How the CCP Front-of-House Apprenticeship Program Champions Inclusivity for Senior Citizens

At an age when many people are expected to slow down, three senior citizens from Pasay City find themselves at the heart of the country’s cultural scene, reinvigorating their golden years through the Cultural Center of the Philippines’ special Front-of-House (CCP FOH) Apprenticeship Program, a simple apprenticeship program which becomes the start of a meaningful addition to their lives.

Through a partnership with the city’s Office of Senior Citizens Affairs (OSCA) in 2024, senior ushers Sarah Escosora, Marte Aragon and Bubot Manalang participated in the apprenticeship program which aims to open doors for older Filipinos to be an active member of the arts and culture community.

The ushering apprenticeship lasted for a month and included lectures, fieldwork, venue exposure trips, and first aid training. The seniors were immersed not only in audience management, but also in the values of culture, education, and service.

Nagbigay-diin sila sa kultura, sining, at edukasyon. Yun ‘yung naging focus ng training namin,” shared 63-year-old Manalang who is a barangay public servant.

The CCP’s Front-of-House Apprenticeship program reflects the Center’s mandate to transform lives through the arts. Aside from senior citizens, the program has also welcomed and trained deaf and hard-of-hearing participants to be at the forefront of cultural work.

“Being a part of the CCP gives me a sense of purpose,” shared 66-year-old Escosora who is the senior president of Barangay 37 and a barangay kagawad. Escosora was among the first batch of senior citizen ushers selected for the pioneering program.

“It gives me a reason to continue learning even though I am already a senior. Na-feel ko na may purpose ako, and I belong in a community,” she shared.

Initially, there were 10 applicants who were accepted. Two eventually had to step back due to health concerns and scheduling conflicts, leaving eight ushers who continued with their apprenticeship journey and eventually became part of the CCP Venue Operations Division’s ushering team.

“So far, ‘yung eightna nagtuloy, buo pa rin after two years. It goes to show that we really enjoy this kasi tuloy-tuloy pa rin kami. Napakarami naming natutunan. Kahit na senior na kami, we still look forward to having new experiences, and meeting new people,” said Aragon, a 66-year-old retired export manager.

For Aragon, the opportunity felt like a homecoming. He once worked at the CCP as a public relations officer in the 1980s. Before working for corporate, he had been involved with the Philippine Educational Theater Association (PETA), where he crossed paths with now-renowned theater figures such as Pen Medina and Joel Lamangan.

What made the apprenticeship experience all the more special was gaining access to performances they otherwise may never have seen.

“Nakakapanood na ako ng shows na hindi ko mapapanood kung hindi ako usher kasi mahal ang tickets,” admitted Escosora. “Double benefits din – nakakapag-serve kami at the same time nakakapag-enjoy at nakakanood ng shows.”

Their assignments range from children’s theater productions to major cultural events. One of the most memorable moments for the group came during the public tribute following the passing of National Artist for Film and Broadcast Nora Aunor.

“Pinag-duty kaming lahat na senior citizen dahil lahat kami kilala si Nora,” Aragon laughed. “Memorable ‘to sa akin kasi lahat ng friends ko na di ko na nakikita, doon ko pa sila nakita.”

For the ushers, however, the experience extends far beyond the grand events or the pay.

“Kahit late na late na ‘yung sweldo, walang nagrereklamo kasi it is not about the pay — it is the experience, the belongingness. Sobrang alaga kami ng management, sobrang welcome kami at pampered,” emphasized Aragon.

Escosora agreed, saying: “Alagang-alaga talaga kami. Pinapaupo kami lagi kapag start na ‘yung show para raw di kami mapagod.”

The work has also given structure and excitement to their daily lives, with many of them stating how their duties provided them something to look forward to again. They hope that the younger generation would also be as eager to experience art outside of their screens.

“They should cherish the opportunity to go to live shows and live performances,” Escosora said. “Cherish our culture. Support the artists and go beyond the digital way.”

Manalang echoed the sentiment, encouraging young Filipinos to remain curious about the arts and the people behind them. “Nakita ko kasi talaga how dedicated the artists are to their craft. They deserve so much appreciation and support,” she said.

Aragon reflected on: “In nature, Filipinos are very creative. Naniniwala ako na lahat ng Pilipino ay magaling sa sining, kaya dapat lang na suportahan at payabungin natin ito.”

In many ways, the senior ushers embody the very mission of the CCP: to make art meaningful and accessible to the public. The stories of the CCP’s senior citizen ushers remind that culture thrives not only through artists and performers, but also through the communities who sustain and protect it.

For over five decades, the CCP has stood as the country’s premier institution for the promotion and preservation of Philippine arts and culture. Beyond staging world-class performances and nurturing artists, the institution has also continued to expand its programs toward inclusivity and community participation. Through initiatives such as the Front-of-House Apprenticeship program for senior citizens, the CCP demonstrates that there will always be a place for every Filipino who wishes to take part in keeping the arts alive.

#CCP #FrontofHouseApprenticeship #rubyspreciousmoments #rubyasoyph

Mari Dance’s a dance in a day in a dance highlights CCP’s legacy in shaping contemporary Filipino dance

Mari Dance presents the restaging of its acclaimed production a dance in a day in a dance, a full-length contemporary dance production that brings together five choreographies by choreographer JM Cabling, four of which were developed through the Cultural Center of the Philippines’ (CCP) Choreographer’s Series and other dance programs. The production runs from May 16 to 31, 2026 at the Doreen Black Box Theater, Areté.

