinos face, that features trending topics and viral content, will transcend not only to its avid audience, but even to its first time viewers.

Live AIDS—which stands for Ang Istoryang Dinebelop ng Samaskom or Acts, Improvisations, Dances and Songs—has definitely come a long way from being a mere applicants’ batch project back in 1985 to becoming the longest running comedy show in the country.

‘Live AIDS 32’ directors Bill Barrinuevo, Porsche Mendijar, Arvin Carlo Sicat and Tero Diaz

As proof, the annual musical comedy series of UP Samaskom has never failed to surpass the previous record number of fans who trooped to its staging venues on all performances. In fact, for decades, Live Aids has garnered fanatics and avid viewers who have steadfastly sought out the show, including known personalities such as Bianca Gonzales, Ricky Lee, Quark Henares, John Lapus, Rajo Laurel, Jigs Mayuga, Tim Yap and Vice Ganda. After all, it is the show which gave rise to the career of comedy stars Giselle Sanchez, Ate Glow, Michelle O’ Bombshell, Tuesday Vargas and KaladKaren.

The annual comedy musical variety show also launched the careers of comedy stars Rene Boy ‘Ate Glow’ Facunla (left) and Roderick ‘Michelle O’ Bombshell’ Cuntapay

“Live AIDS made me the woman that I am today. As an artist and an entrepreneur, this show paved my way to achieve all my accomplishments to date,” lauded Tuesday Vargas, an alumnus of the organization and a veteran performer of the show, during the show’s press conference.

As home to talented and diverse individuals from all walks of the university who have a passion for creativity and self-expression, Live Aids has continuously lived on with its magic that fuels it: the collaboration between the members of UP Samaskom, student and alumni alike. This camaraderie and the trust that have formed within the “samahan” is what makes the magic of the show happen.

“This show bolsters one’s talent, skills, and self-confidence. It’s evident in our alumni members,” Kaladkaren Davila, another alumnus, noted.

Live AIDS 32 is slated on April, 16, 20, 21, and 22 at Abelardo Hall, UP College of Music, University of the Philippines Diliman. For tickets, visit ktx.abs-cbn.com.

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IN line with its vision of making art matter in the life of every Filipino, the Cultural Center of the Philippines (CCP) through its outreach program brings special performances to various government and publicwork places from April to June 2018.

The University of the Philippines String Orchestra is one of the participants at CCP’s ‘Art in the Workplace’ program

Billed as “Art in the Workplace”(AIWP) (Sining sa Tanggapan), the project is also intended to advocate the vital role that art plays in national and community development. The one hour program will showcase the artistic excellence of the Filipino artists along with the in-house talents (from the organizations and communities that will be visited) who will be presented as a living proof that art exists and flourishes in various work places and contributes to the enhancement of the work environment. The performance will be complemented with an interaction between the artists and the audience to discuss the insights about the performance and its role in everyday life.

From 2012 to 2017, AIWP has already been presented to 17 government organizations to include the Department of Budget and Management, Armed Forces of the Philippines, Commission on Audit, Department of Finance, Department of Science and Technology, Metro Manila Development Authority, Office of the Ombudsman, Bureau of Customs, National Historical Commission, Career Executive Service Board, National Parks Development Committee, Philippine Coast Guard, Landbank of the Philippines, San Pedro City, Biñan City, Batangas City and the Research Institute for Tropical Medicines, reaching an estimated audience of over 4,280 government workers and local laborers.

Featured performing group Koro Ilustrado

For 2018, the featured performing groups include the University of the Philippines String Orchestra (ARCO), Koro Illustrado, and the Kaloob Music and Dance Ministry who will be presented in the following venues and communities: Governance Commission for Government Owned and Controlled Corporations (GCG) in Makati City (April 11), National Police College (NPC) in Silang, Cavite (April 27) and the Department of Environment and Natural Resources (DENR) in Quezon City (June 8). AIWP is presented in cooperation with the GCG, NPC and DENR.

For more information, contact the CCP Cultural Exchange Department at tel. no. 832-1125 locals 1708-1709.

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Fifty six galleries, art collectives, independent art spaces, and student groups are set to gather today at the Jaime Velasquez Park in Salcedo Village, Makati City for the 12th edition of Art in the Park.

As one of the major contributors to the country’s burgeoning art scene, Art in the Park, inevitably draws huge, lively, and engaged crowds. There are the serious collectors on the hunt to snag another treasure or two, and there are also those who simply find pleasure in looking at, and learning more about, art in an informal and relaxed setting, with a vibe that is casual and easy-going. The event is for the benefit of the Museum Foundation of the Philippines (MFPI),

True to its primary goal of making Philippine modern and contemporary art more accessible to more people, Art in the Park prescribes a cap of P50,000 on the art works, and it is not at all far-fetched to be able to obtain a coveted piece for much less. This allows for that beautiful painting, or intriguing photograph, or exquisite piece of sculpture, or delicate pottery to be within reasonable reach of all types of budgets.

Featured artist Jacob Lindo’s ‘Did You See The Words #4’

Following its custom of featuring special exhibits by artists chosen by the fair’s organizers, this year’s Art in the Park will highlight installations by Tekla Tamoria, a multi-media artist and graduate of UP’s Fine Arts program. Her paper installations, “Colony,” will feature her personal creative take on beehives.

Furthermore, Convex forms shot through with hexagon-shaped holes and clustered together in random patterns will adorn the park’s trees, a fitting backdrop for her organic and nature-inspired pieces.

Jacob Lindo, who frequently works with collage, will also have his art available at the MFPI booth. His “Did You See The Words #4,” exhibited in 2017, captures the unexpected yet lighthearted feel of Art in the Park.

As regular fairgoers recognize by now, music, food and drinks also complement the Art in the Park experience. Food concessionaires will make available a variety of dishes that will cater to all types of tastes, with even vegetarian meals in the offing.

Artist’s rendition of ‘Colony’ by Tekla Tamoria

Not to be missed, and certainly worth partaking of, is the street food of highly acclaimed chef Margarita Fores, the featured chef at this year’s fair.

And, while Soulful Mood will provide soothing jazz music throughout the day, Bea Lorenzo, as special guest performer, will render songs in the evening. With her soulful voice accompanied by the resonant notes of her kalimba, it will be a fitting finale at the close of, what Art in the Park hopes will be, an awe-inspiring day.

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CARLA BIANCA RAVANES-HIGHAM

It happens to the best of us even the ones with the brightest of lives – we all hit a point where life breaks us a little and we search for guidance and for answers. It’s a normal part of life, part of seasons that turn, and what is needed in us to make it to the next season of our lives. No matter what our stature in life, we are all on a journey towards self-awareness that leads to wholeness.

This is the reason why author and certified Life Coach, Rolly Soliven, wrote the book “Me, Myself, and I: A Reflection on Individuality and Healing.” With an AB Philosophy Degree and a Master’s Degree in Counseling Education from the University of the Philippines and a completed ministerial training from New Life Training Center, Rolly has years of experience in counseling people, hearing their stories, and coaching them into the lives they have always wanted.

Rolly reflects, “This book is for anyone who wishes to undergo a self-awareness assessment, experience emotional healing, and hopefully find a clearer pathway based on one’s unique situation.”

He shares that the book is reflective of his own journey, “Coming from a colorful background as a result of a broken family, I realized I needed change in all aspects of my life. Back then it was taboo to approach a mental health practitioner however I had to make drastic choices for change to take place.” He then spent hours studying behavioral sciences blending it with God’s Word and that was when he realized that God had a purpose and a plan for his life. And while he knows that he couldn’t undo mistakes of the past – he can be free from it and not allow it to hinder what God has planned for him, “I am empowered to do whatever He has called me to do – regardless of my past and my past choices.”

Certified life coach Rolly Soliven

Rolly believes that what he has learned can help propel others forward, “I believe that anybody in their purposive, deliberate, and goal-oriented frame of mind wants to be the best person they can be in light of their abilities, interests, training, personality, individuality, or disposition in life. There are times when people are lost and do not know where to begin but hopefully this book will provide guidance and direction to those who might need it.”

His book focuses on self-development and wellness, “Simply put, it is working towards optimal health and well-being by integrating mind, body, and spirit.” It is a book that is described by the Dean of Labor and Industrial Relations of the University of the Philippines describes as, “The value of this book is timeless. Everyone can benefit from this book and I personally recommend this as it celebrates life, inspires people, and encourages us to move forward. Life is beautiful and our journey towards a better self may well start by reading this book.”

She also notes that Rolly is “a unique person to fully understand the essence of life having been both a ministry worker and a scholar in guidance and counseling.”

To know more about Rolly and his work, you may visit his Facebook page, Positive Regard Counseling Services.

