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Thomasian indie artists struggle for in-campus recognition

INDEPENDENT artists hailing from the University of Santo Tomas played last June 21 as part of the annual and global Fête dela Musique music festival.



INDEPENDENT artists hailing from the University of Santo Tomas played last June 21 as part of the annual and global Fête dela Musique music festival.

Bands such as the Farewell Fair Weather (FFW) was one of the Thomasian performers on the indie stage set up at 12 Monkeys Bar in Makati. The band is composed of Mic Manalo, Gani Palabyab, Ethan Muriel, Timothy Dadivas, and Kim Hue Jin; all, except for Muriel who is from the College of Fine Arts and Design, are from the Conservatory of Music.

“It started around January 2012,” said keyboardist Palabyab. “We wanted to form a band just to relax, just to release everything. Music has always been our channeling output for everything.”

Offering something new

The band claimed that their music came out naturally during their jam sessions and that they did not plan out their sound. They are not yet fully decided on what genre they are into but they currently identify it as ‘soul fusion’.

“The safest thing we call our genre is soul fusion – fusion because we have different influences,” Palabyab said.

Their set at Fête dela Musique was a medley of different genres, taking cues from soul, mellow, and rock.

“Feeling namin, hindi na kami mags-stick sa isang genre,” said vocalist Manalo. “One of our aims, siyempre as artists, we want to develop something. I think our goal is to parang maghain ng something new.”

“That’s the beauty of the independent scene, since we’re all new, you’re gonna hear something fresh,” Palabyab added.

All about connections

Palabyab stated that Farewell is struggling through the indie scene politically and financially. “It’s all about contact – the lesser contacts you have, the lesser chances you have of getting out there,” he said. “We’re still students and digitally, it’s so expensive to record, to invest in instruments and other equipments and produce CDs, when it comes to that, it’s a struggle talaga.”

FFW said that Thomasian indie bands like them have not been able to play in the campus. “Ang daming banda sa UST pero walang boses,” said Manalo.

Sud, Three.!, Autotelic, and Paranoid City are among the bands with Thomasian members who also played at Fête, but they never had the chance to perform in front of the Thomasian community.

“If you don’t have the friends or if you don’t have the connections, they’re not gonna pay attention to you. That’s reality,” stated Palabyab.

For example, Manalo argued that the underground scene from the University of the Philippines and Ateneo de Manila University is well-known and well-received within their campuses, whereas in the University of Santo Tomas, reception has been nothing but lukewarm even to the point where no recognition is given.

Pag dating sa UST parang wala silang [masasagot sa tanong] na, ‘Sino local band niyo?’ ‘Meroon ba tayo nun?’ Ang dami-dami, hindi nila alam,” she added.

Time to accept change

Chii Balanaa, member of the ambient electronic duo Three.!, said that the Thomasian community’s lack of support for its independent artists is rooted in bigoted classicalism. “UST Music kasi, sobrang classical nila. They’re so close-minded. Ang direksyon nila is classical lang,” he said. “Ako, yung ginagawa ko sa banda ko ngayon with my gadgets, never siya ia-accept as ‘real music’ sa Conservatory. Minsan, im-mock pa siya because of its simplicity,” he added.

Marc Reyes, a former Thomasian and guitarist for R&B band, Sud, shared the same opinion with Balanaa and believes that it is time to accept modern music for a good change.

Both Balanaa and Reyes believed that the Conservatory of Music is too centered on music theory. “Ang puno, hindi mo naman gagamitin lahat para mag-sculpt eh. Diba? Magch-chip away ka ng mga parts diba?” Balanaa said. Reyes added, “Okay yung may theory [pero] it makes you a better musician lang eh, it doesn’t make you the musician itself.”

Dalawa yun eh, may theory, and may emotion – balanced dapat yun; and UST thinks about theory lang palagi.

More room for independent bands

“We love UST man, and we want to play for UST, but UST never really gave us the opportunity. They haven’t really given us the opportunity yet,” said Palabyab. “Actually kami pwede kami kunin for free, we’re happy to play for free kung para lang sa fellow Thomasians,” said Muriel to which he jokingly added, “Pero kung meroong [payment], mas okay.”

