Herminio S. Beltran, CCP Intertextual Unit chief, explains, “The festival celebrates how previous and current texts, and text-makers (the artists) then and now relate socially in space and time.” He adds that the festival aims to access relationships with and between the page and the stage, and tradition and innovation. 
 
Multi-awarded writer Vim Nadera is the festival director while CCP Intertextual Unit officer and dramaturg Giselle G. Garcia is the deputy festival director. Nadera and Garcia led the programming of the pocket events.
 
The CCP Cafe or Coffee & Conversation with a National Artist headlines these events where audience members could ask any (light) question to the three National Artists for Literature.
 
TV personality Lourd de Veyra moderates the CCP Cafe with F. Sionil Jose (November 6), University of the Philippines (Diliman) Mass Communication Dean Roland Tolentino emcees the event with Bienvenido Lumbera (November 7), and renowned author Krip Yuson hosts the event with Cirilo F. Bautista (November 8).
 
The CCP Cafe will be held at the Pasilyo Guillermo Tolentino, the third floor hallway of the Center. The hallway was named after Tolentino, National Artist for the Visual Arts, whose numerous works include the Oblation at the UP Diliman campus.
 
The Park Poetry Series also underscores contemporary performances with Joey Ayala, Jess Santiago, Fando & Lis, ventriloquist Ony Carcamo, Joel Malabanan and Lourd de Veyra for Park Poetry I: Music and Movement (November 6).
 
Tondo Rappers, the Ilustrado rap group (with Batas), Syke, Speech Choir 121, and a Crissotan (the Kapampangan version of Balagtasan) performance comprise the line-up for Park Poetry II: Ensembles & Notions of Rhythm (November 7).
 
Gemino Abad, Neil Garcia, Becky Añonuevo, Krip Yuson, and Diwa de Leon form the block for Park Poetry III: Gathering a Community of Poets (November 8).
 
The Park Poetry Series will be held at the CCP Promenade from 7:00 p.m. onwards. A sculptural work of National Artist for the Visual Arts Napoleon V. Abueva titled Magkasintahan sa Buhay at Sayaw is in the CCP Promenade.
 
The Tanghalang Huseng Batute will be the venue for the Lecture Demo series. The Mindanao State University - Iligan Institute of Technology (MSU-IIT) will present SugaTula, a contemporary Mindanao poetry, from 9:00 am to 12:00 noon on November 7. Huseng Batute is the pseudonym of Filipino poet Jose Corazon de Jesus, more popularly known to have penned the lyrics to the song “Bayan Ko”.
 
On November 8, the venue will feature performances of the Daloy Dance Company, Arianna Pozzuoli, Romancing Venus, the UP Los Banos Choir, Myra Beltran, and Anthony Brown.
 
The Young Poets Space Jam, a fellowship venue for young writers, include student-writers from the Philippine Normal University (PNU); the Linangan sa Imahen, Retorika, at Anyo (LIRA) members; Ateneo de Manila University’s Heights, the official literary and artistic folio of the university; the De La Salle University’s Malate Literary Folio, the official literary and visual arts publication of DLSU; members of the UP Writers’ Club, the literary organization at UP Diliman; the UST Literary Society, the official organization of literature students of the University of Santo Tomas; members of Words Anonymous, a spoken word group; and members of White Wall Poetry, a collective of spoken word artists. The Young Poets Space Jam will be held at the Silangan Hall on November 8 starting at 12 noon onwards.
 
On the same day, the Literaturo Workshop will feature Arianna Pozzuoli’s Poetry Slam Workshop for Educators from 9:00 a.m. to 11:00 a.m. followed by Diwa de Leon’s YouTube as a Profitable Career Path at 1:00 p.m. to 3:00 p.m. at the Museong Kalinangang Pilipino or the CCP Multi-Purpose Hall.
 
Performatura Festival offers two contemporary art exhibitions for its visual arts component. Chromatext Rebooted, an art exhibition curated by Krip Yuson and Jean Marie Syjuco, at the Bulwagang Juan Luna or the CCP Main Gallery, will be opened on November 6 at 6:00 p.m. Luna is famous for his academic painting the Spoliarium on display at the National Museum of the Philippines.
 