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Grassroots entertainment will find its most awesome manifestation as Aliwan Fiesta once again gathers champion festivals from north to south of the archipelago in a massive convergence of creativity and culture, alongside the Pinoy’s joie de vivre in its many incarnations come April 26 to 28.

Dinagyang Fesival of Iloilo

Loudness, boisterousness, color, movement, and uncanny juxtapositions are all essential elements that Filipinos incorporate into their celebrations, but as Aliwan Fiesta participants will show, Philippine festivals reinvent and transform themselves in a continuous process of creation more attuned to the demands of popular entertainment today.

This year, seventeen contingents have signed up to take part in the festival dance competition. The Cordillera Administrative Region will field the Panagbenga festival of Baguio City, Benguet as well as the Abrenian Kawayan festival of Bangued, Abra. Region 1 will be represented by the Pandan festival of Mapandan, Pangasinan., while from Region 2 will come the Bato Art festival of Luna, Isabela.

Region 3 also has two entries — both from Bulacan — in the Fiesta Republica of Malolos, and the Halamanan festival of Guiguinto. Not to be outdone, Region 4 will showcase the Bakood festival of Bacoor, Cavite, the Tagultol festival of Atimonan, the Dumagat festival of Rodriguez, Rizal, and the Niyogyugan festival of Quezon Province. And from Region 5, the town of Balud, Masbate will present the Pangumagat festival.

Inaul Fesival of Maguindanao

Region 6 carries Ilonggo pride with the Manggahan festival of Guimaras, the Binirayan festival of Antique, and the Iloilo Dinagyang festival. Region 8, through a contingent from Burauen, Leyte, will showcase the Kasadyaan festival. Finally, from Maguindanao, we will see representatives of the Meguyaya festival of Upi, and the Inaul festival of Datu Piang.

But apart from these, other festivals will also be represented in the float design competition as well as the search for Reyna ng Aliwan. So expect to be dazzled by craftsmen of Hagonoy’s Singkaban festival, Catanauan’s Boling-Boling, Tacloban’s Sangyaw and Fiesta Tarakloban, Cotabato’s Sinilatan, Mother Kabuntalan’s Bangsa Maguiranun, and the Kapasiti of Shariff Aguak, as well as additional festival queen entries from Antipolo’s Maytime festival, the Iloilo Paraw Regatta festival, the Sinulog festival of Cebu, Zamboanga Hermosa, the Salug festival of Zamboanga del Norte, the Kalimudan festifval of Sultan Kudarat, the Munato festival of Sarangani, the Tuna and Kalilangan festivals of General Santos City, and the Kalivungan festival of North Cotabato.

Aliwan Fiesta 2018 kicks off on April 26 with the opening of the Shoppers Bazaar on the along Sotto Street featuring products from regional trade initiatives of the different participating towns. At 6 p.m., the Pasakalye concert and variety show featuring X-Battalion, Darren Espanto, Mocha Babes, the Go Girls, and Rocksteddy takes place at the outdoor stage in front of the Aliw Theater. And at 8 p.m., BBC World Service Radio mounts a live recording of their program “The Arts Hour on Tour in Manila” at the Star Theater, with special guests led by master rapper Abra, filmmaker Treb Monteras, comedian GB Labrador, spoken word specialists Louise Meets and Juan Miguel Severo, photographer Hannah Reyes Morales, visual artist Nikki Luna, and broadcast journalist Atom Araullo.

On April 27, the lovely ladies vying for the title of festival queen will have their pageant night at the Aliw Outdoor stage at 7 p.m, to be hosted by 101.1 Yes The Best’s Raki Terra and DJ Nick of 96.3 Easy Rock, with special guests TJ Monterde and Ronnie Alonte.

On April 28, the grand parade and streetdance showdown will commence at Quirino Grandstand at 3:30 p.m., making its way to the Aliw Theater at the CCP Complex, where the awarding ceremonies immediately follow. This will be hosted by Nicole Hyala and Chris Tsuper of 90.7 Love Radio, with special guest performances by Gloc 9 and Ebe Dancel.

Amateur and professional photographers are most welcome to take their best shots from the parade and join the Photo Competition; deadline for submission of entries is on May 4, at 5 p.m. For indeed, Aliwan Fiesta is a feast for the senses. Its myriad sights and sounds should definitely be experienced. And by doing so, we can pay tribute to all those who continue to make it a truly unique and enjoyable experience.

Aliwan Fiesta 2018 is a project of Manila Broadcasting Company and Star City, in cooperation with the Cultural Center of the Philippines, along with the cities of Manila and Pasay.

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President Manuel Roxas is known for his exemplary leadership and dedication to public service

Today is the 70th death anniversary of President Manuel A. Roxas, the last President of the Commonwealth and the first President of the new Republic of the Philippines.

Born on January 1, 1892 to Gerardo Roxas, Sr. and Rosario Acuña in Capiz, Capiz (now Roxas City), he distinguished himself as the country’s first ever bar topnotcher and the only Filipino leader to have ever held and exercised authority in the capacity of House Speaker, Senate President, and President of the Republic.

He finished law in 1913 from the University of the Philippines and passed the bar the same year. His entire political career spans 31 years beginning with his appointment as member of his hometown’s municipal council in 1917, and highlighted by his holding the highest office of the land from May 28, 1946 to April 15, 1948.

Roxas is distinctly known in Philippine history for his exemplary leadership and dedication to public service. Inheriting a country in ruins when he took over the reins of government at the end of World War 2, this “nation builder” spurred our country’s return to normalcy and growth with his master economic plan, the very first known in developing Asia.

The great leader Claro M. Recto claimed that with “the extreme brevity of time fate was to allot to him”, which was barely 23 months into office, no other ruler with such talent and industry could have achieved as much as President Roxas did. In one year of office, President Roxas has provided a leadership which restored national vitality and safely bridged the critical transition period from Commonwealth status to Republic.

The late President’s legal mentor and first dean of the UP College of Law George Malcolm believed that few of Roxas’ generation approached him in brilliancy of mind, in breadth of information, and in gift of charm. The late President’s talent was notably evident in pioneer planning in the financial and economic fields. Malcolm wrote “Withal, Roxas was passionately devoted to his country. So honest was he in administering the important positions entrusted to him that, on occasions, he was in financial distress. Roxas died a poor man.”

The most profound tribute ever paid Roxas would come from the late President Manuel L. Quezon when he wrote to General MacArthur: “The news that Roxas has fallen in the hands of the enemy has almost broken me completely for I suspect that after his insistent refusal to be the President of the Philippines the Japanese have murdered him. But oh, how proud I am of him! I almost envy him for he had occasion to do what I wanted to do for myself — to tell the Japanese that we want nothing from them. If Roxas has been murdered he is the greatest loss that the Filipino people have suffered on this war. He can’t be replaced. And I don’t know how long this race will produce another Manuel Roxas.”

President Roxas succumbed to a heart attack on April 15, 1948 at Clark Field, Pampanga.

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Filipino-Australian Catriona Elisa Magnayon Gray has made history in Philippine beauty pageantry for being the first to win the local franchises of Miss World and Miss Universe.

Born in Cairns on January 6, 1994 to Australian Ian Gray—whose origins are from Scotland—and Bicolana Normita Magnayon of Oas, Albay the two-time beauty queen started her public life as a singer and martial arts expert.

Gray’s touch of patriotism via an earcuff during the Evening Gown Competition became a trending topic online; it is, she said, ‘An ode to our beautiful country’

She was lead vocalist of her school’s jazz band and earned a Certificate in Music Theory from the Berklee College of Music in Boston, Massachusetts, USA, before moving to Manila to work as commercial model.

Prior to joining Miss World Philippines, Gray became a familiar face on television and among the underprivileged children and their parents whom she served in depressed areas of Manila via the advocacy project, Paraiso.

In 2013, she was one of shampoo brand Pantene’s “Labels Against Women” advocates who were fighting for gender equality. Her face is likewise recognizable as a Pond’s girl.

Gray further appeared on the cover of Rogue Magazine in its music issue in 2014 and has worked the runway in Bench Body fashion shows.

Miss World

A Maranao princess in her national costume by Jearson Dimavivas

Statuesque at five-feet-10-inches, Gray was a natural candidate for beauty pageants. She was crowned Miss World Philippines 2016, besides sweeping the major awards as Best in Swimsuit, Best in Evening Gown, Best in Fashion Runway and Best in Talent.

With many similarities to the Philippines’ first Miss World winner, TV host and actress Megan Young, it was not only Filipino pageant fans who were disappointed when Gray made toward the tail end of the competition’s Top 5, but many others in the international communities.