“I think Thomasians need to support more local bands. It doesn’t have to be Farewell Fair Weather, we don’t really care. If they support us, thank you, pero para sa mga susunod na local bands, sana suportahan nila,” Manalo stated. “It’s a craft, and it’s a beautiful craft. Sana maappreciate siya ng mga fellow Thomasians,” she added.

Ang gusto lang din namin is sana bigyan din nila ng room yung mga independent bands para makita rin nila,” said Dadivas.

Palabyab suggested that a music festival, wherein underground Thomasian artists can participate in, should be organized so that more independent artists can be known inside the university.

Push through walls

Not all is bleak for the Thomasian indie artists. Dadivas and Reyes believe that the local independent scene will gradually rise in the next few years. “In time, naf-feel naman din namin na maririnig na rin kami ng UST,” said Dadivas.

Manalo encouraged her fellow artists to continue creating innovative art. “Wag kayong magpipigil. Gusto niyong mag-gawa ng kahit anong bago in music, or kahit anong form of art, okay lang yan. Basta wala kang naapakan na ibang tao. Basta hindi ka nakakasakit, okay lang yun. Express yourself in the right way,” she said.

Amidst the hardships experienced by many independent artists, Balanaa believed that they should never give up on their craft. “Kapag sumuko ka, susuko ka, walang mangyayari,” he said.

“Every band will hit a wall. Pero you have to push through the wall talaga to get to the other side. Just to get to the finish line,” said Reyes.

Kahit anong banggain niyo, banggain niyo lahat. Banggain niyo lahat ‘tas gibain niyo lahat,” said Balanaa.

Experiencing the solstice

Set to coincide with the summer solstice, Fête dela Musique’s band line-up at the indie stage was engineered to match the sun’s natural lighting over the Makati skyline that was seen from 12 Monkeys Bar.

Starting a few hours just before sundown with a chill set by indie-pop band, Ourselves the Elves, the show gradually progressed from slow jams to fun and preppy tunes as the bright afternoon sky faded into lighted skyscrapers, backdropped by a partly cloudy night sky.

Other performers included The Ransom Collective, Hana ACBD, The Jireh Calo Project, Jensen and the Flips, Sinyma, Identikit, Brisom, Carlos Castano, Tide/Edit, Earthmover, Pitik, Neverending Weekend, and Tarsius.


Farewell Fair Weather will be releasing a music video soon and is currently working on a full-length album. Their EP is available for purchase through their Facebook page.

Sud has recently released a music video for their single ‘Smilky‘. Their EP is available for streaming and download through their Bandcamp profile.

While Three.!’s EP is available for streaming and purchase through their Bandcamp profile.

Click here for more photos from the event.

Photo by Joshua Lugti



Sila-Sila in its spectrum

Being under the constant waves of change, companionship paves through distances and personal struggles. The movie emphasizes that ‘ghosting’ also happens between friends and rekindling episodes are a challenge.



Screengrab from Sila-Sila movie trailer

Giancarlo Abrahan’s entry for Cinema One Originals Film Festival Sila-Sila is a groundbreaking film that sprouts a queer narrative molded by queer people. Anchored to the intimate stories of real people, this ghosting film pierces through the lens of post-breakup experiences.

Its lead actors, Gio Gahol and Topper Fabregas had a harmonious rhythm as Gabriel and Jared inside one frame. With Gab being helplessly displaced and Jared as someone who craves settlement, they were in an endless loop of push-and-pull, making every scene burst in different colors of expectations.  

The film revolves around the story of Gab (Gahol), as he tries to reconcile with his friends (Phi Palmos and Dwein Baltazar) and his ex-boyfriend, Jared (Fabregas) after ‘ghosting’ them for almost a year. Fueled by guilt and regret, the old lovers find themselves igniting a fire that once burned the bridges that connected their lives.

Five minutes in and the sensual relationship between Gab and Topper will cuff the audience with its bare exposure of same-sex actualities. These characters played by both theater artists allow the scenes to flourish with remarkable nuance.

The scenarios in the film allow you to peek at realities that manifest through Gab’s life as a person who fails to find his roots being settled in one place. As his portrayal walks you through the story of uncertainties, the progress of the film lets you trace into a deep contemplation whether or not you may be the Gab or Jared in your own story.

