Grid Magazine shares their unique Process of Writing and Depicting Travel

In a time where every minor travel detail is shared online, embedded with a gratuitous selfie and a hashtag, where does one find meaningful stories on travel? Very few service this need quite like Grid Magazine does. Starting out as a platform for the founders’ best work, Grid Magazine took on a life on its own and morphed into a love letter to the country it serves. The magazine unapologetically publishes long-form stories with emphasis on substance rather than brevity, the storytelling complemented with arresting photo coverage. It consciously veers away from well-worn tourist destinations, focusing instead on the off the beaten track places and interesting people. After all, three years down the line and the Philippines still hasn’t run out of interesting stories for the Grid Magazine to tell.

With the magazine’s relaunch into a longer format and a quarterly release, we talk to the Grid team about their journey. Admittedly, our team came in a little late in the wake of the their official relaunch, but thankfully, the Grid team doesn’t mind – theirs is not a time bound story anyway. Reflected in the way some of their stories do not see the light of day in years, the Grid team does not mind waiting for the right time.

In this discussion, we follow Grid Magazine’s story from the beginning leading to their relaunch. We visited the laidback Grid office (with desks propped up by pallets, mind you) and the Grid Magazine team – Sonny Thakur (Photo Editor), Chaz Requiña (Digital Editor), and Nina Unlay (Features Editor) – was only happy to share their story.

Photography by Marvin Conanan

Sonny Thakur

Before anything else, we’d like to look back to the beginnings of Grid. What were the guiding principles of your team that led you to come up with Grid way back in 2014?

Sonny: Most of the founders of Grid are photographers and writers, so from our point of view, one of the objectives was just to create a platform for ourselves. We were all working for or sending out stories/photos to publications like Conde Nast, Travel and Leisure, and other travel outfits, plus we didn’t have our own. I guess it was us just wanting to start something we could play with, really. The reason I got involved was that so I could produce work that I wanted to produce and have my own platform. I think many of the other founders share that same belief, but this is my point of view.

Can you share the thought process behind the "not a travel magazine, but a magazine for travelers" manifesto?

Chaz: One of the reasons why we’re not a travel magazine is when people think of a travel magazine, they’re like “When are you going to Tokyo? When are you going to Singapore?” but we’re focused on sharing stories of the Philippines and the other Filipinos. One thing that I like to think is a common thread is that when anyone looks at our photos or read our stories, there’s a certain pride in being a Filipino, even though maybe you’ve never been to Cotabato or maybe you’ve never been to Baguio. You’ll read these stories and you’ll be like, “I’m Filipino. This is the Philippines. This makes me want to travel the Philippines.” This makes you want to go discover it in a way that it puts you in a place that you’re really proud of your culture and your history.

Chaz Requiña

Would you say it’s more of story- or people-driven rather than destination-driven?

All: Exactly.

Sonny: It’s always been that. We’ve never been a destination-based magazine. If you look at our stories from the very first issue, we must have gone back to Boracay at least half a dozen times but we’ve come back with very different stories. We understand what a travel magazine is and we want to be able to bridge that gap as well. Of course we’re gonna have readers that want to know where to stay, where to eat, and we can give them that information. But first and foremost, it really is story-based versus destination-based.

Nina: I think it’s worth noting that when Grid started, we were the only publication that really focused solely on the Philippines. We don’t go international, and until now we don’t do international stories because our focus is [the Philippines]. In our manifesto, there’s a line that says “Grid is a love letter to the Philippines.” It’s really what it’s meant to be. I came in Issue 2 so I wasn’t here from the very beginning, but I hear stories from our founders where they say that there were people who would say that it’s kind of crazy to just focus on the Philippines, you would run out of things and we’re here three years later and there are so many stories that we haven’t run and that we want to run. The way we see it is that we’re writing stories that other travel magazines aren’t writing, and in a way that we want them to be talked about.

Nina Unlay

While we’re in the topic of stories, can you tell us about the process of coming up stories for your issues?