Structured as a layered narrative on the lives of dancers and choreographers, the piece explores burnout, rejection, creative pressure, intimacy, and survival within the craft. Produced by Mari Dance Company and shaped by musical theater director Mikko Angeles, with Al Garcia reprising his role as the Choreographer, the work unifies five distinct choreographic voices into a single evening that reflects the realities of dance making in the Philippines today.

Four of the two works featured in the production were originally developed through CCP Choreographers Series, underscoring the institution’s continuing role in nurturing contemporary dance practice.

The CCP Choreographers Series aimed to become the prime mover of contemporary dance expressions in Philippine society.

CCP Choreographers Series was composed of three dance projects: (1) WifiBody.ph, a competition for emerging choreographers; (2) Koryolab, a laboratory and showcase of experimental dance pieces by mid-career choreographers; and (3) NeoFilipino, a venue for established choreographers to create and stage major works in collaboration with artists.

Conceptualized by founders Denisa Reyes and Myra Beltran, the CCP Choreographers’ Series has been a prime mover of contemporary dance expressions in the Philippines. Launched in 2015, in consultation with former CCP President Nestor Jardin, the series continued the legacy of NeoFilipino’s boundary-breaking contemporary work since 1987 and the independent dance initiatives of the Wifi Body Festival since 2006.

Bent, which was Cabling’s earliest piece in the program, premiered at the 2014 Wifi Body Festival’s New Choreographers’ Competition, directed by Myra Beltran and supported by the CCP; Nothing Special and Lihim ni Lea were developed and premiered under the CCP Choreographers’ Series (2017 and 2019), led by Denisa Reyes and Beltran; and I Wanna Say Something was first presented in 2021 under the CCP Professional Dance Support Program during the pandemic.

a dance in a day in a dance becomes a living archive where dance works developed through different CCP platforms are recontextualized into a single performance, revealing how CCP institutional programs have shaped the evolution of Filipino contemporary choreography. Artists outside traditional company structures were given mentorship, support, and opportunities necessary for their sustained growth, flourishing under a system that supports choreography from its earliest experimental stages to full-length theatrical performances. With this, contemporary Filipino choreography emerges not as a collection of isolated works, but as an evolving lineage of practice.

The production also features alternating performances by former Ballet Philippines dancer Georgette Sanchez-Vargas and former Ballet Philippines dancer and Daloy Dance Company’s Artistic Director and Founder Ea Torrado as the mother; and former Ballet Philippines and Alice Reyes Dance Philippines dancer Janine Arisola-Cabrera in the lead role of Lea. Returning cast members Michael Que and Sarah Samaniego join a broader ensemble composed of Mari Dance scholarship students from Butuan, Iriga, Sagay, Sorsogon, and Surigao, reflecting the company’s commitment to regional inclusion and dance education.

Beyond performance, the production also highlights Mari Dance’s education-driven mission, with many of its dancers coming from scholarship programs under Guang Ming College and company training initiatives. This model integrates creation, pedagogy, and community-building, expanding access to professional dance training across the Philippines.

As Mari Dance mounts its first major multi-weekend run, a dance in a day in a dance stands as both a performance and a testament to how the right platforms transform the lifespan of choreography, allowing them to evolve.

The show runs from May 16 to 31, 2026 at the Doreen Black Box Theater, Areté, co-presented by Areté. Tickets are available via: maridance.com.

#CCP #MariDance #rubyspreciousmoments

CCP Board initiates dialogue on strengthening the future of Philippine Contemporary Art

What is the most essential building block for the future of the Cultural Center of the Philippines in the visual arts?

This question set the tone for the recent Philippine Arts Roundtable organized by the country’s premier cultural institution, bringing together a diverse group of experts to examine the current landscape and explore the future directions of Philippine contemporary art.

The recent roundtable discussion brought together Alfredo and Isabel Aquilizan, contemporary visual artists and cultural practitioners; Isa Lorenzo, founder and co-director of Silverlens Galleries; Carlos Quijon Jr., art historian, critic, and curator currently serving as the C-MAP Fellow for Southeast and East Asia at the Museum of Modern Art in New York; Clarissa Chikiamco, curator at National Gallery Singapore and a PhD candidate at King’s College London; Dindin Araneta, co-founder of Art Fair Philippines and Director of the Benilde Center for Campus Exhibitions (CCE) at De La Salle–College of Saint Benilde; Tina Colayco, President of the Metropolitan Museum of Manila; Sheila Ramos, business executive and art collector; and Ana Maria Ortega, business executive and arts management educator.

Together, they unpacked pressing questions and concerns on institutional support, artistic practice, and cultural direction, offering critical insights that point to emerging possibilities for the CCP’s role in shaping the visual arts ecosystem in the years ahead.

Arts education as a foundation for the future

For the Aquilizans, education is an essential foundation for the future of Philippine visual arts. They emphasized the need for government institutions to maximize their capacity to develop and expand arts curricula, particularly at the high school level.

“We have the Philippine High School for the Arts as the educational arm of the CCP, and I believe this model should be replicated across the country, perhaps through the development of accessible educational modules and similar programs,” said Alfredo Aquilizan.

