6th Maharlika Sunrise Art Festival

The Maharlika Sunrise Festival is an annual celebration of arts held in the different regions of Maharlika (Philippines) by the Maharlika Artists and Writers Federation (MAWF). Started in 2004, its mission is to bring together the art and cultural communities all over the country to promote a culture of peace through the arts and literature. It aims to empower artists and writers through the cultivation of the culture of each region in the country, and to share their talents for the preservation of our cultural heritage. The Maharlika Sunrise Festival is a start of a continuing cultural movement to develop a high value and a total integration of all aspects of arts globally: music, theatre, literary, dance, senses, emotions, intuition and spirit. Sunrise is a symbol of hope and universal spirituality that speaks of humanity as one and indivisible regardless of race and color.

PROGRAM INCLUDES
Interfaith Opening Prayers • Inner and Outer Dance • Nature Mandala & Labyrinth
Bon Fire • Organic Drumming Circles • Live Musical Performances
DJ Sets • World Music • Jamming • Visual Arts Exhibit with National Artists
Indigenous Storytelling Through Music & Dance • Meditation, Tai Chi & Yoga
Interactive Art Wall • Art Installations • Film Screenings

November 27-29, 2009

Ninoy Aquino Parks & Wildlife Center, Quezon Avenue, Diliman, Quezon City

LIVE WEBCAST WORLDWIDE on Earthdance.tv

*Source

The Art of Government and Money

Just like the topic of ‘art and science,’ the subject of ‘art and government’ is a complicated issue; especially when money is involved.

Funding of the arts is not as publicized as the funding of other integral sectors like health, education, food and social welfare. This is apparent in many countries particularly those considered as ‘developing nations’ since it is believed that these other sectors are primarily essential in molding a better nation. There is nothing wrong with the government alleviating its budget for the arts; however, there are many things to be understood.

Appreciating and encountering art is one thing while practicing art is another. It should be known that there are artists who are reliant on the government and those who find satisfaction in independence. Some have worked long enough autonomously to attain a highly-acknowledged rank in society that they are even feared by politicians. Other artists have extensive support from politicians and the wealthy private sector just as long as they remain in their courtyards. Moreover, there are the ‘indies’ who like to take their chances, balancing their day jobs while advocating their masterpieces wherever and whenever the opportunity rises. Typically, they are supported by non-government organizations.

Currently, the greater Filipino population is on the level of encounter, which means most visit galleries, read poetry, and listen to music; and it is believed that this is where the government should increase its funding. For example, by providing financial support for academic institutions in the continuation of art programs; more free venues for art events in all regions of the country and free presses for cheap publication of art books and literature.

However, along with these, there should also be growth and improvement within art institutions and agencies; enhancement on personnel, mechanisms and policies towards the upholding of national art. An increase in allowance may help but it will not entirely solve the problem. There is always the possibility of it turning out to be like a situation wherein you give kids extra change; normally, you expect them to use it to buy candies but then they go on to buy cigarettes.

The Philippines is a developing nation that is rich in tradition. Sometimes, its government and people perceive art and tradition as one. Although it is true that one cannot exist without the other, it should be understood that art progresses while tradition is established. A friend once told me that this will never be fully realized by any government because when art progresses in a nation, people become more critical-minded and eventually the tradition of oppression in every government becomes more evident— the reason why true great artists have no nation and no boundaries.

One Wall: I Am Not Yours

Experimentation in Sound Art Tradition (EXIST) and Penguin Café present:

“ONE WALL”

A photo collage by Elaine Lirio

“I AM NOT YOURS”

With

PERFORMANCES BY:

Inconnu Ictu, Nyabinghi, Aurora Borealis, Odd, Elemento, Blend:er, Slavedrum, Manifesto, Lakbay Lahi, Ugong, Etniktronika, Caliph8, Mark Zero

VIDEO PRESENTATION:

Mannet Villariba

POETRY BY:

Heidi Sarno and the Cavite Young Writers Association

November 12, 2009

7pm

Free entrance

* Penguin Cafe Gallery is located at Remedios cor. Bocobo St., Remedios Circle, Malate, Manila

Majulah Singapura!