Despite having fragments of scenarios that lowers the momentum of the film, it serves as a breath of fresh air as Gab undergoes the phase of vacillation. Gab’s journey of finding a home in people he once felt was is a cycle anyone can relate to. His doubts linger in trust issues and the feeling of not belonging. It soon uncovers that the quest of settling in places, people, and experiences will be unending unless one finds their sense of home.

Phi Palmos and Dwein Baltazar’s characters are spices to the story as they portray a decade-long friendship of overcoming tendencies. Being under the constant waves of change, companionship paves through distances and personal struggles. The movie emphasizes that ‘ghosting’ also happens between friends and rekindling episodes are a challenge.

Sila Sila won the Best Picture Award. Its undeniably well-plated palette satisfies the eye of the audience. A lot of scenes will tickle one’s humor especially if you are used to friendships that blatantly roast each other as a way of showing one’s love language.

Alongside its award-winning cinematography, Sila Sila also received the Audience Choice Award and Best Screenplay by scriptwriter Daniel Saniana. Also, Fabregas was recognized as Best Supporting Actor for his role.

“We’ll always love each other, however it manifests, it’s just always going to be there.”, this line by Jared carves through the hearts of those who had to let go of a person but never the love that they have for them. Gab’s relationship with Jared shows that there is never just one way of loving someone. Every day, with every version of themselves, love prevails. 

Distance can never make things small. It only deceives you from thinking that you’ve escaped your troubles. One way or another, you will find yourself crawling back because time never lets anyone off its claws—Sila-Sila teaches this. Furthermore, sometimes, having no closure is not the closure.

The character of Gab serves as an example that a person will remain trapped in the past unless they find closure from people and from themselves. People are bound to face the naked truth that we need to find our sense of home in this world that is full of broken fragments of imperfect individuals.


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Metamorphosis, a film that challenges the conventional

Tiglao tells this story through the never-before-seen character of a Filipino intersex teenager, and he tells it almost flawlessly, with the scenes that make you nostalgic, like you’ve been there before—a sort of déjà vu.



Screengrab from Metamorphosis Trailer

As a coming-of-age film that probes more extensively into the adolescent psychosexual conflict, J.E. Tiglao’s Metamorphosis is dangerously daring. The film stirred a wave of controversy when the Movie and Television Review and Classification Board (MTRCB) classified it as X-rated for exploring intersexuality, later on, it was reclassified into R-16, permitting its screening in local cinemas. 

It opens with a scene at a waterfall in a 1:1 aspect ratio and ends in the same setting, where we find the protagonist, Adam, exceptionally portrayed by Gold Azeron, no longer irresolute. Supporting actress Iana Bernardez, who plays Angel, complements Azaron almost naturally—Adam isn’t without Angel, vice versa. However, the gorgeous visuals of Metamorphosis overshadow the disarray that’s often ignored in the film.

Tiglao tells this story through the never-before-seen character of a Filipino intersex teenager, and he tells it almost flawlessly, with the scenes that make you nostalgic, like you’ve been there before—a sort of déjà vu. Apart from the brilliant footwork of Tey Clamor, the film’s cinematographer, the musical score by Divino Dayacap, from the University of Santo Tomas Conservatory of Music, gave the film its oomph: as if the music understood the complexity of emotions portrayed, and the aesthetics with it.

Tiglao almost easily got away with poor writing by compensating for the other elements in the film. Instead of sustaining its relaxed delicateness, it lost its momentum when Adam’s exploration into his intersexuality was hastily overturned by uncalled-for predatory themes, and sexual awakening was realized by means of harassment.

The film relied heavily on aesthetics while leaving the plot unsustained and undernourished. It undermined the audience’s capacity to understand beyond the script because there was very little depth to it—the metaphors were surface-level and revealed themselves too easily. Some scenes appeared to over-explain themselves because expository writing was brought to an excess. Nevertheless, the film communicated what it sought to: the magnitude of embracing your own uniqueness in pursuit of self-acceptance.

Perhaps one of the most moving scenes in the film was when Adam’s father, a conservative Catholic and a pastor with a strongly-held vision for Adam to reverse his intersexuality – an “Ok, boomer” moment – abandons his unyielding bigoted principles at long last, giving Adam the autonomy to decide on and for his own. Here, the conservative adult matures with the troubled adolescent—and it is this shared acceptance that is unique to Metamorphosis.