They also highlighted their experience in Australia, where they conduct art workshops in remote communities, an approach they believe could be effectively adapted in the Philippines to expand access to arts education.

“We conduct workshops in remote communities, which play an important role in expanding access to knowledge, and it raises the question of how the CCP can further extend its reach and share its resources more effectively with underserved communities,” noted Alfredo.

The Aquilizans also pointed out the importance of sustainable support systems for artists, including government-funded travel grants and mentorship programs.

Preservation and accessibility as pillars of the future

Chikiamco emphasized that CCP initiatives play a vital role in supporting the visual arts ecosystem in the Philippines. Programs such as the Thirteen Artists Award recognize and nurture emerging artistic practices, while the 21AM serves as an important venue for exhibiting and preserving the CCP’s visual arts collection.

At the same time, she underscored the importance of accessibility and conservation in the arts. She cited the works of Roberto Chabet as an example, that these should be made more accessible through institutions, like the CCP,  for the public to engage with.

“I think sometimes that this legacy is in danger of being lost because this history is not really visible. I’m aware of it, and many curators who have conducted research have seen the archives of those early exhibitions at the CCP. But it can be difficult to access,” said Chikiamco, who also suggested the need for CCP to actively acquire and safeguard significant art collections.

“It is very important for CCP, and I guess Philippine institutions in general, to collect contemporary arts. A lot of this is in danger of disappearing if it’s not collected, because you need to work with the artist in developing guidelines, like what is essential to the work, for its display,” enthused Chikiamco.

Strategic promotion elevates Philippine visual arts 

For Lorenzo, CCP, being a national institution with many existing assets, must position itself as the gold standard for exhibition-making, not only in the Philippines, but across the region.

“Your collection is amazing. But how do you get people to see it? And how do you broadcast this information to the world? The CCP cannot afford to remain insular. It needs to be more outward-looking,” emphasized Lorenzo.

This outward approach should include a stronger presence on social media and the cultivation of diverse voices that can engage multiple generations. “Whether it’s through TikTok, Instagram, or other platforms, there should be a significant investment in communicating who the CCP is, what it does, and what it holds. The only way to build an audience is to bring people in,” added Lorenzo.

They also highlighted the importance of expanding the reach of CCP’s collections through nationwide exhibitions, increased publications, and visibility in international events as key strategies for advancing Philippine visual arts.

“Another priority is the CCP collection itself. Lean into your existing assets. Consider touring exhibitions across the Philippines. Another is publications. There are already publications, but perhaps there could be more. Set a goal, maybe three to five publications a year, or at least one annually, and be present in international art events. Support regional artists in global exhibitions, and build on efforts that already exist.”

Institutional support for curators advances Philippine visual arts

As a Filipino curator working with international artists and large-scale exhibitions, Quijon Jr. noted that while many curators already operate on a global level, most begin their careers in the Philippines but eventually move abroad due to limited local opportunities. For him, this underscores a key concern: the need to strengthen institutional support not only for artists, but also for curators within the Philippine visual arts sector.

“That is what is at stake for me in this conversation. We have the talent, but how do we support that talent so they can stay here? So that we are the ones who “makikinabang” from the efforts of these curators, myself included. One of the first things I thought of is ensuring that the local ecology is in place, that it works. It means local institutions function well and support one another. If that happens, we can begin to address these anxieties about participating in international and global conversations,” said Quijon Jr.

He also clarified the roles of the curator. “I’m not an artist, and I’m not a gallerist. But we, as curators, position artists for galleries. I position artists for art historians, so that we can be part of regional and international conversations around art.”

Furthering the discussion

In the latter part of the discussion, discussants Dindin Araneta, Tina Colayco, Sheila Ramos, and Ana Maria Ortega provided further insights, responding to and building upon the perspectives shared by the first set of speakers.

Present during the roundtable discussion were the CCP Board of Trustees, led by Chairman Jaime C. Laya, co-chairs Ma. Carissa O. Coscolluela and Maria Margarita Moran-Floirendo, with Trustees Junie S. Del Mundo, Felix Monino S. Duque, Atty. Gizela Gonzalez, and Jonathan M. Velasco

CCP President Kaye C. Tinga; Vice President for Administration and Finance Jose Victor M. Gaite and Vice President and Artistic Director Dennis Marasigan, who served as moderator, also attended the event.

For details on CCP programs and events, follow the CCP on Facebook, Instagram, and TikTok. To learn more about the Cultural Center of the Philippines and its programs, visit www.culturalcenter.gov.ph.

#CCP #roundtablediscussion #CCPBoardofTrustees #rubyspreciousmoments #rubyasoyph

Globe Celebrates Filipino Creativity at Art in the Park’s 20th Anniversary

Globe Telecom joined the celebration of Art in the Park’s 20th anniversary, reinforcing its commitment to nation‑building through its continued support of Filipino creativity and culture. The country’s most accessible art fair, held at Jaime Velasquez Park in Salcedo Village, continues to democratize art appreciation and collecting, bringing together galleries, artists, and creative communities in a relaxed outdoor setting.

This year’s edition featured 55 exhibitors, including galleries, art collectives, independent art spaces, and student groups, with all artworks priced reasonably to keep collecting approachable for young and first‑time art enthusiasts. By supportingArt in the Park, Globe is creating opportunities for customers to experience local art contributing to the growth of Filipino artists and the creative community.