It seems like 2010 has callings for me and my father’s land. This may probably be one of them (aside from the calling to fully become a citizen):

YEAH YEAH YEAHS LIVE! – IN SINGAPORE

Venue: The Esplanade
Date & Time: 07:30PM – 12 Jan 2010
Address: 1 Esplanade Drive, Singapore 038981
E-mail: N/A | Website: www.sistic.com | Contact: +65 6828 8377
Price: S$68, S$88, S$108, S$128, S$148 (exc. SISTIC charges)

* Organized by Greenhorn Productions!

Pen My Name

Stuck in the mood of my last post, I find myself remembering my magazine profession days (the birth, the life, and the death of the “Jomalou”). I stumbled upon my ex-company’s website; and once again, I came across the quoted paragraph below.

“Jomalou grew up in Lagos, Nigeria and survived the meningitis, malaria and AIDS epidemics. She was usually the only fair-skinned girl amidst beautiful black people. Joms had dreams of becoming a pediatrician, a lawyer, an actress, a diplomat, a rock star, a poet and a linguist. She has been a fan of Walt Disney pictures, The Beatles, her dad and Enid Blyton books. BOUNCE wouldn’t be the same without Joms. She loves texting and calling all the student contributors and featured people. If you want to send her load, contact her at jkwan@octobereighty.com.”

When I was too drowsily high to come up with a pen name, Jomalou was born, thanks to BOUNCE Magazine’s first Editor-in-Chief, Carlo Velasco. The name was well-nurtured and developed by o80 personalities like Upper Viceo, Kristine Icasas, Heinz Ngo and Angela Sy. Joms lived for more than a year. And the rest is history.

My WordPress dashboard keeps tipping me to “update my about page so that my readers may know more about me.” This is for you WordPress; and not my readers. Besides, who actually reads me? (By the way, thank you Angela Sy for the write-up.)

(P.S.: That’s a defunct e-mail address, if there’s anyone who really wants to send me load, just send me a message or post a comment.)

Byline Cut-outs

I have no tangible organized portfolio, which has led me to think about how much I’ve been able to do and in conclusion, has led me to come up with this. It could look better but it’s all I can provide  for now.

BOUNCE Magazine Summer Break Issue (April 2008)

Feature article on the Why Not Forum 3.0 facilitated by Bam Aquino, with speakers Grace Dimaranan (President, Animation Council of the Philippines),  Tommy Lopez Jr. (President, University of Makati), Paul Zialcita (Founder, Bahaghari: Samahang Manlilikha), and Onofre Pagsanhan (Literature Professor, Ateneo de Manila University).

Feature article on businessman (Eng Bee Tin Hopia) and firefighting advocate, Gerry Chua.

Feature article of Ongpin Street, Chinatown.

Album reviews on Recollection (Slapshock), Sinosikat? (Sinosikat), and Buhay (Rivermaya).

BOUNCE Magazine Back to School Issue (June 2008)

Photo feature on 19 student council presidents (2007-2008).

Mini-feature article on educational Java applications for cell phones.

Feature on home service Spa du Soleil.

BOUNCE Magazine Style & Design Issue (August 2008)

How-to article on thesis-making.

Feature article/interview with Lyndon Gregorio (Creator, Beerkada Comics)

Photo feature on 5 student artists- Lui Fotillas (College of St. Benilde), Alfred Capiral (University of the Philippines Diliman), Nemo Aguila (FEATI University), Ray Zapanta (College of St. Benilde), Clark San Jose (Mapua Institute of Technology) and Andrei Venal (Philippine Women’s University).

BOUNCE Magazine Entertainment Issue (December 2008)

PR article on BOUNCE Live: The College Concert at the Music Museum.

