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Darnay Demetillo’s relief Atang features the iconic Oblation pose and the Cordilleran symbols, namely, the likeness of a rice deity bulul and the g-string garment. Behind the main figure is a traditional hut or balé. Atang means a ritual of offering to the spirits, the same meaning of oblation. This work adorns the administration building of the University of the Philippines – Baguio.

Photo by I.R. Arenas

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In The Kundiman Party, the three concerned titas of the Philippines – Helen (Stella Cañete-Mendoza), Mitch (Jenny Jamora), and Mayen (Franses Makil-Ignacio) – are stuck in social media for things politically viral. Despite their age, they still have the flare burning for the good sake of the country.

This is from the 2018 original run of Floy Quintos’s Kundiman Party, directed by Dexter Santos. (The play has its rerun in late May 2019.)

Photo by I.R. Arenas

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Former opera singer Maestra Adela (Shamaine Buencamino) with Ludwig (Farley Asuncion) giving the pitch vocalises Bobby (Kalil Almonte), a millennial out to fight the political system, in the 2018 original run of Floy Quintos’s The Kundiman Party, directed by Dexter Santos. The play is most relevant today in the midst of the populism trend and the long-standing citizen apathy towards good governance. (The play has its rerun in late May  2019.)

Photo by I.R. Arenas

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Both disturbing and emancipating, Nana Rosa is a play about the elderly Rosa Henson (1927–1997) coming out after four decades of silence regarding her ordeals as a comfort woman during the Pacific War.  The fight for acknowledgement of comfort women continues to this day in East and Southeast Asian countries. The play is written by Rody Vera and the premiere is directed by José Estrella for UP Playwrights’ Theatre.

Photo by I.R. Arenas