At the Globe Experience Booth, powered by Globe AT HOME, visitors stepped into a vibrant fusion of art and technology. In collaboration with Scarletbox and through the Artivive app, limited edition Globe AT HOME 5G WiFi router skins, featuring artworks of Philippine National Artists, burst into life via augmented reality, transforming static designs into dynamic, interactive masterpieces. This cutting‑edge showcase seamlessly blended creativity, connectivity, and innovation, redefining how audiences experience and engage with art

Globe subscribers enjoyed exclusive perks, from treats by partner merchants to the chance to showcase their creativity by customizing Globe merchandise, turning the experience into something more personal, memorable, and inspiring.

“Art in the Park has always been about building a space where Filipino artists and audiences can come together and celebrate creativity and community. Long-time partners like Globe help make that possible. Their support not only sustains the fair but also strengthens the broader creative industry by empowering young storytellers and giving them opportunities to engage with the art scene,” said Trickie Lopa and Lisa Periquet, Co‑Founders of Art in the Park.

Building on its student programs, Globe welcomed 60 Student Media Ambassadors from universities across Metro Manila to serve as storytellers for the fair. These aspiring creators captured and shared their perspectives through social content, connected with artists and creative communities, and enjoyed exclusive perks like Globe merch and Rewards points. To prepare them for the role, Globe hosted a Social Media 101 masterclass ahead of the event, equipping students with practical skills and creative insights from Globe Marketing Experts and Social Media Ambassadors.

“Globe’s support for Art in the Park reflects our strong belief that creativity is a powerful force which enables progress. This is why we continue to champion platforms that highlight Filipino creativity, while giving our customers meaningful experiences that celebrate culture and technology. At the same time, we are empowering our next generation of storytellers through our student programs, empowering young creators with the skills, experiences, and opportunities they need to thrive in the digital and creative space,” said Roche Vandenberghe, Chief Marketing Officer at Globe.

By proudly supporting the celebration of two decades of Art in the Park, Globe reinforces its broader mission to make art more accessible while empowering creative communities. By helping Filipinos discover their passions, unlock opportunities, and share their talents, Globe is driving a more vibrant, inclusive, and progressive Philippines, where creativity and connectivity come together to inspire the youth and the nation. Through initiatives like this, Globe brings experiences closer to its customers, making them more personal, meaningful, and truly just for you.

For more information about Globe, visit www.globe.com.ph.

#Globe #ArtinthePark #rubyspreciousmoments #rubyasoyph

 

MIPAM 2026 opens doors for performing arts companies and artists this March

The Manila International Performing Arts Market (MIPAM), organized by the Cultural Center of the Philippines (CCP) and CREATE Philippines, positions the Philippines as a melting pot of artistry that spans beyond borders and cultural barriers. Once again, it invites performing arts companies and artists to submit proposals until March 31, 2026, for showcase consideration.

Performance groups and individual applicants for MIPAM 2026 shall submit a proposal, including attached action photos and a one-minute rehearsal video, to mipam@culturalcenter.gov.ph by March 31, 2026. Bold and original works in folk reinterpretation, contemporary, and street-pulse styles are highly encouraged, as well as cross-border collaborations and tech-driven performances.

Successful candidates of MIPAM 2026 will then have the opportunity to present and pitch to partners, producers, programmers, promoters, and presenters whose work or interests align with their artistic visions. The CCP has partnered with various embassies, festival programmers, event organizers, and other industry stakeholders, providing participating artists and groups with opportunities to pitch their projects and performances.

Bannering the theme “Showcasing Asia to the World,” MIPAM 2026 gears towards a market-oriented and capacity-building performing arts ecosystem following its inaugural edition in 2019. Slated from September 11 to 13, 2026, at the Tanghalang Ignacio Gimenez (CCP Blackbox Theater), it serves as a premier platform for cultural diplomacy and business opportunities that bring Filipino performing arts closer to international markets.

In partnership with CREATE Philippines and the DTI-Center for International Trade and Expositions and Missions (DTI-CITEM), the CCP keeps true to its mandate by spotlighting and disseminating the beauty and essence of all Philippine art forms in MIPAM 2026.

As MIPAM creates a community of audiences, institutions, government agencies, and creative industry stakeholders across diverse cultures, it presents the Philippines as a landmark of innovation, curiosity, and artistic expertise.

For more information on CCP’s upcoming workshops, events, and productions, visit its official website at www.culturalcenter.gov.ph. Check its social media pages on Facebook, Instagram, and TikTok for live updates.

#MIPAM2026 #CCP #rubyspreciousmoments

Conrad Manila Unveils ‘Creases’ by Meneline Wong in 40th Edition of Of Art and Wine Series

Presented at Gallery C in collaboration with Art Lounge Manila, the new exhibition explores women’s resilience and beauty through 20 mixed-media works that reflect the strength found in imperfection.

 

Conrad Manila, in collaboration with the Art Lounge Manila, proudly launches the 40th edition of its celebrated Of Art and Wine series “Creases,” a compelling new exhibition by multidisciplinary artist Meneline Wong, M.D., now on view at Gallery C. Curated by acclaimed art expert Nestor Jardin, the collection features 20 mixed-media works that explore themes of women’s resilience, growth, and the enduring strength shaped from life’s imperfections and experiences.

