Arts & Culture
The Return of the Best-Tasting Lechon in Cebu, Rico’s Lechon
Cebuanos, rejoice! Rico’s Lechon makes a comeback in the city.
Several minutes to 11:00 on a cloudy Friday morning, a man clad in a pineapple print polo shirt stood in a tight circle of eager faces. His neutral-colored top contrasted with the boldness of their red uniforms. The man wore a serious look occasionally interrupted by a smile as he addressed his small crowd. He meant business. His hand gestures displayed a purposefulness that did not cause distraction but drew attention. The team huddle ended on a positive note as everyone placed their hands atop each other’s in the middle of the circle and recited their chant for the day, smiling all the while. The man’s smile was among the brightest, and it stayed that way for as long as he was in the room, welcoming people—young and old, foreign and local—to a restaurant that came back to serve the best tasting lechon in the city.
The man was Mr. George Pua, president of Meat Concepts Corporation and new owner of Rico’s Lechon. And the restaurant was the biggest one in the chain, which started officially serving the public on June 28, 2019. George had his hands full even before the restaurant opened, but he seemed to have drunk from the well of never-ending energy and enthusiasm as he tirelessly talked with and offered friends and guests a smile. My colleague and I were two of its many recipients. In an exclusive interview in one of the restaurant’s function rooms on the second floor, I learned that George’s enthusiasm went beyond the successful opening of another business. He was happy to not only be eating Cebu’s best lechon but also sharing it with his fellow and potential “lechon fanatics.”

L-R: Assistant to the President Meat Concepts Corporation Mari-Jo T. Barles, Vice President Meat Concepts Corporation Jay R. Lazaro, President of Meat Concepts Corporation George N. Pua, Sales and Marketing Manager Cebu, Rico’s Lechon Michael “Pops” S. Bacatan
A Long-Time Love for Lechon
“Lechon fanatic,” was what George called himself when he told us how his young self fell in love with the dish. “I lived in Baclaran, and every time I opened my window, it’s all lechon. It’s all lechon being paraded. Every time I opened my window I would see lechon and I would ask the maid to buy me ¼ kilo. Every time I opened my window.” The repetition in his response left no room for doubt; he was—is—indeed a real lechon fan.

Rico’s Lechon comes in orignal and spicy variants.
It was this love that brought him on a 5-day trip in the Queen City of the South six years ago, eating nothing else for lunch and dinner but lechon. He was on a mission: to taste the best lechon. He tried all brands he could get his hands on, even when it meant going as far as Talisay and Carcar. One store in the former, which was his host friend’s favorite, secured the second spot in George’s brief list of best lechon brands. Rico’s Lechon came first.
George’s list was no surprise. I’m not the biggest lechon fan—I don’t crave it when I’m overseas—but I appreciate a great dish when I taste one, Rico’s Lechon included. I liked how tender and flavorful the meat was that I didn’t even have to dip it in sauce. The skin was not fatty and had just the right crispness, which saved me from feeling jaw pain because of excessive chewing. There was an added sense of gastronomic satisfaction from seeing how the lechon was chopped before it arrived at our table. I might have eaten more than what I intended to.
A Determined Man
George liked the tenderness of the lechon he tasted in Talisay, but the brand only offered the original variant whereas Rico’s Lechon offered both original and spicy. “If you are a good businessman, or if you have a business acumen, you would want the original and the spicy,” he said.
He soon met Enrico “Rico” Dionson, founder of Rico’s Lechon. At that time, George only wanted to know the man who perfected the recipe to the best tasting lechon; he had no intentions of buying or franchising the brand. But he did ask him of potential plans to open a store in Manila, to which the latter responded with a firm no. Since then, George made it a point to eat at Rico’s Lechon and chat with Rico every time he visited Cebu. The question of opening a branch in Manila would sometimes come up in these conversations. The third time it did, George took a different approach and asked whether he could instead franchise the brand. Rico was steadfast in his initial response.
Things started to take shape when a common friend reintroduced George to Rico in 2015. This connection solidified the former’s love for lechon to the latter, who finally saw George as more than just a businessman eyeing a new venture. And in 2017, amid a busy night of setting up one of his restaurants and preparing for a flight to Japan the next day, George received an unexpected call from Rico. The call caught him off guard that he momentarily forgot who Rico Dionson was. “I should know him because he’s in my phonebook,” he said with a laugh. He picked up the call, and it was then that thoughts of eating Cebu’s best tasting lechon in Manila became reality—Rico offered to sell the entire brand. George had no hesitation in saying yes.
Before the official contract signing in February 2018, George’s Feng Shui master came to Manila to “read” him for the next year. George, who then wanted to know his compatibility with Rico as a business partner, asked his ninong to also do a quick reading of Rico. Rico consented. Then the reading happened. “You have a good heart, but you talk too much,” George quoted.
Nevertheless, the Feng Shui master gave them his blessings and they soon signed a contract. By May of the same year, Meat Concepts Corp. took over the entire operations. In August, they opened their first Manila store in Bonifacio Global City; in September, Glorietta 1; October, Tiendesitas; November, UP Town Center; and in February 2019, SM Mall of Asia. It was a productive year for George.
“Old Cebu with a Twist”
The success of the great RICOmeback seemed to suggest that this year will be as busy, if not more, as the last. The brand’s flagship outlet can accommodate 300 people and has four function rooms, whose names refer to the places where Rico’s Lechon used to stand. “We wanted to be reminded of our roots,” George explained.
George chose the location because it fits his criteria—not in Cebu City but near it. His friends’ opinion, that the area is a new segment of progress in Mandaue, made decision making easier for him.

