Arts & Culture
Students Tell Us Their Spookiest School Tales

Walking white figures, strange foot steps in the dark…some of us may have experienced these from our alma mater or heard stories from our batchmates way back. In these series, we get to talk to some students about their spooky experiences in school, as a way to end our November to commemorate our dearly departed.
Spirits are luminous beings, either they are entities far from human or lost souls seeking for help or answers. But what if souls of the departed visit your school and bother people or even possess them? This was an experience remembered by Mary Anne on her sophomore year and indeed, it was a test of faith and belief.
Mary Anne Christine C. Varona
University of Cebu
BSHRM
“2012 on my catholic academy way back 3rd year high school 3 students got possessed by spirits and I am not the type to believe on those or the school being haunted for that matter until I saw this, it was a phenomena on my childhood. One of my classmates told me who had a strong 3rd eye that our vicinity on that day was full of spirit entities at the brink of the afternoon both “good and bad” ones. He explained to me that these entities usually don’t bother but now that he have seen the bad ones, they were responsible for possessing the students and the “good” ones just being idle or seeking help or prayers. The 3 possessed students who were siblings got it wild screaming and suddenly changing their voices and each student were held down by 4 men but managed to take them elsewhere outside the classroom. The room was weirdly cold on the afternoon and I wasn’t really sure where they were taken out but I believed our school priest exorcized them. Our teacher who was a nun told us the rest who remained in the classroom to pray the rosary that day and never disclose to anyone what happened inside the school.”
Working for your school’s tuition is no easy task especially after class, and if its goes on into late hours of the night. Something like being alone while you’re working in the classroom is no strange thing to most people, but what if there was something strange after all? Jenny will never forget as she experienced multiple contacts of the supernatural reminding her that we are never “alone” in this world.

Jenny C. Amaquin
Cebu Institute of Technology University
BS-IT
“With so many experiences I remembered when I was paper checker for my teachers and admins because I was a working student for the HRD and I usually go home at the wee hours of the night. First experience that I will never forget, my ex boyfriend was a paper checker too and we were at the 3rd floor in the new acad building sitting on a vacant room waiting for the teacher to arrive, while waiting, we were teasing and joking around, laughing boisterously, after so we suddenly heard a laugh but more of a squeaking small voice. My ex bf thought that was my ringtone because it was a trend way back with all those sound effect ringtones but I said no and we realized we weren’t only the people in the room. 2nd when I was again a paper checker on the main building this time, as usual. I was at the study area beside the clinic waiting for the instructors at the engineering building across, because the area of the education office is dim going to the guidance office, I notice there were dark human-like figures lining up and passing by the guidance office and the last figure I saw was a white one, I cried in fear hoping never to see those again. That’s what I can remember so far.”
Souls sends messages on their own, just in a different way. Commonly, they use the environment to manipulate what they want to convey. Fleur thought her experience to be a common thing around animals, until she realized she was being followed around by other entities.

Fleur Therese Puao
Cebu Doctors University
BS-PT
“On a humid Thursday morning I was on a jeep that passed by the Mandaue cemetery, which also happened to be my stop. I got off the jeep and walked by the road just beside the cemetery, alone. I was about to cross the road when I felt someone, or something, whistle directly to my right ear. It was very odd, because there was no breeze, and there weren’t any other people on the scene. I didn’t believe in ghosts or any supernatural stories, so I shrugged it off and proceeded to my classmate’s house where my groupmates were waiting for me. Upon arriving there, my classmate’s dogs were barking at me very aggressively. I thought these were just his pet’s nature, but my groupmates explained that they were so friendly before I came. I had initially assumed the dogs didn’t like me, until I was told a few days later that dogs could be indicators of the presence of ghosts, and that ghosts or unrested souls tend to roam with the living that
crosses their paths.”
School buildings have their own origins and stories from the past; we often hear that some schools used to be a convent or a cemetery. Most of us are aware that these places have their own hauntings, but we’re often very doubtful of these unless proven. Axel on the other hand thought of it was just for fun until he realized that messing with entities would be otherwise.

Axel Pierce Gadinez
University of San Carlos
BS-TM
“In almost all the buildings in San Carlos Talamban Campus there are a lot stories about what haunts each building examples like the SMED building or the science building in the basement area. I also was a thrill seeker if these “ghosts” are true and a bit crazy to do so. On my sophomore year, I was walking down the stairs with my classmates when I borrowed my friend’s Iphone to play around with snapchat because apparently they can be seen with facial recognition and I was talking to it like “Is someone here say hi to the camera” while doing a selfie video and when I was moving around the camera it showed a dog filter on top of the staircase that was 6 feet up while we were below it, at first we didn’t think it was true until I started talking to it and said could you open your mouth to show the tongue out feature and it did, it slowly got closer. Until it was next to us then we started rushing to the hallway because we were scared being followed by “it”.”
Another victim of a haunting that he would never forget when he was just doing his daily tasks, Mark sensed that it was not really his day. A working students, Mark was tasked to open up the facilities of the school building early in the morning. His experience has proven that sometimes, something or someone enters corridors or rooms and wait to be noticed.

“I guess this is worth sharing, I had the most unforgettable experience recently early in the morning. 5:52am I was in the library and I guess I was the only person in there for the university maintenance who opens the 7th floor of the building so that we can get access of the keys of the offices since I was a working scholar and the rest of the security guards were at the upper ground floor. The canteen was empty because they did not open that day and the guards were still prepping so no one can assist the elevator so I have to push buttons on my own. Arrived at the 5th floor and feeling positive and the 5th floor might be the most not so lively floors in the building since it only contains the auditorium and the library. Normally after opening up the library, lights, computers and functions I would hum but I didn’t, I also was wondering why I felt not and shrugged but kept silent while doing my first hand tasks maybe because I was anticipating for someone to arrive. Then the morning got a bit bright but the restroom of the 5th floor was still dark and washed plates there. There it started feeling weird, I was overthinking already why did I proceed on a dark restroom bringing the plates and of course it’s hard to run with it in and out. Suddenly, my feet went chilly like the ground had a gush of wind but still kept my cool. Started humming already for distraction so that I would feel good and while doing so, someone interrupted my humming and heard a metal belt inside the cubicle. It wasn’t that loud but since the whole floor was empty you can hear it clearly. I was thinking there was a person already before me in the restroom but if so, why didn’t he turn on the lights? I doubled my time finished cleaning the plates and rushed back to the library with fright.”
With these students sharing their experiences, have you ever encountered the same things they have?
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
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

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