“Conrad Manila, shaped by Hilton’s culture of empowerment and inclusivity, recognizes the remarkable contributions and impact of every woman across our business and in every sector, including the arts,” said Rupert Hallam, general manager of Conrad Manila. “Through this latest installation, we invite our guests and patrons to experience a thoughtful tribute to the vulnerabilities and imperfections that ultimately give women their depth, character, and enduring beauty.”

Creases features 20 mixed-media paintings, each reflecting the enduring strength and quiet courage of women. Through layered textures and expressive forms, the artworks suggest that the “creases” running through each piece are not flaws, but symbols of the struggles, sacrifices, and silent battles carried with grace.

Meneline Wong shared, “If we focus only on the creases, just as society often fixates on women’s supposed imperfections, we miss the fullness of the story. But when we step back, we see that these very creases give the artwork its character and beauty. In the same way, a woman’s beauty does not lie in perfection, but in the courage to rise through adversity. The creases don’t diminish her, they define her.”

Featured artist Meneline Wong and her collection entitled “Creases.”

The ribbon cutting ceremony was graced by esteemed guests, including Peggy Angeles, Executive Vice President of SM Hotels and Conventions Corporation; Susanne Tiausus, Guest of Honor and Managing Director of Art Lounge Manila; Alyssa Valdez, Guest of Honor; Rupert Hallam, Conrad Manila’s General Manager, and featured artist Meneline Wong.

All artworks are available for acquisition. For inquiries and more information, guests and art collectors may contact +632 8833 9999 or email Conrad.Manila.info@conradhotels.com.

About The Artist

Meneline Wong, M.D.

Meneline Wong is a multidisciplinary creative whose work bridges medical science and contemporary art. As a practicing obstetrician gynecologist, she infuses her paintings with an intimate understanding of movement, flow, and organic transformation. Her signature use of gravity and phosphorescence results in luminous, fluid compositions – dynamic drips and radiant hues shaped by both pigment behavior and her intuitive sense of rhythm.

Her artistic excellence has earned national recognition. In 2018, she became the first woman to win a major award in the GSIS National Art Competition, placing 2nd in the Non-Representational Category, and later that year won 1st Place in the Robinsons Land National Art Competition. She continued to gain acclaim as a GSIS finalist in 2019, marking her consistent impact on Philippine nonrepresentational art.

Wong has held numerous well received solo exhibitions, including Luminescence (2019), In Moments Like These (2020), Better Days (2021), Chasing the Sun (2021), Where It All Began (2022), Unbreakable (2023), Puddles of Sunshine (2024), and When Everything Is Possible (2025). Her works have been featured in esteemed galleries such as Art Lounge Manila, Conrad Manila, Galerie Francesca, Galerie Anna, Altro Mondo, Art Elaan, Arte Bettina, Galerie Roberto, and the Art Center. Through each exhibition, Wong continues to illuminate the interplay between science, light, and motion – creating art that radiates vitality and meaning.

#OfArtandWineseriesCreases #ConradManila #MenelineWong #rubyspreciousmoments

 

ACC Philippines Celebrates Homegrown Artistry at the ‘A Chorus line’ Gala Premiere Supported by PAGCOR

An evening of world-class theater and shared commitment to the arts marked the gala premiere of “A Chorus Line,” a production of Theatre Group Asia and presented by the Asian Cultural Council Philippines Foundation (ACC Philippines). The special fundraising event gathered artists, cultural leaders, partners, and supporters whose generosity will help sustain the ACC Fellowship Program, providing Filipino artists, scholars, and cultural workers opportunities for international cultural exchange.

In his welcome remarks, ACC Philippines Chairman Ernest Escaler expressed gratitude to the guests for their steadfast support of the arts and acknowledged the strong presence of the ACC community in the audience. He also highlighted the involvement of Filipino dancer and choreographer JM Cabling — an ACC grantee who serves as the Associate Choreographer of the production — citing it as an inspiring example of Filipino talent contributing to and shaping the local performing arts scene.

A highlight of the evening was the recognition of the invaluable support of the Philippine Amusement and Gaming Corporation (PAGCOR). Through PAGCOR’s sponsorship, students and teachers were able to attend the performance, opening the doors of live theater to young audiences and educators and enriching their appreciation of the performing arts.

ACC Philippines Alumni at the premiere gala of “A Chorus Line.”

Global Chairman Josie Cruz Natori also reflected on the legacy of the Asian Cultural Council, founded in 1963 by John D. Rockefeller III to promote international understanding and respect through cultural exchange between the United States and Asia. Since then, ACC has supported more than 6,000 fellowships and exchanges across 26 countries and regions.

In the Philippines alone, nearly 300 artists, art educators, and scholars have received ACC grants. Established in 2000, the Asian Cultural Council Philippines Foundation continues to uphold this mission as a nonprofit organization dedicated to advancing Filipino artists and cultural practitioners through international exchange.

Student beneficiaries from the Polytechnic University of the Philippines (PUP).

The gala premiere was more than a night at the theater—it was a celebration of artistic excellence, meaningful partnerships, and the power of cultural exchange to inspire new generations of artists and audiences alike.

