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PRIDE: All the Colors of the Rainbow

Albeit the pride month celebrations are coming to a close, the campaigns call for change whole year round. How much more beautiful could the world be when you add this much color?

 

Being who you are and showing the world just that has never been a problem when you are surrounded with an environment that is warmly accepting, and most importantly, if it’s what society thinks is right. This has been a mentality that has been going on for ages, the norms and the strict compliance for the absence of any peculiarity in this balance continues to be present in societal standards.

As time progresses, more and more movements and campaigns have been geared towards fighting for human rights for the the Lesbian, Gay, Bisexual and Transgender community, or LGBT community. Their desire to live in a peaceful society that accepts them for who they are and gives them the opportunity to grow and take part in various activities in society has been burning like a flame that cannot be put out.

Calling for rights such as anti-discrimination and representation in different fields of practice, the LGBT movement has been a long-running movement supported by millions. The goal of leaving the thoughts of a strictly gender binary society to the middle ages is a tough call to make, especially in the Philippine setting, with a strong milieu of Catholic belief.

Famous multi-awarded actress Anne Hathaway during her 2008 acceptance speech of the Human Rights Campaign Ally Award called to attention her being known as brave for supporting gay marriage and adoption. However, there was one thing that Anne had to express to the crowd, “I’m not being brave; I’m being a decent human being. And I don’t think I should receive an award for that, or for merely stating what I believe to be true: that love is a human experience, not a political statement”.

Now that various parts of the world have made same-sex marriage legal, and some local governments in the Philippines have signed into law an anti-discrimination ordinance, there are have been various more issues that plague the LGBT community. Highlighted in this year, some of these issues include acts of violence, availability of healthcare, discrimination in the workplace, youth homelessness, as well as economic injustice.

Gender equality, despite not being a norm for centuries, is still advocated; members and advocates continue their plight for representation by being the best they can be in different fields of practice. Cebu City, just in time for this year’s pride month, approved the City Ordinance No. 2339 otherwise known as “An Ordinance Prohibiting Discrimination in the City of Cebu on the Basis of Disability, Age, Health Status, Sexual Orientation, Gender Identity, Ethnicity and Religion” to be able to foster a culture of respect and co-inhabitance.

Members of the LGBT community, despite different pressures in society, continue to be proud of who they are and live on with the desire for equality and acceptance—not just tolerance.

Czar Dabon, 20, and an openly gay Mass Communication student from the University of the Philippines Cebu, shares how he takes pride in who he is. “I can be different in a colorful way”, he muses. Czar adds that he takes pride in not conforming to heteronormativity and the norms of society as he sees it as something powerful and unique.

He saw himself as a different kind of color back when he was in highschool. There was this one afternoon he couldn’t forget when he finally decided to tell his parents. “Ma, pa, murag di jud mo makakuhag apo gikan nako (Mom, Dad, it’s likely that you won’t get a grandchild from me)”, then 13 year-old Czar confessed while eating his snacks. It was such a warm embrace when he heard their response. “Okay rajud na namo basta di lang ka magbinuang (It’s definitely okay with us as long as you don’t stray).”

From then on, he says that he has been blessed with friends and family that readily accepted him for who he was, and this particular note made him the empowered person that he is today. For his fellow LGBT he urged them, “Look at yourselves in the mirror and be proud of who you are; and to not let society dull your color, because you are part of something greater.”

Abby Maranga, 23, a video content creator and filmmaker, sees the movement as a great way for members of the LGBT community to feel open about who they are. “I wanna say thank you to the people who fought and who continue to fight for the rights of LGBTQIA+ na maforward gyud and ma-hear sa mga katawhanan, gani naabot sad sa government (that it’s forwarded and heard by the people, and to the government)”, says Abby.

When it came to showing the world who she really is, it was not as hard as how other people experienced it, it didn’t even come as a shock. “I really did not come out man gyud as bi or gay, people just knew and I know they know. It became a normal thing gyud”, says Abby.

She adds that there are people who have had a hard time coming out and even accepting themselves. However tough this battle is or becomes, she sees the progress it brings to people in the society. She also stresses the need to just coexist peacefully with one another, without having to label people as girl, boy, or gay. “It feels empowering that I can continue to be who I am, more comfortable to just be. Also, it’s nice to know that there are a lot who think and feel like I do, so it doesn’t get lonely.”