Beside the main gallery, sound artist Teresa Barrozo will surround the CCP Library and Archives with her work called Binhi, Ani to be opened on November 7 at 12 noon.
 
For the film component of the festival, Performatura will present films that have literary origins and relations called the Cinematura at the Tanghalang Manuel Conde (Dream Theater) in scheduled periods during its three-day run. Conde, a National Artist for Cinema, produced and portrayed Genghis Khan, which was recognized by the international film festival in Venice in 1952.
 
The CCP has entered into partnership with the Philippine Daily Inquirer (PDI) in providing the venue for the third year of the Inquirer Read-Along event to be held at the Silangan Hall from November 6 to 7.  
 
Performatura Festival 2015, Performing Literatures will be on November 6, 7 and 8 at various venues of the Center. A donated book will serve as a (one) day pass to the aforementioned events.   
 
Performatura updates are available on Facebook (CCP-Intertextual-Division-Programs), Tumblr (ccpintertextualdivision.tumblr.com), and Twitter (ccpintertextual).

The life and works of French writer and criminal turned political activist Jean Genet continue to incite until today. While offering much reflection as to what it means to live amidst poverty, crime, and war, Genet's work also exposes the writer's bold persistence to revolutionize the world through poetic subversion. Genet’s final masterpiece is a lyrical and philosophical voyage to the bloody intersection of oppression, terror, and desire at the heart of the contemporary world. The devised work Bilanggo ng Pag-ibig therefore is a response to Genet's daring claim and provocation: "The end pursued by revolution is the discovery of beauty." 

Bilanggo ng Pag-ibig features Jojo Cayabyab and Melvin Lee as Jean Genet; and Tess Jamias and Dolly De Leon alternate as Leila Shahid. Joining the cast are Peewee O’Hara, JC Santos, Tarek El Tayech, Brian Sy, Paul Cedrick Juan, SilvesterBagadiong, VirgilioBalanon, Jomel Reyes, Norbs Portales, MielaSayo and the Dulaang UP Ensemble.

The artistic staff is composed of Ed Lacson Jr. (assistant direction and dramaturgy), Vanessa Banta (dramaturgy), Barbie Tan-Tiongco (lights), Lex Marcos and Mark Dalacat (set), J Victor Villareal (sound), Carlo Pagunaling (costume), JM Cabling (movement), Sigmund Pecho (puppetry), and Jon Lazam (video).

PERFORMANCE DATES:

First Week
February 11, 2015 / Wednesday    7:00 p.m
February 12, 2015 / Thursday         7:00 p.m
February 13, 2015 / Friday                7:00 p.m
February 14, 2015 / Saturday          10:00 a.m. / 3:00 p.m
February 15, 2015 / Sunday             10:00 a.m. / 3:00 p.m.

Second Week
February 18, 2015 / Wednesday  7:00 p.m.
February 19, 2015 / Thursday       7:00 p.m.
February 20, 2015 / Friday             7:00 p.m.
February 21, 2015 / Saturday       10:00 a.m. / 3:00 p.m.
February 22, 2015 / Sunday           10:00 a.m. / 3:00 p.m.

Third Week
February 25, 2015 / Wednesday  7:00 p.m.
February 26, 2015 / Thursday       7:00 p.m.
February 27, 2015 / Friday              7:00 p.m.
February 28, 2015 / Saturday       10:00 a.m. / 3:00 p.m.
March 1, 2015 / Sunday                    10:00 a.m. / 3:00 p.m.

TICKET PRICE: Php 350.00     Regular Ticket Price
*Discounts are available for bulk purchases.

For inquiries, please contact:
MR. JUAN YSMAEL MENDOZA
Production Manager
(0915) 278 5203
jycmendoza@gmail.com


For tickets, sponsorships and showbuying inquiries, contact:
SAMANTA HANNAH CLARIN / CAMILLE GUEVARRA
9261349, 4337840, 9818500 loc 2449
dulaangupmarketing@gmail.com

Procedures:
1. Form a cone by wining up a cardboard or an old file folder in your desired size and height.

2. Hold the cone in shape by securing it with staples.

3. Put adhesive tape on the bumpy sides of the cardboard to make it smooth and flawless. This technique  will give you a polished look at the end. 

4. Put double adhesive tapes on four different parts of the cone. This will help to hold the string on its place and will avoid the string to form lumps. 