#AsianCulturalCouncil #AChorusLine #rubyspreciousmoments

Asian Cultural Council Philippines announces benefit auction set at Leon Gallery

León Gallery once again opens another art-filled year with its traditional annual partnership with The Asian Cultural Council to commemorate and celebrate the visionary artistry of the Filipino.

ACC Philippines Chairman Ernest L. Escaler remarked that León Gallery and the Asian Cultural Council have, for the past eleven years, “have stood side by side in a shared vision—to champion the arts as a force that transcends borders, sparks dialogue, and shapes cultural leadership.”

“This year’s benefit art auction is held on Valentine’s Day as an ode to love in its most enduring form: love for the arts, love for generosity, and love for helping others realize their creative potential,” Escaler said.

Meanwhile, Leon Gallery Director Jaime Ponce de Leon shared, “The spirit of collaboration and partnership runs deep in this year’s edition of the Asian Cultural Council Auction. This year, we are celebrating 11 years of our fruitful partnership with a foundation that has always remained committed to championing the virtuoso of the Filipino artist by allowing him to spread his creative wings on foreign shores.”

“Our major highlights for this year’s ACC auction underscore the remarkable collaborations between our esteemed Filipino artists,” added Ponce de Leon.

Paglaom Padayon is a monumental mural-sized painting created by the Sanggawa group, an artists’ collective that was composed by former Salingpusa group members and now influential forces in the contemporary art scene: Elmer Borlongan, Mark Justiniani, Joy Mallari, Karen Flores, and Federico Sievert. The title is a Cebuano phrase that translates to “move forward with hope” and is a modern-day homage to Botong Francisco’s iconic 1964 mural Filipino Struggles Through History. Paglaom Padayon encapsulates the Filipino people’s collective power, fueled by a shared vision and hope for the nation’s advancement.

Another collaborative mural-sized painting is Mauro Malang Santos’ collaboration with his two beloved sons, Soler and Steve. Painted in 2000, the new millennium, the colossal work marked Malang’s 72nd birthday and his four-decades in the art scene.

Patricio Gaston O’Farrell, the favorite student of the great Juan Luna, graces this auction with a copy of his mentor’s now-lost 1887 masterpiece, titled Portrait of Christ, depicting the weary Jesus as he is presented to Pontius Pilate for his trial. Portrait of Christ serves as a surviving memento of Luna’s lost work, which he painted four months after his marriage to Paz Pardo de Tavera in order to prove his religious piety to her wife.

Another work by O’Farrell, Sumbungan, depicts the betrayal of the Katipunan by a katipunero, Teodoro Patiño, who divulged the existence of the revolutionary group to Fr. Mariano Gil, then the parish priest of Tondo. The painting is one of O’Farrell’s last works, painted a year before he died in 1942. Both Portrait of Christ and Sumbungan came from the collection of Gaston O’Farrell’s daughter, Edith.

Félix Resurrección Hidalgo’s Bois de Boulogne immortalizes the esteemed ilustrado’s favorite urban refuge during his 17-year Parisian period, one that captured and witnessed the melancholies of his heart and soul. On the other hand, Fernando Amorsolo’s Site of U.P. Diliman, painted in 1947, captures the then-countryside expanse of what would become the future location of the country’s prestigious national university. When Amorsolo painted this work, he was serving as the director of the UP School of Fine Arts. Another important Amorsolo painting is the 1933 work Marikina, acquired by Alex Frieder, who persuaded President Manuel Quezon to create a safe haven for Jews fleeing the Holocaust in Europe. The result was the establishment of the Jewish Refugee Committee of the Philippine Islands in the late 1930s, which was responsible for saving the lives of more than a thousand Jews from Germany and Austria.

Anita Magsaysay-Ho_Barrio Scene.

Anita Magsaysay-Ho and her quaint Barrio Scene is one of her first paintings as a newlywed woman, marrying the Chinese magnate Robert Ho, and thus, one of her first works signed with the iconic “Anita Magsaysay-Ho.” It was acquired by Paul H. Woods, once the president of the influential American Chamber of Commerce of the Philippines and also a former president of the Philippine subsidiary of the International Harvesters Company, an American manufacturer of agricultural equipment, machinery, and tractors.

Also an important work is Danilo Dalena’s America, which is a surviving work for an intended series, the Port Authority Series that would have embodied his satirical impressions of the United States he visited and witnessed in the 80s. The Filipino iconoclast and provocateur Manuel Ocampo stands out with his 1990 mixed media masterpiece, Murio la Verdad.

A portion of the proceeds from this annual auction will help fund various ACC grants for Filipino and other Asian artists and arts-based practitioners.

Escaler eagerly invites everyone to participate in this momentous occasion, “On this day of love, we invite you to be part of a collective effort that strengthens our cultural ecosystem and affirms the lasting power of art to inspire, connect, and transform.”

G/F Eurovilla 1, Rufino corner, Legazpi Streets, Legazpi Village, Makati City, Philippines

Office: +632 856 2781 / +63 928 507 0445 | Web: info@leon-gallery.com / www.leon-gallery.com

The Asian Cultural Council Auction is happening this February 14, 2026, 2 PM, at Eurovilla 1, Rufino corner Legazpi Streets, Legazpi Village, Makati City. Preview week is from February 7 to 13, 2026, 9 AM to 7 PM. For further inquiries, email info@leon-gallery.com or contact +632 8856-27-81. To browse the catalog, visit www.leon-gallery.com.