Nina: We fight for it. (laughs)

Sonny: I think the great part about Grid is everyone that’s involved, every single person in the office are people who like travelling. We’re all like-minded. On weekends or whenever we can, we’re out travelling, we meet people, and we take a genuine interest in what they have to say. A lot of our stories are leads because we travel ourselves and we have friends who travel. We bring everything back once in awhile on this very table. We talk about things, we flesh out ideas, and then start doing research. Eventually, it goes from a conversation at a bar all the way to print. We just work on our leads and work with our friends. Like I said, everyone here lives the lifestyle.

Is it easy for you to come up with stories because you experience it yourself?

Sonny: I wouldn’t say easy, but it comes naturally.

Chaz: We’re also really glad for being super diverse. I’m from Visayas and so is one of our marketing team, Nina is from Davao, Sonny is from Baguio, so we’re a really diverse group in the office.

I’m curious, how big is your team?

Nina: Twelve, I guess. We have roughly 3 or 4 people writing for every issue, 2 people who work on the layout, 4 in-house photographers, and 1 web director. We’re a very lean team.

After about three years of Grid being published, what were the notable learnings that led to the relaunch?

Chaz: We wanted to be like field reporters, and we don’t want our writers chasing our photographers and vice versa because they only have three days to complete an assignment. Quarterly releases actually give us more time for production.

Nina: Another thing that we always say, especially me because I’m a writer, is that our founders liked to say that in the beginning that we were going to be doing a lot of writing. If you look at our stories, especially if compared to other magazines, another distinction is that our stories can go all the way to fifteen pages, which is super long for a travel magazine. So, in the beginning, it seemed like maybe people aren’t going to read stories that are this long or go this deep, but we found that our readers actually really enjoy reading that format. They prefer it. We’ve tried different types, like shorter pieces or itinerary-based stories, and they said “we don’t really like that, bring back the old stuff.” So we provide them with a different kind of storytelling that they can’t find anywhere else. We provide that, and the quarterly releases give us more room to do that. So we have more pages, and we’re allowed to write as many and as long as we want. It gives us more space to play around.

Sonny: We definitely listen to our readers. Initially, we were hoping that Grid would be this magazine that people would take to the beach, read while sunbathing, spill lotion on, get dirty, and then give to a friend to read, until it gets teared up a bit. But what we found out is that there was a small percentage of people that actually keep it with them. They keep it in their homes and it becomes this collectible thing. By the time we rolled out issues seven and eight, people were asking about back issues and would buy the whole bunch and it became a collectible thing. It became sort of like a book, always sold out.

Do you have plans of producing digital content, wherein it’s not available in your printed issue?

Sonny: There’s a huge amount of photography and writing that we have. We’re sitting on this archive, and we can always repackage it and share it online. The photography that you see in the magazine is gorgeous, but we also have this archive of unlisted photos that nobody’s ever seen before that we want to release online.

Nina: We have so much content online, including videos, really good videos.

That’s actually what I was wondering about. You have really great videos, but I don’t see it as much online. Do you have plans of expanding your content into other forms aside from text and photos in the future?

Nina: We do one original video per issue depending on the story, and we do one video that follows a story. In Issue 14, we did a video on Davao. I was the writer for that story and we had a videographer with us, so she asked us if she could produce a video to accompany that piece. So, we like to think of it as two separate things but at the same time, they’re complementary. Aside from that, we also have shorter videos.

Chaz: Yes, you can see that in our YouTube channel. For this issue, our featurette is coming out in about a month. It’s about Palawan.

Aside from your issues being published quarterly, are there any other changes in the new Grid Magazine?

Nina: Grid released quarterly comes with a lot of changes. Our issues are a lot more thematic now. For Volume 1, it was all about land, air, sea, Palawan, but it was also about less-conventional traveling. If you look into it, there are a lot of different sections that talk about tours that are new, and gear that you would want to bring with you that’s not for the regular traveler. They’re a lot more cohesive that way. With the quarterly release and the addition of pages, there are a lot of mini changes that come alongside it.