5. Put hot glue on top and attach the tip of the garden string on it.

5. Start covering the paper cone with the garden string. I found it easier to start from the top than the bottom part. I used garden string because it has a very appealing color and texture and can easily be manipulated. 

Make sure to put a little bit pressure while twining the string. You can put a little bit of hot glue to completely hold the string on place.  After you finish covering the paper cone, attach the jute string on the underside of the cone at the bottom with your glue gun.

6. Cut the base of the cone that is uncovered to polish its look.

Now, you can add embellishments to make it more elegant. You can add glitters, ornaments or other decorations on it  to put some blings.

Have a creative Christmas with this DIY project. These are really fun and easy but the best part is that you save a lot of money for the holidays.

Clean the empty perfume bottle to make it more fantastic. Some old bottles have rusts around the neck, so make sure to remove it using a soap and water since it will serve as the container and you don't want to stain the oil.

2.  With your scissors, cut a piece of a decorative paper you have chosen with the same size of the bottle. Put a little bit of glue to each corner of the background paper and attach it to the back of the bottle. You can also use a double-sided adhesive tape to attach it.

3. Wrap 1/3 starting at the bottom of the bottle with a craft string. The basic steps of the process involved putting a little bit of hot glue on the bottle and place over the string and wait until it dries. Put the glue at the back of the bottle to make it less obvious.

4.   Add a flower embellishment. Attach it using a hot glue. 

5. Pour the diffuser oil in the bottle and arrange the bamboo skewers as desired. 

Now, let's see what you created! Learning how to make reed diffusers are not as difficult as you think. I made this DIY project for only 20-30 minutes. So simple and at the same time very budget-friendly. They are also great to give as gifts to your family and friends.

Procedures:
1. Cut apart the CD into small pieces using a pair of scissor.

2. Place a piece of double-sided tape the length of your old phone case and peel it off. Repeat to cover all the exposed side of the phone case.

3. Assemble each piece of cut CD with the shiny side facing up. Start by filling up the edges and continue to the center until you cover each part.  Press the tablets firmly  to insure that the adhesive sticks uniformly around the edges.

Do not for get to cover the sides of the phone case to get a better finished look.

4. To fill up the spaces between the small tiles, gently put a Gypsum plaster (Plaster of Paris) or a grout on each space. These materials are available  in any hardware. 

Spread the grout over  using a flat board. 

5. Dry for 15-30 minutes. Gypsum plaster usually takes longer time to dry. 

6.  Wipe the excess off carefully using a damp tissue. 

I have now a very stylish phone case that will definitely make a statement. The best part about DIY projects is that you can make them exactly how you like and however you want. It was so much fun to make this phone case.

The power of personas

Lisa Ito

In her first solo exhibition, artist and musician Maan de Loyola delves into the question of power and its contradictions by projecting as self-portraits images of the proletariat and the soldiery—two social forces and occupations continually suspended between states of change. Workers have been historically associated with the revolutionary avant garde and with the most dispossessed of social classes, exploited by the system but capable of organising its ranks to change it. On the other hand, the army’s role as a leading state apparatus of control exhibits a dual nature, capable of both maintaining and disrupting states of power.

In 2010, de Loyola started reworking traditionally-masculine images of the workforce and the armed forces, transforming these into a series of self-portraits and small objects over the course of four years. De Loyola positions these entities in various poses, cloning self until the figures multiply and take their assigned places and poses on the canvas space. The artist’s blank-faced  countenance and slender, sloping physique replaces the solid musculature and steely gaze of thehardened worker and trained soldier. Her arms wield their tools and arms tentatively, almost fragile in their slightness, yet with a sense of determination and purpose.

De Loyola’s peculiar style of realism focuses on the rendering of the human figure and their garments, employing symbols, patterns and icons to denote her subject’s milieu and social contexts. Unlike the images produced by the previous generation of Social Realist artists, they are not transparent, straightforward portraits of the communities beyond the gallery’s borders. Inhabiting in a fictive realm and floating in space, her images are conjured characters: taken from a pastiche of recollections and impressions from the real world and taking on the character of icons

A third of the images engages the figure of the worker, perennially dispossessed and in states of toil. In Endless Road, for instance, the artist portrays herself as the feminized proletariat: four blank-faced laborers treading an ever-extending path, hard at work on an unseen structure. Spelled out in the background, the world ‘force’ can span a range of connotations: the force behind the acts of production and construction, the force of physical strength, or the force of coerced and collective labor. A similar quartet appears in the work Forever Climb, hoisted on a thin concrete platform and framed by a vertically oriented arrow. One does not know what it is that exactly awaits these figures at the top; only that more uncertainly lies in the cessation or the continued expansion of their labor.