Follow León Gallery on their social media pages for timely updates: Facebook – www.facebook.com/leongallerymakati and Instagram @leongallerymakati.

#AsianCulturalCouncilAuction #LeonGallery #rubyspreciousmoments #rubyasoyph

CCP Pasinaya 2026 shapes the future of artmaking across new venues

For the first time, the CCP Pasinaya Open House Festival, the country’s largest multi-arts festival organized by the Cultural Center of the Philippines (CCP), brings its vibrant celebration to the province of Capiz, joining Tagum City and Iloilo City as its regional partner venues.  The National Parks Development Committee also joins CCP Pasinaya with performances and a Pamilihan at the Rizal Park Luneta.

For its NCR leg, CCP Pasinaya happens simultaneously at the Circuit Performing Arts Theater (CPAT) in Makati City and the Metropolitan Theater in Manila City.

Catch CCP Pasinaya’s pay-what-you-can, watch-all-you-can performances in Luneta, CPAT, and the Met Theater

Festival-goers may watch performances of various groups in Rizal Park Luneta, among whom are the Philippine High School for the Arts’ Dulaang Sipat Lawin. Ang mga Manunubli ng Sinala, Samahang Nazareno Inc., Lahing Balangeña Performing Arts, and the University of Perpetual Help System’s DALTA Molino Performing Arts Group.

Besides a marathon of world-class performances, attendees may support local vendors and entrepreneurs in Rizal Park Luneta, courtesy of CCP Pasinaya’s Pamilihan component.

At the  CPAT Activity Center, the Muntinlupa Dance Company, Centro Escolar University’s Folk Dance Troupe, and University of the East’s Silanganan Dance Troupe present some of the nation’s folk dances. Comedic duo Wanlu and Nicolo wows with puppetry.

Batangas State University’s Diwayanis Dance Theater dazzles along with the students of Temple Hill International School, The Saint Benilde Romançon Dance Company, Lipa Actors Company, and Kids Acts at the Met Theater on February 8. Globally acclaimed choirs Philippine Madrigal Singers and Imusicapella also captivate hearts with melodies.

Still at the Met, CCP Pasinaya’s Pamilihan component takes the spotlight on February 7. The Philippine Philharmonic Orchestra facilitates an interactive instrument experience. SPIT Manila also shares wit and wisdom in a 1-hour introduction to improvisation comedy.

Unmasking the magic of puppetry is the International Ventriloquist Society of the Philippines, and tracing the myth of movement is the Alice Reyes Dance Philippines. Repertory Philippines will treat festival-goers to a lecture on Shakespeare’s life and works at the NCCA Met Theater.

Across the regions with CCP Pasinaya in Tagum, Iloilo, and Capiz

Carrying the theme “Paglikha sa Kinabukasan”, CCP Pasinaya provokes a deeper appreciation for Philippine arts and culture in the younger generation as it travels to Tagum City, Iloilo City, and, for the first time, to Roxas City, Capiz.

In its 20th edition, the CCP Pasinaya commences in Robinsons Roxas, Capiz, with a performance of Filamer Christian University’s Dance Company and Chorale on February 7. Joining them are the Tanque National High School Rondalla, CPC Sarayawan Dance Company, CapSU Main Dance Troupe, and Leyte Dance Theater.

Mindanao State University’s Tambuli Cultural Dance Troupe, and Hiphop Gen San delight audiences in Capiz State University (CapSU) with Artes Bailes Iloilo and Silliman University Dance Company. Also across CapSU’s premises, Mandaue Children’s Choir, UM Chorale Davao, CPC Chorale, Cuartero National High School Taliamba Ensemble, Cuerdas De Panay Rondalla, and The Nightingales enthrall with majestic melodies.

Sining Kambayoka Marawi, Kasing Sining Bohol, and Dagway Sigmahanon Inc. showcase theatrical performances at CCP Pasinaya in CapSU from February 7 to 8.

Now in its 3rd year as CCP Pasinaya’s regional partner, the Iloilo Museum of Contemporary Art (ILOMOCA) hosts artistic performances, workshops, and exhibitions on February 7. PCD School of Performing Arts, Bereber Sayaw Parkinson’s Disease, and SF School of Dance beautifully convey emotions through movement.

Musical performances by the Cuartero National High School Taliamba Ensemble, University of San Agustin Choir, and Troubadours enrich the CCP Pasinaya experience at ILOMOCA. UP Visayas Living Room Theatre, UP High School Iloilo Junior Theatre Arts Club, and the University of San Agustin Little Theater present tales of life’s quirks.

Through performance art, Salíngsing and Kikik Kollective weave emotional connections in CCP Pasinaya in ILOMOCA.

Passion for the arts flourishes in Tagum City’s Cultural Center on February 7 as Danza Filipina and Hiyas Mananayaw perform along with the LFNHS Folkloric Dance Troupe, Kadayaman Dance Guild, and Letran Dance Group. Sto. Tomas Kwerdas Rondalla, the 2025 National Music Competitions for Young Artists Junior Rondalla Category Champion, sets the joyous energy of CCP Pasinaya.