Sonny: Another example is our issue perception. We like talking about local talent and people, and working with local photographers in the Philippines. When we were bimonthly, we run two pages on photography. It would be one spread or two verticals and a brief description of the photograph, the photographer, and the camera. But now, it’s extended to six pages in this issue, and in the next, I would probably give two more pages for that to feature a project and not just a single image. We also try to push our photographers because in the general photography community in the Philippines, it’s easy to find a great single image but it’s very difficult to find photographers pursuing projects with cohesive bodies of work. That’s what we’re trying to find and feature in this section. Other sections that got added more sections as well was “GRID Eats,” where we talk to a person about food or drink and have them come up with a recipe for us. Before, it used to have two pages, but now, it has six to eight pages, depending on the people who cook for us.

Sonny, I’d like to know more about your role as photo editor. Can you tell us more about how your role relates to how the rest of team works?

Sonny: Assignments come in, and are very well-researched by our editors and writers. I digest that information and find a photographer that best fits that assignment. This means the photographer’s shooting style: Can he shoot underwater? Can he fly a drone? Have I worked with him before? Is he reliable? Is he going to turn in his photos on time? Is he going to lose his memory card? Little things like that I have to keep in mind.

We send the photographer out and try to keep in touch with him while he’s in the field, if he’s reachable, so there’s always open communication. When he comes back from his assignment, he needs to send me a wide edit in low resolution. I’ll make my selections and send it back to him, and he turns in the final files. That’s one of my roles. Another would be to help look for stuff to shoot for the travelling photographers in the Philippines. I guess my role as a photo editor would go for the workshops, as well. I try to conceptualize the workshops’ programs and look for guest instructors. I think that’s pretty much what I do. I also do print checks when I’m available.

So what usually happens is you get an assignment and look for a photographer, but has it ever happened that a photographer comes in, shows you his portfolio, and then you try to find a story or you try to expand his portfolio into something that can be published?

Sonny: Both are correct. I experienced an instance like this in our last issue. One of our workshop instructors, Luis Liwanag, approached us for his idea of going on a trip to Sagada. He went to Sagada for eleven days and pitched his idea. I have not seen any work of Luis from Sagada prior to this, but I was familiar with his work and his shooting style. He asked us if we wanted him to shoot it how Grid shoots. The general look of Grid is a network of people that have their own visual language and that’s why my pegs for him were images that he had shot before. So the references were his own photographs, not others. At first he was confused, but then I brought out pictures of other photographers just to give him a guideline, but reminded him that these were things that only happen in the US, so I told him to look for things that only happen in Sagada. And I think he did very well.

We get random emails from photographers who want to work with us but this just brings me back to what I said earlier about photographers having a great single image, but not really having a cohesive story or body of work. That’s why we have workshops as well. We reach out to them, we reply to them. I usually give them my two cents, how we can further develop it and how we can work with them in the future.

Nina: Our editorial process is different.

Chaz: My digital agenda is not to be like anyone else in the Philippines. I’m very adamant about that. When I cover a new restaurant, I want to feature that restaurant in a certain angle that’s interesting to us. We don’t want to cover every single restaurant. The same goes for stories. I don’t want to run a story that’s too much like a press release. That kind of detracts me from actually wanting to know more about it. A lot of times we deal with the people whom we want to teach about the actual process because they’re so used to instant gratification. I usually talk to Nina about their work.

Nina: I work as the Features Editor. The stories and pitches run through me. For Grid, we want to get writers who are really proficient in their field, who can be really specific on a topic - for example, we have one writer for food and textiles, and another for mountain-running. We’ve had someone write a story for us who’s not a writer but he wanted to write something and we said, “yes, let’s do it.” Because we have editors to help them out during the writing process, we can always help them out with the technicalities.

What we’re more interested in is that you have something interesting to say and that you’re very well-versed in it. I always go for the writer who is well-researched and well-informed. I think the same thing goes for the photography. We get all of these pitches, and we ask them what they want to do for us.

Sonny: If you want to work with us, you have to be a little more direct and specific. What do you want to do for us? I’m not asking you to hand over your stuff to us on a silver platter, but just be a bit more mindful about it.

Nina: At first, you just want the publication to know what you’re going to write about, how it’s going to be different because you might pitch something and go, “Hey, I know this place that you may not know about,” but the odds are we already know or someone else has pitched it too. We go to the same places and write stories over and over again, but it doesn’t feel different. So your pitch has to be more than “I know this piece of information that nobody knows about.” No, it’s supposed to be why it’s special because you’re writing it.