This same sense of ambivalence penetrates de Loyola’s portrayals of the armed forces. Like workers, these are figures employed on singular missions: agents tasked to destroy and enforce the order of the status quo. Her figures in Unseen Threat, however, implicitly question the clear-cut distinctions between black and white, good and evil, target and friend: how well does one know the enemies one is assigned to eliminate? Another work, titled Unknown Enemy, presses on with these questions. The inquisitive, tentative countenances of her figures, in contrast to their lithe and determined posturing, seem to beg the question: who are the enemies and what are we holding arms for? But the road between sea and sky is wide, and so are the possibilities of choosing between what is right and what is unjust.

The representation of self through these identities becomes an allegory for the body politic and sectors coexisting in society, gently disrupting portrayals of both labor and armed forces as monolithic and one-dimensional apparatuses, solely controlled from above. De Loyola employs symbolism throughout the series to convey how little ruptures within the system are possible , connecting works produced years apart through singular images of hearts, tools, and flowers. Denoting little acts of hope and resistance, the appearance of these icons imbue her compositions with a surreal though comforting presence.

Yet all personas are fleeting identities, symbols of what lies beneath. One senses that the artist continually puts herself in their positions, to comprehend and interrogate their persisting presences. This is implied in the work titled Seer: an austere self-portrait of the artist pointing and staring back at the viewer, her hand resting on heart. Unlike the rest, this shows the artist shorn of all worldly cares and symbolic adornments, looking eye to eye. This is perhaps the metaphor and message that threads the disparate works in the show together: the challenge is to know self, to draw from one’s well of interior strength to face reality beyond the painter’s canvas.

Eventually, de Loyola’s figures assume entirely new personas, appropriating gesture, costume and posture and digitally altering them to create new, hybrid beings. These are seen in the works titled Guardian I, Guardian II and Sentinel: a suite of icons standing like superheroes or deities pledging protection. In these images, the state’s soldier and the corporation’s laborer is turned into a rebel and worker from a new, still emerging world. In the end, de Loyola’s disparate personas take on a more determined and individual stance, poised as if ready to help deliver the viewer from uncertainty and strife.

About the artist

Maan de Loyola studied painting at the University of the Philippines College of Fine Arts and has participated in over 20 exhibitions since 1991. Force/Farce is her first solo exhibition. She comes from a family with both activist politics and artistic leanings—father Gene is a painter and sibling Raquel de Loyola is a performance artist. De Loyola is a member of the TutoK Artists Initiative and Kababaihan sa Sining at Bagong Sibol na Kamalayan (Kasibulan), two organisations involved in the advocacy for human and women’s rights. She is also the guitarist for the band, earthfishfish.

Maan de Loyola
Force/Farce
26 July - 10 August 2014
Kanto Artist Run Space
Artist Talk: August 10, 4pm

A night of celebration on the eve of his 60th birthday, “The Music of Ryan Cayabyab” will mark another milestone of the maestro’s musical journey as it showcases his well-loved hits interpreted the ABS-CBN Philharmonic Orchestra, a 60-piece choir and some of the country’s distinguished musical performers.

The show is the first of many as the orchestra launches its signature brand,
“Spotlight Series”, a chain of concerts that will feature masterpieces from world renowned composers, performers and music masters. 

For ticket inquiries, you may contact Ticketworld at 891-9999 or ABS-CBN Philharmonic Orchestra and look for Karlo Cea at 4152272 loc 2409/ 09156246808; or e-mail absphilharmonic@gmail.com. 

For more information about The ABS-CBN Philharmonic Orchestra, visit our website www.abscbnphilharmonic.com; follow us on Facebook at facebook.com/ABSPhilharmonic and on Twitter at @ABSPhilharmonic.