As that year’s Multimedia awardee, a second-placer in Talent and among the Top 5 in the “Beauty with a Purpose” project, Gray was easily a shoo-in for the title and successor to Mireia Lalaguna of Spain.

It was Stephanie Del Valle of Puerto Rico who was crowned Miss World in the 66th edition of the UK-based pageant at MGM National Harbor in Washington, DC, USA, with Gray gracious in defeat.

But fans were all the more dismayed when the organizers and winners of Miss World and Mr. World led by Julia Morley and Del Valle came to visit Manila in September 2017, without including Gray in the entourage, given she was still the reigning Miss World Philippines.

Binibining Pilipinas

Thanking God for His gift, Catriona Gray clasps her hands in prayer when she was declared Miss Universe Philippines

Diehard beauty pageant aficionados soon expressed on social media that it would be to Gray’s advantage—and their form of revenge—to vie for the Miss Universe Philippines title via Binibining Pilipinas.

As such, her fans became ecstatic in January when they learned that Gray was indeed one of the earliest applicants for Binibining Pilipinas 2018, confident she would win the country its fourth Miss Universe crown after Pia Wurtzbach’s phenomenal win in 2015.

Indeed, from the press presentation in February to the National Costume and Jag Jeans fashion show and Parade of Beauties in March, Gray was the picture of a worthy Miss Universe Philippines. The coronation on March 18 just confirmed what pageant experts had predicted all along.

Just as she did in Miss World Philippines, Gray swept five special awards at Binibining Pilipinas: the Pitoy Moreno National Costume Award (named after the fashion czar who passed away in January), Miss Ever Bilena, Jag Denim Queen, Best in Swimsuit and Best in Long Gown.

Nevertheless, it was the question-and-answer portion that sealed Gray’s fate, so to speak. As final candidate to be asked among the Top 15 finalists, the jam-packed Smart Araneta Coliseum waited with bated breath for her reply to pageant judge and US Ambassador to the Philippines Sung Kim’s question.

COVER PHOTO BY DANTE DENNIS DIOSINA; INSIDE PHOTOS BY JOHN MICAH SEBASTIAN AND CATRIONA GRAY’S FACEBOOK ACCOUNT

“After the devastating war, Marawi [City] is now on its way to recovery. What will be your message to the young women of Marawi?” he asked.

Confident, and straight to the point, Gray replied, “Thank you for that question. My answer and my message to the women is to be strong. As women, we’re the head of the household and we have amazing influence not only in our own families as mothers, sisters, and friends, but also in our community. If we can get the women to stay strong and be that image of strength for the children and the people around them, then once the rebuilding is complete and is underway, the morale of the community will stay strong and high. Thank you.”

Gray has always been involved in the less privileged children of Tondo

The Big Dome erupted in deafening cheers and there was no doubt that Gray is the worthy winner of the Miss Universe Philippines crown.

The rest of the winners proclaimed with Gray were Ma. Ahtisa Manalo of Quezon Province as Binibining Pilipinas International; Jehza Mae Huelar of Davao City as Binibining Supranational; Eva Psychee Patalinjug of Cebu City as Binibining Pilipinas Grand International; Karen Gallman of Bohol as Binibining Pilipinas Intercontinental; and Michele Gumabao of Quezon City as Binibining Pilipinas Globe.

‘God’s gift’

The day after the pageant, the newly crowned darling of the Universe in the Philippines (at least for now) shared her thoughts on Instagram and Facebook.

All the queens at Manhattan Row, Araneta Center PHOTO BY DANTE DENNIS DIOSINA

“After months of preparation and guidance and prayers, I kept waiting for a wave of nerves to hit me but it never came. Maybe it was God’s gift to me that night, or maybe I just knew I had done everything to be ready, now it was just for me to enjoy and have fun. Just to think that I’m going to say Catriona Gray… PHILIPPINES gives me the chills all over again,” she said.

She then thanked all those who helped her along the way, especially “Madam SMA (Stella Marquez Araneta) and the Binibining Pilipinas Charities Incorporated (BPCI) executive committee … her family, friends and her loyal #Catrionians.”

She added, “What an amazing journey we’ve been on. Through the highs and lows you’ve never left my side. For your love, dedication and ceaseless support … I am forever grateful that you’ve chosen me as your queen.”

No doubt, Gray helped in bringing a record crowd to the Araneta Center, which had the biggest audience turnout in its long, illustrious history. More than 10,000 high-energy fans came to watch the pageant live, making Gray’s Binibining Pilipinas win more memorable.

Recalling the moment

In a pocket interview with select media outfits and The Sunday Times Magazine on Wednesday, Gray recalled she did not feel nervous throughout the contest run, not even while waiting for her turn at the nerve-wracking Q&A portion.

“Throughout the competition, even before I joined Binibini, my mindset was [Miss] Universe [Philippines] or nothing, that being the goal of my journey, I knew I only had to prove to myself and prove to everyone else that I worked hard for this,” she narrated.

“When I woke up that day, parang ang feeling ko, ‘Ay, coronation pala today, bakit wala akong nerves?’ I thought baka when I hear the sound of the crowd and I see all the people, that’s when I’d feel it. Then when we were about to step on to the stage and I still didn’t feel nervous, I was like, ‘Lord, is this a gift?’ I just felt so reassured in that I had done everything to prepare [for the pageant]so now it’s time for me to enjoy,” she continued.

“I was just so happy to be there. I was so happy every time I would see the fans and see my family… Then when it was announcement time na, I thought again that I would be so nervous, especially because I was really aiming for [Miss] Universe [Philippines]. pero I still wasn’t. I was just weirdly calm and feeling strange. Now that I think about it, masaya lang talaga.”

With loving mom Normita whom she endearingly calls ‘Mumma Bear’

Backtracking, she added, “I guess the only time I got a little nervous was when I realized that I was going to be last for the Q&A, and I was wondering if there was a reason why. Like, ‘Oh, my gosh, what are they gonna ask me; are they leaving something really difficult for last’ or something like that… But OK lang.”

It was also providential that her question complemented her National Costume—that of a Maranao princess.
“When I look back at it, I really just feel very content on how I performed—being able to walk away, especially with National Costume [award]. I’m so proud because I was able to work so closely with my designer, Jearson Dimavivas, in the whole process of making that National Costume and to have it recognized—to have him recognized for showcasing the culture of Marawi and also the Maranao princess—was just wonderful.”

Multi-advocacies

Feeling blessed beyond belief, Gray is all the more inspired to continue her multiple advocacies, especially now that she is Miss Universe Philippines. She considers Tondo, Manila her main focus where she pushes for free education for indigent children.

She has also been proactively supporting LoveYourself—an organization involved in HIV testing, education, prevention, counselling and more—for the past two years now.

Her third advocacy is supporting projects for indigenous people in the south.

With Miss World Philippines 2014 Valerie Weigmann

According to Gray, the rise of HIV in the Philippines is alarming, since the rest of Southeast Asia is on the decline. These days, those usually infected with the disease are apparently within the 14- to 21-year-old bracket.

“They’re young, they need to have a future, they need to enjoy life. This [problem]needs to be addressed, and I’ve been talking to a lot of people [who can assist at least]to bring the cost of testing down,” she shared.

Asked about the controversial decision of President Rodrigo Duterte to close down Boracay for six months, Gray said she is happy that the administration has “a tomorrow mindset” in preserving the famous island rather than thinking only of what it can give economically in the short term.

“It sets a good example for other destinations to be aware not to reach that point where Boracay is now. I think this is a good wake up call for everyone that our environment matters. And even though I do sympathize with the businesses that will be closed down for six months, because I know it will be a big blow especially to small businesses, I think that it is necessary. We can’t it let go on to the point of no return.”

She offered that it is through educating and empowering oneself in the preservation of the environment as that everyone can help in preserving the pristine beauty of the Philippines.

“Bring your trash with you; don’t leave it on the island or throw into the water. Leave only footprints and take only photographs,” she stated with conviction.

Sacrifices

While some beauty queens become aware of their social responsibility only upon their win, Gray has long known how everyone needs to help make their community, their country and the world a better place.

As Miss Universe Philippines, she said she wants her reign to be remembered as one that has been very proactive in supporting and advancing good causes.

“The only sacrifice is really time. I mean, a lot of different things will command my time now, especially [that]I want to dedicate my reign to being very proactive. Being a beauty queen, I believe that an advocacy is what anchors you in the whole journey because [this]can be so glamorous, so glitzy and beautiful. But if you anchor yourself onto cause, you’ll feel like a regular person even if you’re wearing a crown,” she explained.

“Thankfully, my loved ones understand and know that other things are demanding my time and they don’t take it against me. I’m so lucky that I have a very supportive group of people around me.”