Although the film suffers from tacky dialogue and some questionable subplots, it does exactly what a coming-of-age film is supposed to: the audience becomes an echo chamber, where we feel for the protagonist while accompanying him into growth and resolution. 

Metamorphosis, along with its stillness and vulgarity, makes for an ample directorial debut. The “I” in LGBTQIA+ rarely gets talked about, but Tiglao changed that by giving us Metamorphosis: it contests machismo without overemphasizing the feminine, it astounds without unnerving, and most of all it is unrestrained. Metamorphosis, even with its sloppy writing, is sufficiently beautiful—it questions and challenges the conventional, and it does it without fear.



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Tayo Muna Habang Hindi Pa Tayo: An Endless Cycle

Falling in love in this generation is like using a trial and error method that gets you nowhere. In the emergence of dating apps such as Tinder and Bumble and websites like Omegle, finding a prospective partner has become fairly easy but also quick to lose.



Screengrab from Tayo Muna Habang Hindi Pa Tayo official trailer

Labels. There is a silent debate going on about whether labels are important or a factor for complications. Though there is a need to define relationships to know where to draw the line between friends and lovers, it is often terrifying to know what the truth really is. The word ‘commitment’ may seem an intimidating word for some, but it is also loved by many. 

Tayo Muna Habang Hindi Pa Tayo is one of the entries for the Cinema One Originals 2019. Written and directed by Denise O’Hara, who won an award for Best Director in this year’s Gawad Urian for a movie called Mamang, a film about dementia and the struggles of remembering one’s life. 

The film festival ran from November 7 until November 17 in selected malls and microcinemas. Starring Jane Oineza and JC Santos as Alex and Carlo, the story portrays the characters’ struggle in the process of falling in love, falling out, being confused, and being sure at the same time. 

Falling in love in this generation is like using a trial and error method that gets you nowhere. In the emergence of dating apps such as Tinder and Bumble and websites like Omegle, finding a prospective partner has become fairly easy but also quick to lose. 

Alex, played by Jane Oineza, is a woman with big dreams and ambitions, eager to prove to the world that she is more than just a pretty face. Carlo, played by JC Santos, on the other hand, is your typical go-with-the-flow kind of guy who works in the field of graphic design and freelance work. The story progresses as the two create something that neither of them knows what is and what to call. 

By slowly cracking her shell and breaking down her walls, Carlo manages to see the parts of Alex that no one really sees. Underneath her cold gazes and intimidating aura, lies a sappy and marupok girl. One night, after planning and talking about the design for Alex’s upcoming project, a cockroach scare prompts a rush to the bedroom; ensuing a somewhat emotional conversation that turns the atmosphere into purple and red hazes. 

After that night, awkwardness sits between them in the office. Alex, trying to figure out what happened, asks Carlo directly; as to his reply, along with the words “Masaya pa rin naman ‘diba?” creates a questionable feeling both to the characters and the audience. 

Stemming from the title itself, the movie—from start to finish—draws a problematic and complicated cycle that reflects dating and almost-dating. The dialogues lacked a bit of emotional appeal and the concreteness of thought cannot be easily grasped. The movie has a back and forth sequence, showing the past and the present, how the moments came to be, what arguments were thrown out to get to the scene where they chase each other in the sidewalk with pain and hesitation in their eyes. 

Cinematography-wise, the color palette of the film shifts along with the emotion that is being presented on the screen, making up for the lack of substance in the exchange of dialogues. It is a mess, paralleling to Alex and Carlos’ relationship, the shaky camera angles and the abrupt shift from one scene to another provides support in pulling off the movie’s complicated narrative. It could have had more backstory and fewer gaps in the storyline but it somehow works as it leaves you hanging and still questioning what happened. It keeps you in the cycle even though you have stepped out of the cinema already. 

Filled with contradictions and trouble waiting to happen, O’Hara’s work garners attention from those who are in the same position. The film dwells on complex-minded characters, pretty much like our generation, and their decisions on whether they should leave or keep fighting for something that is vague. It is a ticking time bomb of tears and regret or maybe, just maybe, something magical and worthwhile. 


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