Sonny: We also appreciate it when people are persistent enough to meet with us. There is no chance that I would send a photographer out for the first time without meeting them. There’s just so much that could go wrong. For me, it’s very reassuring to meet with a person face-to-face and figure out how he works, how he interacts with people.

Individuality and bringing your own style seems to be important in your team. How do you usually partner photographers and writers on assignments, especially if you’re looking for distinct voices in their field?

Sonny: Usually we just joke around, “what if we pair them up?” There’s this section called “Drive-By,” so we decided to pair this driver/writer and photographer. And the story was amazing.

Nina: We’ve never had an instance wherein someone says, “I can’t work with that.”

Sonny: In fact, what’s really cool about it is that after the story, there’s this weird bond between them.

Chaz: The photographer-writer dynamic really enhances the story. I remember the jungle survival training piece we did.

Nina: Which also started as a joke. Some of the stories really started out as a joke. The joke behind that is that they wanted to send two people who looked like they wouldn’t survive the jungle survival training.

Chaz: So it was me and Nina.

Nina: Yes. Chaz now knows how to hunt for shrimp and fish.

Chaz: Yeah, and crab. And frogs. I could live off frogs.

Sonny: Some endangered bats too.

Nina: They are un-endangered. I googled them. They were just tiny bats, which we ate. So for your earlier question about how we find leads, sometimes we just play around with the flexibility, we joke around, and sometimes, it turns out into good story ideas.

With that freedom, how do you come up with coherent ideas? How do you combine all your ideas into a cohesive magazine?

Nina: It’s a really long process, and we shelve some ideas sometimes. If they’re too many, we put them in the next issue, in the lineup.

Chaz: We have a story way back in November, and I don’t think it’s going to see the light of day even in the next issue.

Nina: Sonny and I had a story since Volume 1, and we have been pitching that for a year, and it’s been a really long time. We all have our own opinions and insights, and it seemed like it didn’t fit anywhere so we had to ask ourselves what we were going to do with it. Then, this issue comes out and that was the perfect time to run it. Sometimes, it just boils down to the timing.

Chaz: Or a lot of people submit their work. Sometimes, our ideas internally don’t see the light of day for over a year.

Nina: Sometimes, when we talk about our ideas, we realize that they are half-baked and then later on, someone will throw in something new and we’ll remember that. We put it together, and now it’s complete. There are also stories wherein we realize a few months later that we don’t really need to do it.

What stories or projects can we look forward to from Grid Magazine?

Chaz: We have a workshop coming soon.

Sonny: We’re going to have another photography workshop, but that’s all we can say right now. It will be similar to the one we had in La Union. We’ll be shooting and editing for three to four nights and we’ll invite a couple of guest speakers.

Chaz: That’s going to be in the end of April or in May. So people can come to our workshops. We build our networks and we come together for all of the people who we have to thank for us coming this far. So there’s going to be more photographers and writers and collaborations.

Nina: Our first workshop was “GRID Open Call,” wherein we had photographers come in and bring their work. Our staff writer was actually the winner of that open call.

Chaz: You can expect more workshops with photographers and videographers.

Nina: Volume 2 is in the works.

Chaz: It’s bigger, and thicker.

Nina: Yes. In terms of destinations, you’ll be seeing lots of places.

Sonny: Lots of familiar places. Very unique stories for the next issue.

Nina: If you’re a follower of Grid, you’ll know what to expect because we’re not changing it up too much.

Commonwealth's Omar Quiambao shares the ASICS Tiger x Commonwealth "Kultura" Story

Commonwealth’s expansion in the Philippines harbored great potential to initiate something remarkable, not just for the local retail landscape but also to put the country in the global spotlight. With Omar Quiambao’s many years in the business, he had cultivated relationships and partnerships with many international brands, which helps a lot in making the right actions for what they are about to accomplish in the Philippines. These partnerships brought them to work with ASICS to come up with a shoe collaboration. Being that it was spearheaded regionally, and by being both present in the Philippines, they wanted to tell a story specific to its culture.