Preparations

Grateful for a second chance to represent the Philippines in an international beauty pageant, Gray said there has been no announcement so far on where Miss Universe 2018 will be held, albeit rumors it will be held in China.
Nevertheless, soon after Holy Week, she and her team already started preparing for the competition, beginning with wardrobe and styling to best represent the Philippines.

“We’re really looking to showcase Filipino designers, different textiles, and different inspirations from different Filipinos icons. I’m very excited for that. Physically, I’ve started my workout regimen and also an eating plan, to give myself a lot of energy.

“Thirdly, the pasarela [or catwalk]and public speaking will start very soon. I’m really looking forward to transforming my performance from Binibini onto another level because I feel I can push myself more,” she shared.

Asked to comment on predictions she will win the Philippines its next Miss Universe—past beauty queens included—Gray graciously said, “Grateful talaga ako [for the support and encouragement]and I will work for it even harder and stronger. I will put my 150 percent effort in every aspect to bring home the crown. I owe it to the Philippines to give Miss Universe all that I’ve got,” she promised.

The post Catriona Gray’s journey from the ‘World’ to the ‘Universe’ appeared first on The Manila Times Online.

Ricky Lee speaks during the launch of “Bahay ni Marta” at the Polytechnic University of the Philippines (PUP) in Manila’s Sta. Mesa district on March 10, 2018. (Photo by Alvin I. Dacanay)

First of two parts

For many in the Filipino film community, no other scriptwriter can write about what is wrong in our society with more humanity and sympathy than Ricardo “Ricky” Lee. Among his peers, no one is more identified with the screenwriting profession than him. In a way, he is without peer.

It is easy to see why. Consider the astonishing 170-plus produced screenplays that he wrote in his 45-year career. They include those of such unforgettable films as Lino Brocka’s Jaguar (co-written with Jose “Pete” Lacaba); Laurice Guillen’s Salome; Marilou Diaz-Abaya’s Brutal, Moral, and Karnal (Carnal); and most famously, Ishmael Bernal’s Himala (Miracle).

Consider, too, the dozens of prizes that he has collected from different award-giving bodies. The Luna of the Film Academy of the Philippines (FAP); the Urian of the Manunuri ng Pelikulang Pilipino (MPP, or Filipino Film Critics); the National Book Award of the Manila Critics Circle (MCC); the Gawad CCP Para sa Sining (CCP Award for the Arts) of the Cultural Center of the Philippines; and most recently, the Gawad Dangal ni Balagtas (Honor of Balagtas Award) of the Komisyon sa Wikang Filipino (KWF, or Commission on the Filipino Language)—the 70-year-old Lee won them all.

And consider the generations of writers and directors that the ABS-CBN creative consultant and manager had taught on the craft through the free scriptwriting workshops he has held since 1982 and through Trip to Quiapo, his bestselling manual published in 1998.

So great are Lee’s accomplishments in film and television that it is easy to overlook the fact that he first won recognition not as a screenwriter, but as a fictionist. His “Huwag, Huwag Mong Kukuwentuhan ang Batang si Wei Fung” (Don’t, Don’t Tell Stories to Young Wei Fung) and “Servando Magdamag” won the top prize in the short story in Filipino category in the Carlos Palanca Memorial Awards for Literature in 1969 and 1970, respectively, when he was only in his early 20s.

Both stories were heavily influenced by William Faulkner, one of four celebrated authors—Fyodor Dostoevsky, Nick Joaquin, and Kerima Polotan were the other three—whose books he had read and reread in the small public library of Daet municipality in Camarines Norte province, where he grew up lonely and motherless since he was five.

“Para akong nakakulong sa isang maliit na bayan gaya ng Daet (I was like imprisoned in a small town like Daet), wanting to escape, wanting to go to the bigger world,” Lee, the son of an immigrant from China’s Fujian province, told The Manila Times in a recent interview. “Basa ako nang basa ng libro para makatakas [at]makapunta sa bigger world (I constantly read books to escape and travel to that bigger world).”

“Kuwentuhan ang nagligtas sa akin (Telling stories saved me),” he said. “Books talaga ang nagligtas sa akin (Books truly saved me).”

That bigger world opened up to Lee when came to Manila to study English at the University of the Philippines. There, he was exposed to the works of Joaquin’s contemporaries Bienvenido N. Santos and N.V.M Gonzalez, of Colombian Gabriel García Márquez and other Latin American writers, and of the Spaniard Federico García Lorca.

More significantly, he was also exposed to the unforgiving, harsh, and complicated economic, political, and social conditions that would greatly inform his screenplays—and, in a way, his return to fiction decades later.

Ricky Lee signs copies of “Bahay ni Marta” after its launch at the Polytechnic University of the Philippines (PUP) in Manila’s Sta. Mesa district on March 10, 2018. (Photo by Alvin I. Dacanay)

The last 10 years saw Lee reintroduced as a fiction writer to a new generation of readers. He published his first novel, Para Kay B, o Kung Paano Dinevastate ng Pag-ibig ang 4 out of 5 sa Atin (For B, or How Love Devastated Four out of Five of Us), in 2008. His second, Si Amapola sa 65 na Kabanata (Amapola in 65 Chapters), came out in 2011, followed by the story collection Kung Alam N’yo Lang: Mga Kuwentong Pambata Para sa mga Hindi na Bata (If You Only Knew: Children’s Stories for Those Who are No Longer Children), in 2016.

Joining those titles is his latest, Bahay ni Marta (Martha’s House), which Lee launched at the Polytechnic University of the Philippines (PUP) in Manila in March. He described the 140-page novel as about a neglected house and a poor mute boy “na napipilitang mag-communicate dahil [sa]maraming hindi masabing pangyayari, malagim man o malungkot, sa palibot (forced to communicate with each other because of the many unspeakable events, both horrible and sad, around them).”

They talk about the title character, a 40-something single mother of two boys who once lived in the house, and who was at a certain stage in her life “na naghahanap ng…redemption [at] meaning sa buhay…na, to some extent, nakita niya nang may nangyari sa kanya na malagim (where she is searching for redemption and meaning in her life, which, to some extent, she found when something terrible happened to her),” he said.

According to Lee, Marta was inspired by the idea of publishing a series of affordable books with a common theme, similar to the Peso Book series of award-winning playwright Alberto Florentino in the 1960s.

The slim novel was not even supposed to come out after Amapola; a longer, more expansive work—of which the writer already has a completed draft—was to be released first to complete the trilogy that began with Para Kay B.

“Nang matapos ko ang Amapola, I felt na hindi pa ako ready na harapin ‘yung ikatlong nobela (After I finished writing Amapola, I felt that I was not ready to face the third novel in the trilogy),” Lee said. “Parang hindi pa ako ready na i-revise siya at ilabas (I felt I was not ready to revise and release it).”

To be continued next Sunday

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In continuation of the highly successful workshops held every April since 2014, the Cultural Center of the Philippines will stage the National Rondalla Workshop anew from April 24 to 28, in various venues of the CCP.

The annual CCP National Rondalla Workshop is now recognized for having trained rondalla ensembles and banduria players who became national finalists and have won top prizes in the solo banduria and the rondalla ensemble competitions of the National Music Competitions for Young Artists (NAMCYA).

Every year, CCP opens the workshop to rondalla groups all over the country, which have been in existence for at least two years and are non-beginners, who wish to further hone their skills in rondalla technique and performance.

Meanwhile, Elaine Espejo Cajucom of the Celso Espejo Rondalla and the UP Rondalla, and faculty member of the UP College of Music lead the workshop trainers using modules that include sectional rehearsals per rondalla instrument, note reading sessions, individual rondalla ensemble cliniquing sessions, and plenary sessions wherein all the participants gather together to learn a common piece.

The workshop will culminate in a program at the CCP Tanghalang Aurelio Tolentino (Little Theater) on Saturday, April 28 at 4 p.m.

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NCCA Chairman Virgilio Almario, through its National Committee on Dance led by its head Shirley Halili Cruz, spearheads the 2018 “Dance Xchange: The Philippine International Dance Workshop and Festival”. The fest returns to Dumaguete where the first ever Dance X was held. The four-day event will be happening on April 26 to 30 at the Lamberto Macias Sports and Cultural Center in Dumaguete City, Negros Oriental, Philippines.

The Dance Xchange aims to enhance knowledge and skills of the dancers, dance teachers and choreographers on dances of the different countries as creative expression of their culture. It also provides a venue for exchange of ideas, strengthened networking, platform for discussion on the global trends in dance education, and enhanced cultural understanding among dance groups from the participating countries. Dance performances will stage and showcase unique dances of each country inspire and stimulate creation of new works.