Feature article on the Lyceum University of the Philippines (Cavite).

Photo feature on 9 student performers- Iris Guballa (Folk/Ethnic Dancer, DLSU-D), Dax Inting (Violinist, FEU), Raffy Casas (Singer, DLSU-M), James Wong (Street Dancer, UP-M), Joseph Molina (Beatboxing, PLM), Bimbi Cardenas (Ballroom Dancing, UE), Justin Jaime (Parkour, San Sebastian), Jacob Sarreal (Saxophonist, San Beda) and LJ Aganus (Theater Actress, Letran).

Feature article on 5 college bands- The Eighteens (Letran), Pascalene (ADMU), Battle City (CSB), Cathexis (UP-D) and Mithi (UST).

Book review on Citizen Girl written by Emma McLaguhlin and Nicola Kraus.

Feature interview with QTV11’s Living it Up! hosts, Tim Yap, Issa Litton, Raymond Gutierrez and Sam Oh.

Advertorial on the Toshiba M800 Notebook.

TOTAL GIRL Magazine Global/Travel Issue (May 2009)

Feature article on 4 global sports- Capoeira, Sepak Takraw, Bossaball and Elephant Polo.

TOTAL GIRL Magazine You Can Do It Issue (July 2009)

Feature article on how to get published.

WMN.ph Leisure Section (September 2009)

Feature article on suggested ISP packages for different women. (The photo is clickable to lead you to the full article)

The Rigs

Not the whole thing, just the anniversary presents (I really meant to post this 3 months ago); highlights of my entrance into the overrated “real world” where everyone fully learns how and when to get stingy or sacrificial with dough, all in the name of love. Nothing beats the alkansya. =) I guess I also do have some kind of nose for gracious bargains. (Ripped photos. Will be replaced by personal ones.)

2008

2009

TY’s to:

Ma’am Bay (Broken Chord Studio) for the PH3/DD3 Buy-One-Take-One-ish deal and for being willing to accept my truckload of coins

Francis Reyes (The Dawn) and Nick Zinner (Yeah Yeah Yeahs) for the one-hit-wonder words of advice on supporting a boyfriend’s craft

Nick Azarcon (Sinosikat?) for the spontaneous pedal board offer and for the enormously distant rate from its original price

Turi Guillano for making the board “tremendously lightweight” and for free shipment of the MM4

and ERIC DIOLOLA for the beautiful annual displays of anxiety, excitement, surprise, bewilderment, and for the continuous flow of peace, love and happiness.

Beer. Beer. Beer.

Posting my interview with Beeekada Comics creator, Lyndon Gregorio, which can be read in the second-to-the-tentative-last issue of BOUNCE Magazine.  I’m such a desperate case at face-to-face interviews that this had to be done through Yahoo Messenger, which is what “some” people did at BOUNCE when it’s ‘crunch time.’ To think Mr. Gregorio liked it and called it a “cool interview” and still can’t get his complimentary copy of the magazine… =))

In the not-so-olden yet golden days, makers of Pinoy Komiks were like rock stars that enjoyed a huge fan base. Somehow, this was because the Internet had not yet sprung up like Coke or Pepsi commercials during the days of Romualdo Ramos and Tony Velasquez’s Mga Kabalbalan ni Kenkoy. At this time, artists were particularly inspired by local literature and folklore.