Carla Jalbuna, a transgender woman and former Student Council Alliance of the Philippines Vice Chairperson, says that life stories of overcoming struggles as a community is what makes her proud the most. The movement for an environment that is not only welcoming, but also safe for the LGBT, from youth to the elderly, continues to grow strong.

“I feel empowered by waking up seeing the little milestone we achieve as a community day by day. It’s a reminder that we should never stop with defending and fighting for our rights”, says Carla. She shares that despite this growing movement, she also has her fair share of experiences of setbacks. Hearing people’s remarks especially about how one should act and present oneself, a testament of how society consistently gives the LGBT something to achieve as a form of validation.

Christian Licen, 30, an English Professor, shares his memories of coming out. “I remember having a pep talk with my father in third year college. He told me they’re okay with my sexual preference, but that I should promise them to finish college and be a decent and God-fearing professional,” he muses.

Since then, Christian has always regarded himself as effeminate. He sees that through the development of time, the Philippine society has become more and more accepting of the community he belongs in, which encourages him to openly express himself to be a better human everyday.

“To the LGBTQ community, now is the best time to be alive more than ever. We will continue to make the world a colorful and a liveable place. But let’s not forget that our freedom to express also comes with a great responsibility. Respect should come from within; modesty should always be a virtue in everything we do,” says Christian when asked about his message to his fellow LGBT.

Christian, who has lived his life as an academic, feels empowered in many ways. As it is his duty to set an example to his students and constituents, he has been one person many has looked up to in the institution. “I always strive my best to set a good example and to be a living witness that no matter the gender, sexual preference or identity we are all equal in the eyes of God.”

Ange Ibones, a 20 year-old fashion design student and a proud transgender woman, shares that if there’s one thing she’s proud of being in the community, it is because of the strength it emulates. “The strength to put ourselves out there and be who we truly are without holding back despite the many criticisms we get, we always rise above it all in the name of genuine happiness,” says Ange.

Since childhood, Ange always showed the real her no matter what. She was lucky to be surrounded by supportive people, especially her family. However, she recognizes that not everyone in the community gets to have that kind of love and support. “Live the life you deserve and never give up on your dreams because you are never alone on your journey, you have the whole community behind you cheering for your success. Never let negativity get into you and never let it dull your sparkle,” Ange urges her fellow LGBT.

It has always been the people around her that kept Ange going. It is when she gets the privilege to be who she is and is still loved without reservations that keeps her living the life she has now. In her every day, she is empowered to be greater than who she is and push her capabilities to its limits.

As there have been efforts to make the LGBT as visible as they can be and to normalize homosexuality, especially to the young ones, through movies and shows, the movement still stands. The LGBT community is not alone in their fight towards equality and justice. Like all movements, there is power in collective action and people from all walks of life have seen the power that pride can bring.

Albeit the pride month celebrations are coming to a close, the campaigns call for change whole year round. How much more beautiful could the world be when you add this much color?

Featured photo credits: UP Pride – Cebu Facebook Page

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Arts & Culture

Kundiman–A Collaboration Between Charles Lahti and Francis Dravigny at the Qube Gallery

by Oj Hofer

“Collaboration is like carbonation for fresh ideas “-Anonymous

Kundiman—drawn from the Filipino tradition of lyrical love songs marked by longing, devotion, and emotional depth—unfolded not merely as an exhibition but as a dialogue between two artists whose practices, though formally distinct, share a common goal: that creation is never singular, never complete, and never entirely one’s own. The word itself carries weight. In the Philippine cultural imagination, kundiman is not passive sentiment but a mode of endurance—a way of loving what one cannot fully possess, of honoring what exceeds one’s grasp—and to name an exhibition after it is to make a claim about the nature of making itself: that art, like the song, is an act of devotion directed toward something larger than the maker’s intention. It is a form that does not declare but lingers; not spectacle, but the quieter and more demanding thing called intimacy.