With numerous ideas thrown around, Omar, Michael and ASICS Tiger chose to be inspired by the “Batok”, the traditional tattooing technique rooted in the Mountain Province in the Philippines. It dates back to the pre-colonial era, with designs and markings only a “mambabatok” is intended to inscribe. This craft is integral to their culture – so revered that the craft is entrusted only within the “mambabatok” bloodline. With the use of thorn ends and a mixture of charcoal and water, the ink on the skin is a symbol of pride for the Butbut tribe warriors, and a marking of beauty for the women.

Influenced by the mountainous region of the country, the “Kultura” collaboration revolves around the warrior culture of the Kalinga. It pays homage to the culture’s customs of tribal tattooing, regarding the adornment of the body and symbolism found therein, carefully preserved from modernism. Authentic, perpetuated, and true to the roots. 

This is an excerpt from Purveyr Magazine Issue 3: Collaboration
Words by Aaron Pugal & Photography by Steve Tirona

What is the vision for the Kultura collaboration?

With there being thousands of islands and well over 100 dialects in the Philippines, our vision was to go beyond the cliché of the national flag colors and wanted to avoid what people usually envision. Our goal was focusing on “Kultura/Culture”. We wanted to be able to highlight a part of the Filipino culture that is indigenous, so we focused on the Kalinga, an ethnic group in the Philippines that inhabit the mountains of Luzon. Due to the mountainous terrain and warrior-like culture of the people, the Kalinga were able to preserve their culture despite centuries of occupation in the lowlands by the Spaniards, Americans and Japanese. This include their custom of intricate art of body adornment that dates back a thousand years, drawing on the basic geometric shapes and nature-inspired designs.

We heard you flew home and made a trip to Kalinga to meet with Apo Whang Od. Could you tell us about that experience?

This is the overview of the journey – Tetanus and Diphtheria shots + 13-hour flight from Los Angeles + 5-hour bus ride from Manila to Baguio + 5-hour bus ride from Baguio to Bontoc + 2-hour jeepney ride from Bontoc to Buscalan + 1-hour mountain hike to the village of Buscalan, where Apo Whang Od lives.

I travelled from Los Angeles with a close friend, photographer Steve Tirona. We spent 4 days and 4 nights in the village documenting our trip, as well as the practiced art of the Philippines’ oldest mambabatok, 100-year old Whang Od, and her apprentice, great-grandniece, Grace Palicas.

There’s so much that could be told of the journey, from hearing warrior stories told in first person to witnessing literally hundreds of tourists over a Saturday and Sunday to observe and experience the art of Apo Whang Od. In brief retrospect it was an enlightening and humbling experience.

Experiencing the art of tribal tattooing firsthand and having immersed in their culture, do you think it validated the story you wanted to convey?

Although the product was designed before the trip, the storytelling and presentation of the project can now be told from an authentic experience versus it just being a source of inspiration. I believe having firsthand experience with the source of inspiration validates the authenticity of the endeavor.

Could you describe to us the design process it took for you to produce the shoe?

The design process started with a brainstorming session including both Commonwealth teams in the US and Philippines. Once we agreed and decided what our direction would be, several designs were mocked up then narrowed down to present to ASICS for approval before sampling.

Please tell us more about the aesthetic of the shoe. What are the strongest elements in the design that represent the concept best?

We looked to simplicity to help us communicate the inspiration of the shoe. We chose beige/tan for the foundation of the shoe for a number of reasons, to be wearable but also be a neutral color representing nature. The greatest signifier of the concept would be the sublimated neoprene sock. It is embellished with designs inspired by nature found on the arms and chests of the Kalinga people.

Lastly, what does this collaboration project mean to you?

Personally this collaboration for me represented a bit of a cultural homecoming. As a Filipino-American, to be able to come to the Motherland, see and experience the village of Buscalan, meet Apo Whang Od and to be able to share even just a sliver of Filipino culture through this project is everything. I hope we make Filipinos around the world feel proud, as well as inspire all people to take interest in the Philippines.