Steering towards the 50’s and 60’s, localized versions of American icons like Mars Ravelo’s Darna (Wonder Woman) crossed through this booming age of the Philippine comics industry. Mangga emerged in the 70’s and most of the classic artists preferred to be OFW’s (as artists, of course). And eventually, everything didn’t seem so “local” anymore. I continue to ask if everything fell into such place because people weren’t being as original as they used to be…

jeanilyn_kwan: i see. how was the “comics industry” back then? i mean, when you were still in school

beerkadamail: all the talent went abroad

beerkadamail: dead

beerkadamail: it was bottomed out

beerkadamail: the big old school comics companies like atlas

beerkadamail: was going out of publication

beerkadamail: manga style was on its way in dominating the field

From 1998 and back till who-knows-when, the maker of the illustrious Beerkada comic strips has abided by the credo, “write what you know.” Such year is specified as this year contained the birth of Glen dela Costa and company, who have since then continued to frequent the entertainment pages of The Philippine Star.

jeanilyn_kwan: did you look up to any of the classic comic artists?

beerkadamail: locally? no

 With the “comics decade” decline, people needed “new stuff.” They could appreciate the classics but there is always the hunt for fresh blood.

jeanilyn_kwan: why not?

beerkadamail: i suspected that old school methods werent working in this current environment

beerkadamail: so i had to look for new school ways which did work

Probably, one, two or three decades before Beerkada and other probable “underground” strips, Lyndon Gregorio created The Adventures of Beary when he was 10 years old. His first impulse to grab a pencil was after a trip to the dentist.

beerkadamail: my mother took me to the dentist. to pass the time, she rented funny komiks

beerkadamail: i got hooked on this character called star boy

beerkadamail: a superman-rip off

beerkadamail: and since my mother didnt have the cash to purchase it outright

beerkadamail: i started drawing my own comics

Artists usually have their own story to tell. In filmmaking, there is such thing as the auteur theory, which states that a filmmaker’s works reflect his personal vision. Now, this can also deem relative to other forms of art. Technically, Beerkada is defined as a reaction to society, pop culture and everything that revolves around it. Question specific inspirations from its author-cum-artist and you get a rounded answer: “The guys I met back in college.”

jeanilyn_kwan: what exactly does beerkada focus on? obviously, the characters are growing so it’s not just about college life

beerkadamail: it’s about friendships that last lifetimes

beerkadamail: the people i based beerkada on still meet from time to time

beerkadamail: some friends go away

beerkadamail: like my character dana

beerkadamail: who no longer appeared in the strip

beerkadamail: after she left for europe

beerkadamail: my girlfriend chompy also has several appearances

As a work of the 90’s, Beerkada is a product of a fusion of sources. The concept of manga with its dynamic shots has contributed to the expressionist aspect of the strip, and American cartoonist Scott Adams’ Dilbert contributed to its humor.

jeanilyn_kwan: is this how youve you kept it unique to call it your own? aside from the fact that it’s pinoy

beerkadamail: yup

beerkadamail: so its recognizable

beerkadamail: from any other style

Scott Adams is one of Lyndon Gregorio’s favorite artists. You’d find it rather coincidental that both have engineering backgrounds and an inclination to cartooning (they’re engineers-turned-cartoonists). Plus, if you’re such a fan of both their works, the humor is quite comparable.

jeanilyn_kwan: but you woudn’t consider yourself as the localized scott adams, would you?

beerkadamail: not anymore

jeanilyn_kwan: you did?

beerkadamail: well, i learned from scott adams that good art didnt matter in making a good strip

beerkadamail: and then i learned that scott adams cant draw

jeanilyn_kwan: that and i suppose you might as well not be dyslexic, a hypnotist or a vegetarian?

beerkadamail: yup. that was pretty much it

I ran out of time before I could ask more questions. Like why “Beerkada” when he wasn’t much of a drunkard of an artist; why the choice of Lyndon Gregorio as a pseudonym. And moreover, what his real name was.

beerkadamail: i gotta go

beerkadamail: i hope thats enough

jeanilyn_kwan: oh no

jeanilyn_kwan: can i ask last 2 more questions?

beerkadamail has signed out.

…

Blondes dig…

Fabrizio Moretti of Little Joy and The Strokes. Or perhaps, vice versa…

“What’s with the glove?”

Been wondering where Karen O of the YYYs got the idea of wearing a glove on one hand. Formed a hypothesis after Jackson’s death.