The collaboration between Charles Lahti and Francis Dravigny operates at what might be called the threshold of language—the place where gesture becomes structure and structure, over time, turns into meaning. Their working relationship is less a merger of two styles than a negotiation between two modes of listening: one drawn to the decisive mark, the other to the patient accumulation of woven form. Lahti’s mark-making is grounded, deliberate, and unambiguous in its commitment to presence; his lines carry the quality of breath, each stroke an event rather than a flourish. Observers familiar with East Asian ink traditions will recognize this sensibility immediately, for in Zen ink practice and Japanese calligraphy, the practitioner does not decide what to draw so much as prepare the conditions under which something may reveal itself—the mark that emerges from this discipline is not decorative but testimonial, evidence of a moment of full attention. Lahti’s work operates within this logic even when the cultural references are Western, and what anchors it is not style but stance: an ethical relation to the act of making that distinguishes genuine presence from the mere performance of spontaneity, a distinction far rarer in contemporary visual art than it ought to be.

“The line is not drawn but revealed—through stillness, breath, and a quality of awareness that the discipline of reduction alone makes possible.”

Dravigny’s woven interventions introduce a different, though deeply complementary, temporality. Where Lahti works in the decisive instant, Dravigny works in accumulation—the slow building-up of material over time—and his use of abacá, a fiber indigenous to the Philippine archipelago, is not incidental. Abacá carries its own history: long harvested by hand, traded across colonial networks, woven into ropes and sails, and more recently reclaimed as a medium of cultural expression, so that to bring it into an art context is to activate this history without necessarily declaring it. In Dravigny’s hands, textile transcends its usual function as background or support and becomes instead an act of preservation—a material archive that holds within its weave the gestures of another artist. This concept, which the exhibition implicitly explores, speaks to something the atelier tradition has long understood: that a work of art may pass through multiple bodies and multiple intentions and still emerge with coherence, provided each maker brings to the passage not assertion but responsiveness, the capacity to receive another’s action and carry it forward without erasing it. Dravigny’s woven interventions propose a similar ethic, made visible rather than concealed.

What Kundiman ultimately stages is not the product of collaboration but its conditions: the particular quality of attention required when one artist’s gesture enters the field of another’s practice, and the willingness to wait that such attention demands. The Japanese aesthetic tradition names this interval ma—the generative pause, the charged space in which meaning gathers before it resolves into form—and the exhibition’s restraint is precisely its argument. There is no excess, no spectacle, no rhetorical gesture toward significance, only a sustained attentiveness to process that runs counter to the dominant logic of contemporary exhibition-making, in which legibility is prized and impact must be immediate. Kundiman refuses this, trusting the viewer to do the work of attending, and in this refusal it finds its deepest kinship with Zen aesthetics: the discipline of reduction, the clarity of intention, the respect for what is essential over what is merely present.

“What Kundiman proposes is more radical than most exhibitions dare: that the self, in the act of making, becomes temporarily permeable—open to the gesture, the material logic, the devotion of another.”

The concept of interbeing—rooted in Buddhist philosophy and carrying the understanding that nothing arises independently, that every form is the result of conditions and every maker is in part made by what they make—finds in this exhibition its material proof. What was created here does not belong to one hand alone. It emerges in the space between, where gesture is received, transformed, and returned; where material listens and form responds and meaning unfolds not as conclusion but as continuation. The exhibition ends. The dialogue does not. This is the space between hands: where making becomes meeting, and where interbeing quietly, insistently gives rise to form.

Charles Lahti with his latest works—layering print with bandana textiles to create tactile, hybrid surfaces where image, pattern, and material converge.

Francis Dravigny in his Cebu studio—transforming abacá and found materials into layered, sculptural weavings.

A wall of interbeing—where weave, gesture, and form dissolve into quiet harmony and non-duality.

A flat surface transformed into a quiet weave—drawing the eye inward, where structure softens into stillness and resonates with Zen practice.

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Arts & Culture

Kundiman After Dark: Traditional 19th Century Filipino Musical Genre Continues to Inspire

by Kingsley Medalla

The Kundiman is a traditional 19th-century Tagalog musical genre that served as a profound source of inspiration for many sophisticated, classically trained artists. The name is derived from the Tagalog phrase “kung hindi man,” literally translating to “if it were not so.” These musical pieces were often performed as poignant love songs characterized by smooth, flowing melodies containing emotional depth. Originating as a serenade in poetic Tagalog lyrics, it features a minor-to-major key progression expressing longing, devotion, patriotism, and a yearning for freedom.