Hear the golden voices of UM Rondalla, League of Young Voices, and Tagum City Children’s Choir. Also adding to the brilliant roster on February 7 in Tagum City are Panabo Dance and Theater Group, Tanghalan ng Tagum Performers, and  TCNHS’ Choir and Conexus Harmonia Chorale.

Attendees may also bask in music’s power with Kalinaw Mindanao, Kuntaw Mindanao, Drum Up, and Tagum City Symphonic Orchestra. Pasalidahay Sa Tagum caps off the festivities on February 7.

On February 8 in Robinsons Tagum, En Avant Dance Centre and Katribu Mindanao spearhead CCP Pasinaya. Guest artists also flock from Davao City, Davao de Oro, Agusan del Sur, and Lake Sebu, South Cotabato for the celebration.

From a marketing platform to a growing network forged by passion

As it expands to more venues since 2005, CCP Pasinaya: The Open House Festival has definitely thrived beyond its initial goal of promoting CCP’s upcoming events. Performing art groups and artists gather from all over the country, making Philippine arts and culture more accessible with their generous participation.

Utilizing a “pay-what-you-can, workshop-all-you-can, and watch-all-you-can” scheme, CCP Pasinaya entices audiences to participate and reawaken their creativity and art appreciation.

Pre-registration for Manila venues is now available on the CCP’s official social media accounts. For regional attendees, you may check the respective venues’ online pages.

Participants across all locations are invited to join Paligsahan, the newest component of CCP Pasinaya. Follow the CCP on Facebook, Instagram, and TikTok for more updates on which segments apply to your location.

To learn more about CCP’s productions, workshops, and events, visit its official website (www.culturalcenter.gov.ph).

#CCPPasinaya #CCP #rubyspreciousmoments #rubyasoyph

Usher in the Year of the Horse with ‘Of Art and Wine’ Series: Conrad Manila Unveils ‘Spectrum of Abundance’ by Lizanne Uychaco

The iconic hotel by the bay presents a captivating art exhibition at the Gallery C, featuring artworks that embody good fortune and prosperity.

 

Conrad Manila opens its 2026 Of Art and Wine series at Gallery C with Spectrum of Abundance, a solo showcase byLizanne Uychaco, celebrated as the country’s first and only Feng Shui artist. Curated by esteemed art connoisseur Nestor Jardin, this 24-piece art collection will be open for viewing from January 21 to March 21, 2026, offering an artistic tribute to the Year of the Horse through themes of success, harmony, and abundance.

“Conrad Manila remains steadfast in its commitment to champion Filipino artistry that resonates with meaning and cultural depth,” said Akshat Sinha, hotel manager of Conrad Manila. “Through this year-opening showcase, we aim to share the promise of prosperity and positive energy that 2026 brings, as reflected in Ms. Uychaco’s exceptional artistry rooted in her Chinese-Filipino heritage.”

Spectrum of Abundance presents a series of auspicious works inspired by ancient symbols of luck, strength, harmony, success, wealth, happiness, and abundance – to celebrate and honor the Year of the Horse. Executed in richly textured mixed media, Lizanne’s works reflect her mastery across diverse disciplines – sculpture, pottery, jewelry, calligraphy, and painting. Each piece radiates positive energy, a harmony of culture, heritage, and artistic spirit.

Peggy Angeles, Executive Vice President of SM Hotels & Conventions Corporation leads the ceremonial wine toasting.

The ribbon cutting ceremony, was graced by distinguished guests, including Elizabeth Sy, President of SM Hotels and Conventions Corporation; Peggy Angeles, Executive Vice President of SM Hotels and Conventions Corporation; Rico Hizon, Consultant of SM Investments Corporation and Guest of Honor; Akshat Sinha, Conrad Manila’s Hotel Manager, and Lizanne Uychaco.

Lizanne Uychaco’s distinctive art works

Lizanne Uychaco is widely recognized as the country’s first and only Feng Shui artist. Her works stand out for their authenticity—rooted in her Chinese-Filipino heritage and brought to life through a masterful use of mixed media. A lifelong practitioner of the arts, Lizanne’s training spans sculpture, pottery, jewelry-making, silvercraft, Chinese painting and calligraphy, watercolor, oils, and acrylics. This breadth of expertise makes her pieces instantly recognizable and richly textured.

Her art is a compelling paradox of antiquity and modernity—a distinctive fusion of East and West. Each piece offers a contemporary interpretation of ancient cultural symbols, beliefs, and energies associated with protection, good fortune, wealth, success, and prosperity.

A recurring motif in her work is the Chinese coin with a square hole—a traditional charm symbolizing heaven (circle) and earth (square), in line with ancient Chinese cosmology. These coins, historically used as currency from the Qin Dynasty (221 BCE) to the end of the Qing Dynasty, embody both cultural heritage and metaphysical significance in her compositions.

Lizanne was first introduced to the public art scene by the Ayala Museum in 1993, through its Discovery Series curated by the late Museum Director Sonia Ner. This debut solo exhibition marked the beginning of a series of successful shows that followed.

All artworks are available for acquisition. For inquiries and more information, guests and art collectors may contact +632 8833 9999 or email Conrad.Manila.info@conradhotels.com.

 

#ConradManila #LizanneUychaco #OfArtandWineseries #GalleryC #SpectrumofAbundance #rubyspreciousmoments #rubyasoyph