One of the banner projects of NCCA’s National Committee on Dance, Dance Xchange is widely supported by localities throughout the country. Dance Xchange graced the stages of Isabela (2017), Manila (2011) Having travelled several key key cities in the past, Dance Xchange will be hosted and supported this year by the local government of Dumaguete, Negros Oriental. Aside from the local support Dance Xchange is officialy endorsed by the Department of Education and the Commission on Higher Education.

Dance Xchange is also celebrated in accordance with Presidential Proclamation No. 154 declaring the last week of April as the “National Dance Week” in the Philippines.

Aside from local performances, Dance Xchange will also host foreign delegations who will showcase and share their country’s traditional and contemporary dance practices through workshops and forums. Among the participating countries are: South Korea, England, Hongkong, Indonesia, Thailand, Malaysia, Singapore, Vietnam, India, Brunei, Japan, Bangladesh, Russia, Turkey, and Taiwan and 25 local dance groups from Luzon, Visayas, Mindanao and Metro Manila.

The Dance Xchange will have activities such as artists’ forum, dance workshops to be conducted by dance directors from participating countries for teachers, festival and management workshops, a festival of dance performances, outreach performances, and cultural tour. The NCCA is coordinating with Tesda for certification on Events Management and Performing Arts as part of the festival.

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The National Commission for Culture and the Arts (NCCA) announces the celebration of National Heritage Month in the month of May with the theme, “Pambansang Pagkakaisa para sa Pamana” (National Unity for Heritage).

Led by Chairman and National Artist for Literature, Virgilio Almario together with the Head of Subcommission on Cultural Heritage Fr. Harold Rentosa, NCCA will offer lectures, exhibits and many cultural feats at hand, living up to this year’s theme.

The celebration kicks off on May 2 at Ecoland, SM City Davao Annex, Davao City. To grace the event are Davao City Mayor, Sara Duterte Carpio and NCCA Chairman Almario. There will be various theatrical performances, including numbers from the Philippine Opera Company, Joey Ayala and a stamp launching partnered with Philippine Postal Corporation (PHLPost). NCCA annually partners with Filipino Heritage Festival Inc., led by its president, Armita Rufino to further intensify the efforts on conserving the Filipino heritage from age-old traditions to architectural wonders of the country that are historically significant.

The Heritage Month covers all dates in May—showcasing multiple lectures namely the Youth Forum on Heritage to these cities: Davao, Taguig, Aklan, Cagayan, Tabuk and Cabanatuan. Moreover, “Journeys on Galleon,” a theatre production written and directed by Floy Quintos is also one to look out for.

Exhibits are also highlights of National Heritage Month. With the frontline on exhibit of ‘Heritage Churches,’ PHLPost again will launch a Commerative Stamp, as their awareness efforts to the country’s heritage places.

Furthermore, an on-tour Heritage Preservation will take place in Zambales with these sites to be visited: San Andres Apostol Parish Church or Masinloc Church recently declared as a National Cultural Treasure, and Casa San Miguel.

Philippine traditional musical instruments, and the works and legacy of National Artists will also be on display in selected malls and cities nationwide.

Multi-disciplinary performances are also to be watched out. Dubbed as “Balagtasayawit 2018 ng Palihang Hagonoy,” this will take place in SM Lipa and SM Calamba. Mindanao’s colorful clothing heritage is also put under the limelight with an exhibit of “Habi” –Journey through Handwoven Textiles and Mindanao tapestry fashion show with Renee Salud.

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Although the Philippines has never been a colony of China, the influence of what is considered the largest nation and one of the oldest civilizations in the world on Filipino life is very much prevalent—from food selections to Chinese New Year celebration and following feng shui practices.

Influential they may be in Filipino culture, the Chinese have not had an ample share of good portrayals in Philippine theater.

“Usually Chinese characters are just playing support and sometimes they even take the roles of antagonists [or butt of jokes],” award-winning screenwriter and playwright Ricky Lee noted.

It is this common mold reserved for Chinese that Lee and his creative partners including director Joel Lamangan, co-writers Gershom Chua, Eljay Castro Deldoc, musical director Von De Guzman and choreographer Douglas Nierras want to break in the stage production “Binondo: A Tsinoy Musical” which opens at The Theatre at Solaire on June 29.

“This time, ‘Binondo’ will be from the perspective of Chinese, sila naman ang focus sa isang play ngayon,” the master storyteller behind iconic works such as “Himala” and “Anak” among many others added during the grand media launch of the musical.

“We are proud to say that Binondo is actually the first musical that tackles the lives of Tsinoys [Chinese-Filipinos],” TV, film and theater director Lamangan whose latest foray in theater was the musical adaptation of “Maynila Sa Kuko Ng Liwanag,” added.

Binondo: A Tsinoy Musical tells the story of how Lily, a Filipina night club singer in pre-Martial Law Philippines, and Ah Tiong, a mainland Chinese scholar returning to Cultural Revolution-era Beijing, embark on a journey of great love and heartbreak that begins one fated, moonlit night during the Mid-Autumn Festival of 1971 in the heart of Manila’s Chinatown.

Lily, a hopeless romantic, finally finds her unlikely great love in Ah Tiong, a cynic about destiny, during this night of one of the fullest moons ever recorded.

Vying for Lily’s heart as well is Carlos, a local Chinese childhood friend of hers who is finally pushed to confront his feelings for her with the arrival of this stranger set on stealing her heart.

Spanning two decades and two countries, the musical explores how love overcomes even times of racial prejudice and political turmoil and endures years of waiting and absence, only to grow deeper and change the lives of everyone who dares to put their hearts on the line.

“But ‘Binondo’ is not a purely love story, it has social context,” Lee clarified.

An all-original musical produced out of the collaboration of SYNERGY 88, Rebecca Chuaunsu Film Production (RCFP) and Fullhouse Asia Production Studios, Inc., it is an original story from one of its proponents, Rebeca Chuaunsu.

“In 1986, my parents—both journalists who have written plays and operas in their lifetime—brought me to China to trace my roots. There, I met a Chinese professor who told me his life story, his love story and his struggles of survival during the Cultural Revolution in China,” Chuaunsu recalled during the media launch.

“As such, for the past 32 years, I’ve kept his touching story in my heart. But never in my wildest dreams have I thought that my idols, the iconic writer Ricky Lee and director Joel Lamangan would actually bring this story to life,” Chuaunsu recalled.

Backing his idols’ claim that Binondo is more than just a love story, Chuaunsu assured that the musical will also give light to their race’s issues that are not commonly tackled.

“We are what we call the second generation Chinese. Our parents are from Mainland China, they are both immigrants in the Philippines. So throughout our childhood and teenage years, we always have this cultural identity—am I Chinese? Am I Filipino? Or am I half-Chinese and half-Filipino? So we try to address this issue.

“Having both Chinese and Filipino character, in the story, we try to see the positivity and learn the best of the two cultures while attempting to bridge the gap between them.”

Giving life to these new characters are the country’s top thespians Shiela Valderrama Martinez and Carla Guevara Laforteza alternately playing Lily; Arman Ferrer and David Ezra as Ah Tiong; and Floyd Tena and Noel Rayos as Carlos.

Also included in the cast are Yela Laurel (Jasmine); Ashlee Factor (Ruby); Ima Castro (Mrs. Dela Rosa); Ana Feleo and Jennifer Villegas (Lourdes); Kay Balajadia and Jennifer Villegas (Mrs. Chua); Dondi Ong (Mr. Chua); Russell Magno (Mr. Zhang); Elizabeth Chua (Mrs. Zhang); and Jim Pebanco, Lorenz Martinez. Khalil Kaimo, Ellrica Laguardia, Rhapsody and Tuesday Vargas (Koro) playing others important roles.

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For her biggest solo exhibition Rogue Wave at Finale Art File on May 4, Nikki Ocean conspired with Nights of Rizal by Migi de Belen, and art and sci-tech journalist Czyka Tumaliuan to capture a visceral experience of her personal meditations on being and time.

“I’ve always found social pressures alienating as they prevent me from being my authentic self. And I’m aware that I’m not alone. Today, I noticed that it’s even magnified by social media where people get instant self-validation and escape. For my show, I want to explore how these kinds of distractions prevent us from facing and living our truths,” Ocean shared.

Exhibiting a total of 22 works at Finale’s tall gallery, Ocean is keen to design an experience for her guests not just a visual spectacle, collaborating with two other creatives to open up layers of perception and engage her audience.

“When I create a show, I consider the space as a medium too. Sure, you can look at my paintings (which are physically flat) through photos on a screen, but it’s different when you’re navigating the actual space. Why do we listen to live music? Why do we watch an actual sunset or walk through forests? That energy can’t be replicated,” the 28-year-old artist said.