Sine Pop, a boutique theater in a 1948 post-war heritage house located in Cubao, Quezon City, serves as a charming venue for cultural events and intimate performances with a small ensemble. Recently hosting Kundiman After Dark, a recital honoring the legacy of Nicanor Abelardo (1893–1934), a highly esteemed Filipino composer and pianist hailed as the “father of the sonata form in the Philippines” and a master of the art of the Kundiman. Carlson Chan, founder of Sine Pop, clarifies their unique model: the performances are open to the public and are, as such, complimentary, as its primary focus is to promote the performing artists per se.

The performances featured beloved Kundiman classics including Mutya ng Pasig (1926), Naku… Kenkoy (1930), and a personal favorite, Bituing Marikit (1926). These musical pieces were brought to life through the solo acts and live vocals of tenor Erwin Lumauag, Japanese violinist Shiho Takashima (who has since made the Philippines her permanent residence), and the renowned composer, pedagogue, and pianist Augusto Espino.

“Nasaan Ka Irog,” written in 1923, drew inspiration from a romantic tale shared by Nicanor Abelardo’s friend, who went overseas leaving behind his beloved in the Philippines. Years after, this man eventually became a doctor and, upon his return, discovered that the love of his life had been married to someone else. He also learned that the letters he had sent were never delivered to her, as they were kept by the doctor’s family, secretly away from her. A classic case of unrequited love. Kundiman serves as the heart and soul and the pinnacle of Filipino musical artistry.

Violinist Shiho Takashima and pianist Augusto Espino

Tenor Erwin Lumauag

Art patrons; Pacita Agoncillo Sode, Marilou Khan Magsaysay, Patricia Cepeda-Sison and this writer Kingsley Medalle

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Arts & Culture

Art Beat: Scenes From the Manila Art Fair 2026

photography by Doro Barandino

“Art is unpredictable and goes in different directions. I have no idea. I would rather live the present moment.” —Bencab, National artist of the Philippines.

Vinta by Protegeri, collaboration art piece by Leeroy New, Solenn Heuseff and Vito Selma

Q&A with interior decorator and jewellery designer Doro Barandino

Which of the participating art galleries had the most unified and exciting theme?
Leon Gallery had the most amazingly put-together collection. Though the gallery engaged various artists, the overall visual effect felt like one unified theme. Leon Gallery used a sack-like cloth (most likely raw linen) as the background for the booth, and it brought the collection together. It had an old-world feel in a chaotic setting.

Who were the artists that were the most visually engaging?
The works of Carlo Tanseco were definitely my favorite. The artist used an eye chart (Snellen chart) as the background for the image of Dr. Jose Rizal giving us the middle finger—such an “in your face” message. The concept of our national hero as a modern-day provocateur was a wake-up call to everyone. Very subversive and underground material. I was also attracted to the works of Japanese artist Tadashi Kogure; they’re very architectural.

Was the choice of venue and its layout helpful in engaging the whole art vibe?
What I noticed was that the masters like Juan Luna, Fernando Amorsolo, and Fernando Zóbel still attracted the most viewers at the art fair. People are naturally drawn to their masterful strokes and historical significance, or perhaps these artworks are not readily accessible for public viewing. Or maybe those booths that carried the masters’ works were strategically positioned right after the registrar.

The choice of venue at Center One was a good move—it created a total art vibe. Manila Art Fair remains the premier art fair in the country today, showcasing the finest modern and contemporary art while offering curated projects and immersive installations.

The Standard by Thai artist Pitchapa at the Triangular durational, performance art.

Bato Bato sa Langit by Filipino artist Carlo Tanseco

Stocking Proportions Menumpuk Proporsi by Indonesian artist Labadiou Piko

Untitled by Indonesian artist Yunizar

Filipiny, wool tapestry by national artist of the Philippines,Federico Aguilar Alcuaz.

Untitled by German artist Valentin Elias Renner

Interior decorator and jewellery designer Doro Barandino is also a regular contributor for zee.ph

 

 

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