More about Commonwealth and the ASICS Tiger x Commonwealth GEL-LYTE V "Kultura" in the upcoming Purveyr Magazine Issue 3: Collaboration, which you can now order at our online shop.

Eyedress releases "High Street Drive By" with Jess Connelly and Ankhten Brown

More than a year after the release of his debut album, local songwriter/producer Eyedress is set to drop his follow-up project "Manila Ice" this May 12 thru London-based, Lex Records. The upcoming LP mirrors a recent phase in his life, with the streets of our central metropolis as the background. It includes a collaborative track with Jess Connelly, Ankhten Brown, and Lustbass for what might be your new party song, "High Street Drive By". The quartet came up with a trippy yet eargasmic tune. Released via a music video, the accompanying visuals serve the mood well, while also going for a parody of the famous Filipino music channel, MYX – complete with lyrics and "LEX" in exchange of the word "MYX" on the logo. Click here for preorder details of "Manila Ice".

Commonwealth collaborates with ASICS Tiger to create the "Kultura" GEL-LYTE V

In 2015, US-based lifestyle boutique, Commonwealth established itself in the Philippines through the partnership of brand founder Omar Quiambao with Ronnie and Joe premium eyewear boutique's Michael Concepcion. Known as one of the pioneers of the unique retail movement of integrating culture and style together seamlessly, Commonwealth was a significant addition to the changing retail industry in Metro Manila. In just more than a year, with immense energy and persistence, they influenced a local cultural shift in consuming style. The diverse selection, enviable partnerships with global brands, and an intense passion for retail just shows that Omar and Michael have no plans of slowing down.

Photos by Steve Tirona

Another evidence to that is their upcoming shoe collaboration with ASICS Tiger that's set to launch this April 7 at POV by Commonwealth. The shoe takes inspiration from the Kalinga ethnic group to represent the Philippines globally, and pay homage to one of the country's preserved traditions. The ASICS Tiger x Commonwealth "Kultura" GEL-LYTE V is directly inspired by the sacred tradition, "batok", an ancient technique of adornment that draws basic geometric shapes and nature-inspired designs on bodies of the Kalinga natives to communicate their identities. The shoe design adopts this philosophy through the GEL-LYTE V's signature mono-sock tongue, against beige uppers and navy accents. This exclusive shoe collaboration will be officially launched on April 7 in all Commonwealth stores, and will be released worldwide on April 14, 2017.

More about the story behind Commonwealth and their ASICS Tiger Collaboration at the upcoming Issue 3 of Purveyr Magazine. We talked with Omar and Michael to know the reasons behind putting up Commonwealth PH, and Omar's memorable trip to meet Kalinga's Whang Od and its tribe in the Mountain Province. Follow Purveyr Magazine on Instagram to stay updated with the release of Issue 3.

Views on Filipinos' Growing Interest in Art from Artists, an Urban Planner, and Gallery Owners

To this day, art is still a difficult concept to define. It comes in so many forms that it’s impossible to box; so many questions are attached to it, that it’s hard to describe in a single attempt. One thing is for sure, though: art has come to a point where it can seep deeper into our personal lives – some people can now say it’s hard to point out the distinction between their lives and art, while some depend on art to get through each day. It has found, if I may say so, a greater purpose that goes beyond an artist’s liberation and expression. Art, today, is an instrument to provoke thought, spread or question ideologies, and revive communities – even places that were once declared barren. Art does not only mean museums, the canvas, and the carved marble now. You can find it among us – in public spaces – in the intricate but beautiful mess of our cities. 

This is one of the messages that the most recent Art Fair tried to spread – that the city is or can be an artwork in itself. Though it is mostly a market-driven event that fits different artists and galleries into one car park to showcase and sell, Art Fair 2017 aimed to draw more attention to and elevate the discussion about art, especially contemporary art. Its mission is to also highlight the galleries and artists that will continue bringing and creating art even after the Fair ends, leaving it to the city that serves as home to all of them. 

We asked two panelists from the Art Fair talks, two local gallery owners, and a curator about their thoughts on art in the city and public spaces. Here’s what they said.