A show about life as a constant struggle to find our inner voice and true selves, the exhibition is replete with imageries of light, journey, and reflection; such as mirrors, vessels, sun, clock, moon, lanterns, and sea.

Ocean juxtaposes noise and symbols of illusion amidst this luminous mishmash to create tension and depth. At the center of the space where Ocean will install a raft surrounded by broken CDs from her closet, Nights of Rizal is performing an original piece based on his understanding of Nikki’s intention for the show and conversations that they’ve had around it.

“I’m definitely playing around with different waveforms, and different ways of oscillating waveforms. However I think the essence of my music for the show will be less about the individual waves and oscillations themselves but more about how they intersect—willingly or accidentally—which I believe is what Rogue Wave is all about,” de Belen explained.

“What would seem like chaos is actually a complex cloud of causality,” he added.

According to Tumaliuan, the audience is encouraged to digest this ambivalence, and write the exhibition notes on their own.

“Nikki hired me to write her exhibition notes. I told her that her guests should write it themselves. She agreed,” Tumaliuan revealed.

There will be a wall where people can write their thoughts about the show and be part of the meaning-making.
“Life is finite. It’s so short, yet we’re all so distracted with the intention of pleasing the public gaze. Worse, sometimes, once we become aware of this, we distract ourselves even more. I’m hoping that people sincerely wish to end this cyclical process of destructive denial,” Ocean finally noted.

Rogue Wave opens on May 4 and will run until May 28. Artist talk is on May 19, 4 p.m.

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Spontaneous realism is a “spur-of-the-moment” style put forth by Austrian contemporary artist Voka. It is this movement that former ABS-CBN News Channel anchor Celeste Lecaroz has chosen to adhere to.

From May 12 to 26, Licaros, one of the first, if not the only, spontaneous realism painter in the country will be holding her first solo exhibit at the Gateway Gallery, located at 5th Floor, Gateway Tower, Araneta Center, Quezon City.

Entitled “Spontarealismus Lecaroz,” the opening reception is on May 12 at 6 p.m.

Lecaroz has participated in major group exhibits since 2016; these include shows mounted by the Freedom Art Society at the Philippine Embassy in Washington, DC; Grupo Sining Batangueño in Batangas City; Miriam College alumnae; Ateneo Alumni Art Fair, University of Santo Tomas Museum, SM Stationery Art Fest, and Harmony Group Exhibition.

One of her most significant works is a set of Jones Memorial Bridge paintings that she personally turned over to the Richmond County Museum in Washington DC, as a gift of the Philippine government to celebrate the 100th year of the Jones Act for Philippine Independence.

Ambassador John Negroponte described the paintings as a “stunning modern rendition of the Jones Bridge… a reflection of bonds that connected our countries in common purpose over a 100 years.”

Meanwhile, OP Monzon of the group AA Appreciation Art also took note of Lecaroz’s rise, “For only two years in the art scene, Celeste’s growth as an artist is phenomenal. She describes her spontaneous realism style of painting as something emotional and driven, but the return that it gives her is tremendous — a unique kind of self-expression and countenance in fulfilling her work.”

Lecaroz’s first solo exhibit features mostly large acrylic realism faces of personalities that she admires such as Nick Joaquin, NVM Gonzalez, Milan Kundera, Ernest Hemingway, the Dalai Lama, Manuel L. Quezon, and others. These works are rendered in bright, colorful and needless fashion.

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Actor-turned-Tourism Promotions Board COO Cesar Montano has been very busy these past couple of months. Following the launch of Cine Turismo, which recognized movies that helped promote the country as a tourism destination, he is now putting the spotlight on the country’s culinary scene with a project dubbed “Buhay Carinderia—Redefined.”

Originally an advocacy mounted by businesswoman and philanthropist Linda Legaspi of Marylindbert International, Inc. in 2010, Buhay Carinderia seeks to “gather carinderia [Filipino eatery] owners, food/product suppliers, small to medium entrepreneurs and professionals and students in a forum where they can exchange knowledge on how to better set up their business, while promoting Filipino cuisine.

Taking Legaspi’s project further by adding the tagline “Redefined,” Montano has thrown TBP’s support behind what is now a nationwide endeavor of reaching out to carinderias nationwide, and helping them to attract more customers, and ultimately tourists to enjoy the island’s inimitable cuisine. He also tasked restaurateur and top food blogger as project ambassador with the responsibility of visiting carinderias all over the country and feature them online for the world to see.

“Carinderias and their affordable home-cooked Filipino specialties have become an integral part of this country’s culinary and social identity. While eating in this humble food stand by the roadside may be considered a plebeian pleasure for some, those who knew better appreciate the fact that there’s more to this enterprise that has uplifted the lives of some three million individuals and their families,” explained Legaspi in her welcome remarks.

“The carinderia further offers a glimpse into Filipino culture and customs as they are the closest to what one gets in Filipino homes, where great recipes are handed down through generations,” she continued.

“Is it any wonder then that carinderias are continuously growing everywhere in the country? And with the support of TBP and the Department of Tourism for this sixth staging via Buhay Carinderia—Redefined, this valuable exchange will be more expansive in scope.”

As such, this year’s event is scheduled to scour the country in search of the best carinderias in the culinary scene. First to be visited will be the areas of Northern Luzon—15 provinces that comprise Regions 1 and 2 as well as the Cordillera Administrative Region.

“From these cities and towns we will identify the best dishes, the individuals that prepared them, and the carinderias where they work for,” detailed Legaspi.

Eventually these local culinary experts will gather at the Vigan Convention Center on June 28 and 29 where will have the opportunity to demonstrate their delicious expertise to the public, and more importantly interact with youth participants and pass on their skills through a mentoring partnership.

The respective region’s best practices will further be recognized alongside valuable discussions regarding local ingredients and way to improve one’s carinderia business.

“During this two-day exposition, we will also be searching for young individuals who will become our Philippine Tourism Millennial Ambassadors. They should be able to enlighten everyone of their town’s (or city’s) deep and multicultural food history,” added Legazpi.

This same framework will be followed as “Buhay Carinderia… Redefined” explores Central Luzon (particularly Pampanga, regarded as one of the culinary capitals of the Philippines), the Bicol region, Visayas (Regions 6, 7 and 8) and finally, Mindanao (Regions 9, 10, 11, 12, and 13). There will also be a culminating two-day event after these visits, specifically in San Fernando, Pampanga; Naga; Cebu; and Davao City.

“Finally, to cap off this nine-month-long culinary journey all over the Philippines, ‘Buhay Carinderia… Redefined’ will stage its biggest culinary exposition in November where all the regional bests under one roof will be showcased. There will be exchange of knowledge and with the experts and most successful personalities we will invite, we will be honing if not refine previously undiscovered talents from the audience,” enthused Legaspi. ERU

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Priding one’s self in punctuality is what Citizen Watch – a Japanese company that produces world-famous timepieces – sought to instill in Filipino children as they participated in Olongapo City’s Citizen First Watch Project on April 4.

Part of the company’s Citizen Social Contribution component, an initiative led by its president, Toshio Tokura, the program was held to commemorate the 100th anniversary of the popular timepiece.

During the Citizen First Watch Project, groups of children were taught how to design and create their own watches in a program organized with together with A Child’s Trust is Ours to Nurture, or Action. The group has long been involved in charity work for poverty-stricken children in Olongapo City and Manila.

During the First Watch Project, a number of less privileged Filipino children were taught how to design and create their own watches. The program was organized with the help of A Child’s Trust is Ours to Nurture (Action), an organization that helps poverty-stricken children in Olongapo City and Manila.

Founded by Hajime Yokota in Tokyo, Japan three years after the eruption of Mount Pinatubo, Action has been giving aid to children and minority groups for 23 years now. Known as NPO-Action in Japan, the organization also served as the main organizer of work camps in different facilities and communities in the province of Zambales, including the construction of water systems for the Aeta communities and the renovation of the building of International Children’s Advocate Inc., a residential care facility center for children in Olongapo City.

In Japan, NPO-Action has also established its own charity shop called “Sari-Sari,” which uses its earnings to directly support the organization’s programs in the Philippines.

Meanwhile, the First Watch Project also aimed to introduce the joy of monozukuri (or craftsmanship) to the children, as well as the importance of time through its techniques that Citizen Group considers as the roots of its values.

“Our company needs to contribute to all the citizens in the world and this is a great opportunity for us to something that we can continue,” said Citizen Watch managing director Naoto Hosogaya.

He added that the Citizen Group would also continue to conduct the social contribution every year so that it could contribute to various countries in the next 100 years.