The dining area of Rico’s Lechon Mandaue boasts Sinulog colors
He was also very much involved in the conceptualization of the restaurant’s interior design. He wanted to showcase the “Old Cebu with a Twist,” so he incorporated elements of Sinulog into the restaurant. Instead of hanging buntings like people do during fiestas, which can look messy inside a confined space, George asked his Cebuano chair manufacturer to paint the backrests of chairs in bright yellow, green, apple blue, and red. “So, when you lay out the seating arrangement, you all see the different colors. It’s like a bunting,” he said.
Other Cebuano-made items included tables and hanging lamps. What I found most interesting about the restaurant’s interior, however, was the lechon plate chandelier. George revealed that it was the last fixture added and its creation materialized mostly out of a desire to avoid wasting resource. George ordered these plates with the intent of using them for what they really were, but the vendor shipped them to him in the wrong size. Instead of complaining about what went wrong, George focused on the positive and asked his manufacturer to make a chandelier using his oversized lechon plates.
A Foodie’s Menu
Rico’s Lechon’s expansion is evident not only in the restaurant’s space but also in its menu. Other than their renowned lechon, they now serve more Filipino favorites like Special Boneless Bangus, Sizzling Lechon Sisig, Monggos, and Bicol Express. New additions to the list include Grilled Pork Belly, Sinigang na Baka at Baboy, Sisig Fried Rice, and Buttered Mixed Seafoods.
The new management may have tweaked the menu, but George promised that they did not and will never change the original lechon recipe. “There’s no ego here. I always say [that] it’s not who runs it or who owns it. It’s just the way that you present it to be the best and only the best, and make people smile and happy. That’s the most important thing. It doesn’t matter who owns it anymore,” he explained.
As a foodie, George understands the feeling of going to one’s favorite restaurant and finding out—a true foodie will, almost always immediately—that the management changed their recipe. He does not want his food to be “bastardized,” and he assured me that it will never happen in his restaurant.
George shared that he can be adventurous and instinctive when it comes to food. When he goes to a restaurant, he orders a lot and eats them all (food waste is a no-deal). He cited his recent solo travel to Spain as an example, where he ordered about 12 plates of Spanish food for lunch. All for himself. The look on his face as he was narrating this story told me that he still could not believe what he did. And on the 4th day, to change things a bit, he had lunch at KFC.
After sharing a good laugh, I decided to bring the interview to a close. I wished George sincere congratulations and expressed my anticipation for brighter days ahead. With his familiar smile, he thanked me then said: “I promise with all my heart, with all my mind, with all my power, [that] we will maintain the same taste of lechon.”
Visit Rico’s Lechon Mandaue at Unit F1 Jamestown, Mantawi International Drive, Mandaue City. They are open daily from 10:00 AM to 10:00 PM.
Arts & Culture
Pasulong; Anton Quisumbing at the Yuchengco Museum
by Mia Durano | photography by Zach Aldave
There is something about walking into the Yuchengco Museum that sends a signal before you’ve even seen the artworks. Situated in RCBC Plaza, right in the middle of Makati’s financial district, it is an institution with a point of view — a forum as much as a gallery. So when the energy of an exhibition opening spills past the main hall and into the corridors, something tells you that someone has earned their way in.
Pasulong is Anton Quisumbing’s first solo exhibition in over two decades. Twenty-nine sculptures that took two years to complete, all cast in bronze, made from propellers salvaged from boats damaged by Typhoon Odette in 2021. Those who knew what that ill-fated period was like understand why the timeline matters. This is not decorative bronze; rather, it is marine-grade, built to resist corrosion and force. It is a material that does not yield to the ravages of the ocean.
There is a reason why metalwork is described in physical terms — it is cold, harsh, brash, forceful, and resistant. And when you walk into a room full of bronze sculptures, that experience becomes resonant. Propulsion, with its loops, arcs, and curves that rise, descend, and turn back into shape, embodies this. There are no right angles and no hard stops here. In this particular piece, the artist is remarkably aware of its sinuous movement and instead finds its voice within the medium.
This is the tension Anton Quisumbing works with. His practice has always tested what a single material can hold, allowing every movement to maintain the weight of its volume. Pasulong does not present a clean arc of recovery; instead, it delivers the full range of its intentions.
Sight, a warped figure with an almond eye and armor along one side, carries what the exhibition describes as a sense of lightness despite the weight we carry in our lives. The work stands with the authority of something that has found its own gravitas. The artist leans toward the idea that recovery is not resolved in one sweeping gesture.
Anton Quisumbing spent years away from sculpture, turning instead to painting as his primary medium. In Pasulong, he returns to bronze and to the physical demands of the material, which, in a way, becomes an act of pushing further toward his original vision. The outcome is an artist in full control of both subject and medium.

Anton Quisumbing ‘s practice as a sculptor is anchored in testing the strength of a single material.

The artist’s primary concern in working with bronze was its malleability.

Pasulong marks Anton Quisumbing’s return to sculpture.

Propulsion, bronze sculpture 83×44×35cm 2024

Sight, bronze sculpture 63×40×22.8cm 2024

Gilo Sarmiento, this writer Mia Durano and artist Ramon Orlina
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.
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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