“It’s very important for us to continue what we have been doing. We are doing the same thing in Japan starting in 1990 and we have been continuing it

Hosogaya related that the Citizen Group focuses on child support this year and it also plans to hold programs for the environment and other support activities in the next few years.

“We have some programs in Cambodia, Japan and Thailand. Maybe this is one opportunity to start. Although we have not specifically scheduled the other programs, we will continue this project in the Philippines in the coming years,” he said.

Citizen Watch also believes that the children are the custodians of the next generation and the program will allow them to “mark time going forward with thoughts of building the futures of their dream.”

“I hope the kids learned something interesting and gained memories and confidence to finish something by themselves. It’s great that they can wear the watch everyday. We are happy to be an active organization,” Hosogaya said.

The managing director added that the Citizen Group has always carried out business taking society into consideration and the people who live in it, as signified by the word “citizen” as company name.

Since its foundation in 1918, such values have shaped the company’s philosophy of “loved by citizens, working for citizens.” Its business activities also give way to contribute to people’s lives in a wide range with the aim of being respected and known in the market.

From the time the Citizen Group began global business development during the period of high economic growth in the 1960s, its people have expanded various businesses worldwide with the watch business at its core. While the group faces rapidly changing global circumstances and economic environment, the brand currently has better sales and stronger workforce overseas.

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For many successful women, making it in their chosen careers means learning to work within male-dominated workplaces where the proverbial all boys’ club still prevails. In fact, these very women will be the first to admit that it can feel intimidating to break into industries generally monopolized by men, but understanding the ways of the corporate world, specifically the male approach and perspective, is the wise first step to take in gaining confidence. The next is to combine this knowledge with the female standpoint and touch to set off that huge and vital leap.

Happily, history has shown that women have wiped away the age-old idea of a man’s world. Especially in a country where two female presidents have already been elected, the Filipina has been unstoppable in leaving her mark on most every industry she has taken on.

One of the amazing women who have proven this fact is Rosemarie “Rose” Bosch-Ong, Chief Operating Officer and Senior Executive Vice President of Wilcon Depot, Inc., a nationwide leader in home improvement and construction retail.

Armed with a degree in Economics from University of the East, Ong was initially a bank teller following college but eventually found her niche in the business of selling construction materials, where she has thrived for the last 34 years. Her secret to success? Achieving her deliverables in a male-dominated world, which means providing the best service and products to improve the lives of their clients and the end-users of their products.

“I started working with Wilcon in 1984. At that time, the company only had two branches. These were very challenging times right after Martial Law, so the business climate then was not that good,” Ong recalled to The Sunday Times Magazine in a sit-down interview.

“I took an entry level job. I did anything I could and become a jack-of-all-trades. I helped organize the company, basically, which meant adapting at Wilcon my previous experience at the bank, which was very structured.”

A go-getter through and through, Ong further equipped herself as she shot up the ranks of Wilcon and obtained a Master’s degree in Business Administration from De La Salle University in 2010. Combining her continuing knowledge with the nurturing character of women in all her duties, she soon landed the top job, which she devotedly carries out to this day.

“For me, you have to learn new things everyday, and I find doing so very interesting, especially when we were working to turn Wilcon from a small company into the industry leader that it is now. If you remember, our Chairman Emeritus, who is also my mentor William Belo, established Wilcon in 1977 as a small hardware store, so getting here was a big challenge,” Ong recalled.

“And that challenge—of learning new things, of meeting different kinds of people, and thinking of ways to improve and grow—is what kept me here all these years.”

Luckily, Ong recalled she found it easy to work with a male boss in Belo.

“What I see in him is basically what I am as a person, and that is believing that there should be improvement and growth in everything,” she added.

Moreover, Ong’s three-decade-old success story is proof that women can do great things for an industry that is dominated by men.

“Actually it’s a myth when you say that the construction industry is only for men. It’s a man’s world because it’s construction, but when you talk about retail home improvement, I think the women are the most influential in that segment,” she pointed out.

“When you build a house, it’s the women who have most of the ideas, especially when you talk about the aesthetic part. What you see outside is the women’s perspective most of the time too.”

Besides identifying a woman’s valuable part within the home and construction industry, Ong said it is also important not to think about gender roles in approaching any job.

“I never felt in coming into this business that I was isolated from it because I am a woman. It neither crossed my mind that I am different from the men in this industry. Rather than look at an individual’s capacity as a man or a woman, it is really a person’s contribution to a company’s success that is important, and that achievement comes from passion, determination and being results-oriented,” she explained.

“So my goal has always been to deliver not only what is expected but to go the expectations of our stakeholders and customers. Sometimes you have to go an extra mile when you deal with customers which really comes from your sincerity to help them improve their space and build their homes.”

All the same, Ong also believes that being a woman has also helped her become an effective leader.

“Why? Because I was able to bring something different to the table, because women think differently from men.

We are more detailed, we are more organized, and in terms of creativity—no offense to the men—we always come up with innovative ideas. The way I look at it, at the end of the day, I think it’s essential for us to have a diversity of ideas which propel us to higher standards.”

A woman’s heart

Besides giving her best through the positions she has held at Wilcon, the company’s lady boss also established a corporate social responsibility arm via Wilcon Builders Foundation Inc., which she has headed as president since 2008.

Speaking from her heart this time, the top business executive shared, “The foundation’s initial mission is to uplift the social well-being of underprivileged children by means of giving them access to free education. We pioneered this foundation because we believe that good education should be accessible for everyone.”

Culled from her experience, Ong continued, “Knowledge is very important for every person to progress. For me, even at a much-matured age and at the prime of my career, I still struggled to secure my Master’s Degree in Business Administration eight years ago, so I had to juggle my time between being a mother, a wife and work with Wilcon. So you see, I believe that education is really important and it’s everybody’s right to learn and be educated.”

Besides its educational thrust, the foundation has also expanded its mission in creating awareness on environmental issues, organizing relief operations during calamities, and doing its part in nation building.

“For instance, we help in the housing projects of NGOs as a partner of Habitat for Humanity and Gawad Kalinga among others.”

Wilcon on top

Starting out as a 60-square meter shop along Quezon Avenue, Wilcon Depot had always carried an extensive array of the latest building and finishing materials from international and local markets.

Several years after its successful yet humble inception, more and more branches were established across Metro Manila and in various provinces around the country, in response to the needs of the ever-growing construction industry.

To date, Wilcon has 17 branches spread in Metro Manila, 24 stores in provinces (six of which are under the Home Essentials brand), totaling 41 operating stores nationwide, and reputed as the country’s leader in the home improvement and construction retail business.

Then and now, the company’s goal is offer consumers not only with quality products, but also utmost customer satisfaction. As such, Wilcon revolutionized the construction-supply industry as it committed itself to providing convenient shopping and excellent services such as air-conditioned shops, ample parking spaces, coffee shops (for depot outlets), delivery services, interior design consultation, recreation corners for children, tile-cutting services, product installations, and repairs. These and more have made Wilcon a household name and a pioneer of the construction-supply industry for the past 40 years.

“What sets us apart from other competitors is that we have that notion and passion of continuous improvement. We always try to improve and always try to be a step ahead. We always strive to introduce new things—technologies, processes, products rolled into one,” Ong said.

The company further prides itself in selling products that are hard to find elsewhere in the country. They have also developed 20 in-house brands across all of its product categories.

“Modesty aside, I would say that we are the market leader. What makes us number one is our four-decade experience in the industry, combined with the fact that we have very knowledgeable people,” Ong related.

“With our experience, we were able to inculcate and transfer the standard and the system of what really sets us apart to our people, so that we are at par with international standards.

“On the other hand, the experience of buying at Wilcon is very different from what you see out there in the market, because our promise is to make it easy for any homebuilder or homeowner to build and improve their space,” she added.

According to Ong, the company has seen a constant growth over the year with the opening of new stores, the development of new products, and their dedication to offering solutions to their market.

“Wilcon always anticipates growth, and that is why we are ready to take the challenge of President Rodrigo Duterte’s ‘Build, Build, Build’ agenda, which hopes to accelerate infrastructure and the development of industries that will yield robust growth across the archipelago, create jobs,” the COO said of their commitment to nation building.

“So you can say we’re ready for anything. We’re ready with what the government’s challenge, that is, the idea of our President to focus more on infrastructure and connect every island. And as the leading home improvement and construction supply retailer in the country, we have enough resources with whatever expansion plans they have, coupled with the expansion of our company in many parts of the country,” Ong enthusiastically concluded.

And with a woman like her in the lead, there is no doubt that Wilcon will always care to make lives better—from the humblest of homes to the rest of the nation.

The post On building better lives appeared first on The Manila Times Online.

Ricky Lee speaks during the launch of “Bahay ni Marta” at the Polytechnic University of the Philippines (PUP) in Manila’s Sta. Mesa district on March 10, 2018. (Photo by Alvin I. Dacanay) First of two parts For many in the Filipino film community, no other scriptwriter can write about what is wrong in our society with more humanity and sympathy than Ricardo “Ricky” Lee. Among his peers, no one is more identified with the screenwriting profession than him. In a way, he is without peer. It is easy to see why. Consider the astonishing 170-plus produced screenplays that he wrote in his 45-year career. They include those of such unforgettable films as Lino Brocka’s Jaguar (co-written with Jose “Pete” Lacaba); Laurice Guillen’s Salome; Marilou Diaz-Abaya’s Brutal, Moral, and Karnal (Carnal); and most famously, Ishmael Bernal’s Himala (Miracle). Consider, too, the dozens of prizes that he has collected from different award-giving bodies. The Luna of the Film Academy of the Philippines (FAP); the Urian of the Manunuri ng Pelikulang Pilipino (MPP, or Filipino Film Critics); the National Book Award of the Manila Critics Circle (MCC); the Gawad CCP Para sa Sining (CCP Award for the Arts) of the Cultural Center of the Philippines; and most recently, the Gawad Dangal ni Balagtas (Honor of Balagtas Award) of the Komisyon sa Wikang Filipino (KWF, or Commission on the Filipino Language)—the 70-year-old Lee won them all. And consider the generations of writers and directors that the ABS-CBN creative consultant and manager had taught on the craft through the free scriptwriting workshops he has held since 1982 and through Trip to Quiapo, his bestselling manual published in 1998. So great are Lee’s accomplishments in film and television that it is easy to overlook the fact that he first won recognition not as a screenwriter, but as a fictionist. His “Huwag, Huwag Mong Kukuwentuhan ang Batang si Wei Fung” (Don’t, Don’t Tell Stories to Young Wei Fung) and “Servando Magdamag” won the top prize in the short story in Filipino category in the Carlos Palanca Memorial Awards for Literature in 1969 and 1970, respectively, when he was only in his early 20s. Both stories were heavily influenced by William Faulkner, one of four celebrated authors—Fyodor Dostoevsky, Nick Joaquin, and Kerima Polotan were the other three—whose books he had read and reread in the small public library of Daet municipality in Camarines Norte province, where he grew up lonely and motherless since he was five. “Para akong nakakulong sa isang maliit na bayan gaya ng Daet (I was like imprisoned in a small town like Daet), wanting to escape, wanting to go to the bigger world,” Lee, the son of an immigrant from China’s Fujian province, told The Manila Times in a recent interview. “Basa ako nang basa ng libro para makatakas [at]makapunta sa bigger world (I constantly read books to escape and travel to that bigger world).” “Kuwentuhan ang nagligtas sa akin (Telling stories saved me),” he said. “Books talaga ang nagligtas sa akin (Books truly saved me).” That bigger world opened up to Lee when came to Manila to study English at the University of the Philippines. There, he was exposed to the works of Joaquin’s contemporaries Bienvenido N. Santos and N.V.M Gonzalez, of Colombian Gabriel García Márquez and other Latin American writers, and of the Spaniard Federico García Lorca. More significantly, he was also exposed to the unforgiving, harsh, and complicated economic, political, and social conditions that would greatly inform his screenplays—and, in a way, his return to fiction decades later. Ricky Lee signs copies of “Bahay ni Marta” after its launch at the Polytechnic University of the Philippines (PUP) in Manila’s Sta. Mesa district on March 10, 2018. (Photo by Alvin I. Dacanay) The last 10 years saw Lee reintroduced as a fiction writer to a new generation of readers. He published his first novel, Para Kay B, o Kung Paano Dinevastate ng Pag-ibig ang 4 out of 5 sa Atin (For B, or How Love Devastated Four out of Five of Us), in 2008. His second, Si Amapola sa 65 na Kabanata (Amapola in 65 Chapters), came out in 2011, followed by the story collection Kung Alam N’yo Lang: Mga Kuwentong Pambata Para sa mga Hindi na Bata (If You Only Knew: Children’s Stories for Those Who are No Longer Children), in 2016. Joining those titles is his latest, Bahay ni Marta (Martha’s House), which Lee launched at the Polytechnic University of the Philippines (PUP) in Manila in March. He described the 140-page novel as about a neglected house and a poor mute boy “na napipilitang mag-communicate dahil [sa]maraming hindi masabing pangyayari, malagim man o malungkot, sa palibot (forced to communicate with each other because of the many unspeakable events, both horrible and sad, around them).” They talk about the title character, a 40-something single mother of two boys who once lived in the house, and who was at a certain stage in her life “na naghahanap ng…redemption [at]meaning sa buhay…na, to some extent, nakita niya nang may nangyari sa kanya na malagim (where she is searching for redemption and meaning in her life, which, to some extent, she found when something terrible happened to her),” he said. According to Lee, Marta was inspired by the idea of publishing a series of affordable books with a common theme, similar to the Peso Book series of award-winning playwright Alberto Florentino in the 1960s. The slim novel was not even supposed to come out after Amapola; a longer, more expansive work—of which the writer already has a completed draft—was to be released first to complete the trilogy that began with Para Kay B. “Nang matapos ko ang Amapola, I felt na hindi pa ako ready na harapin ‘yung ikatlong nobela (After I finished writing Amapola, I felt that I was not ready to face the third novel in the trilogy),” Lee said. “Parang hindi pa ako ready na i-revise siya at ilabas (I felt I was not ready to revise and release it).” To be continued next Sunday

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In continuation of the highly successful workshops held every April since 2014, the Cultural Center of the Philippines will stage the National Rondalla Workshop anew from April 24 to 28, in various venues of the CCP. The annual CCP National Rondalla Workshop is now recognized for having trained rondalla ensembles and banduria players who became national finalists and have won top prizes in the solo banduria and the rondalla ensemble competitions of the National Music Competitions for Young Artists (NAMCYA). Every year, CCP opens the workshop to rondalla groups all over the country, which have been in existence for at least two years and are non-beginners, who wish to further hone their skills in rondalla technique and performance. Meanwhile, Elaine Espejo Cajucom of the Celso Espejo Rondalla and the UP Rondalla, and faculty member of the UP College of Music lead the workshop trainers using modules that include sectional rehearsals per rondalla instrument, note reading sessions, individual rondalla ensemble cliniquing sessions, and plenary sessions wherein all the participants gather together to learn a common piece. The workshop will culminate in a program at the CCP Tanghalang Aurelio Tolentino (Little Theater) on Saturday, April 28 at 4 p.m.

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NCCA Chairman Virgilio Almario, through its National Committee on Dance led by its head Shirley Halili Cruz, spearheads the 2018 “Dance Xchange: The Philippine International Dance Workshop and Festival”. The fest returns to Dumaguete where the first ever Dance X was held. The four-day event will be happening on April 26 to 30 at the Lamberto Macias Sports and Cultural Center in Dumaguete City, Negros Oriental, Philippines. The Dance Xchange aims to enhance knowledge and skills of the dancers, dance teachers and choreographers on dances of the different countries as creative expression of their culture. It also provides a venue for exchange of ideas, strengthened networking, platform for discussion on the global trends in dance education, and enhanced cultural understanding among dance groups from the participating countries. Dance performances will stage and showcase unique dances of each country inspire and stimulate creation of new works. One of the banner projects of NCCA’s National Committee on Dance, Dance Xchange is widely supported by localities throughout the country. Dance Xchange graced the stages of Isabela (2017), Manila (2011) Having travelled several key key cities in the past, Dance Xchange will be hosted and supported this year by the local government of Dumaguete, Negros Oriental. Aside from the local support Dance Xchange is officialy endorsed by the Department of Education and the Commission on Higher Education. Dance Xchange is also celebrated in accordance with Presidential Proclamation No. 154 declaring the last week of April as the “National Dance Week” in the Philippines. Aside from local performances, Dance Xchange will also host foreign delegations who will showcase and share their country’s traditional and contemporary dance practices through workshops and forums. Among the participating countries are: South Korea, England, Hongkong, Indonesia, Thailand, Malaysia, Singapore, Vietnam, India, Brunei, Japan, Bangladesh, Russia, Turkey, and Taiwan and 25 local dance groups from Luzon, Visayas, Mindanao and Metro Manila. The Dance Xchange will have activities such as artists’ forum, dance workshops to be conducted by dance directors from participating countries for teachers, festival and management workshops, a festival of dance performances, outreach performances, and cultural tour. The NCCA is coordinating with Tesda for certification on Events Management and Performing Arts as part of the festival.

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