Interview by Queencee Quitalig, Photography by Ivan Grasparin

Marika Constantino

Executive Director, 98B Collaboratory

What can you say about the transformation of the art scene in the country in the recent years?

Actually, we’ve already had the artist-run spaces since the late ‘60s. I think, one of the first few ones was Shop 6 by Roberto Chabet. It’s constantly evolving because the conditions change. Artist-run spaces and initiatives also respond to the particular milieu that they’re in. So, you cannot just also lump up or conclude that. Because at a particular time, these initiatives also answer their own particular, I guess, issues. I think the good thing is that, so far, there is that constancy in the initiative sprout. So maybe that’s also the reason why. Sometimes it’s fitting, sometimes the length of time wherein a space exists may be long or may not be that long. But I think, it’s always dependent on what concern they are addressing. But the fact that these spaces are there; it means that artists are responsive. 

What do you think is the importance of making art more accessible to the public?

It’s important because we need to break that misconception that art can only be appreciated by a select few, by the elite, by those who are educated, or by those who can actually afford art. When, in fact, the moment that you wake up and you fix yourself, that’s something creative already. Even your little dinner or breakfast, that’s something creative. Or how you put certain things together, that’s creative already. So it’s a matter of making more people aware that it’s intrinsic in all of us. And it doesn’t have to be always paintings or sculptures. Art is also about cultural work. It’s also about organizing. It’s also about performances. It’s a very wide spectrum and, I think a lot of people need to be aware that it’s not just this notion that it’s all of these object-based items. 

What do you think is the role of the city in forwarding art?

Maybe, what they can do is also, in terms of education, to make Filipinos more aware of the practice whether it’s indigenous or traditional forms. It can start there. Then from there, tackle our own art history. Ask questions like: Who were the great Filipino artists? Who are the practicing artists? What have they done? What’s the impact? And it’s just not about those who are recognized abroad, or those who are recognized by the art market. Practitioners who have done their fair share in forwarding ideas or maybe even knowledge about art. So, the local government should have that capacity to create that awareness because, otherwise, we won’t be appreciative of our own culture. And it helps in building our own identity as a person and as Filipinos.

How has art affected your lifestyle or life in general?

Main inspiration, its effect, is being more open and flexible or trying to think about other things. So it’s that constant thinking about different ways to join others, to be more appreciative. It’s like it’s all together, it’s all fused. But a lot of it falls on the notion that we just also need to be open to diverse practices, media, and forms.

Julia Nebrija

Urban Planner, MMDA Assistant General Manager for Operations

What do you think is the importance of making art more accessible to the public?

I think, especially when it comes to public art, there is no dearth of interesting places to activate. I’m not an artist but for some artists, I think, that offers a lot of opportunities to learn. Like when I talk to Leeroy New (artist) about it, he says that doing art in the public realm, in the city space versus in your studio preparing work for a gallery, it teaches you a lot as well. Like with Pasig River, we had to talk to seven national agencies including the Presidential Security Guard of Malacanang about floating a sculpture down the river. You have to learn to navigate outside of your comfort zones, you have to learn to compromise with a lot of other people. And it might not be the same thing when you have control over things, like when you’re preparing something in the studio. It doesn’t just belong to you. It belongs to a lot of other people; people will have opinions about it. 

What do you think is the role of the city in forwarding art?

I’m not an artist and I don’t know much about art; but from my perspective, I work with artists as a collaboration. So there’s something like the Pasig River that we wanna bring attention to, or we’ve started conversations with communities around the river. I think art is an amazing catalyst for starting that critical dialogue, especially when it comes to the city because the city is a very complex system. There are a lot of voices, there are a lot of expectations, desires, a lot of dreams, a lot of different perspectives. The creation of the city is one of our greatest collaborative efforts that we have as a society. I think art offers a lot in that process because it’s not just about being a technical expert, you know. And solving problems in the city; to also know what kind of culture the city has. What kind of life the city wants to create. That conversation can be facilitated in a unique way through art.

How has art affected your lifestyle or life in general?

I mean, I love working in collaborations, so for me that’s really special to just get away from the computer, to get away from technical reports, and go on to the ground especially when you’re working with artists. It’s so much fun. And having that type of creative energy around the work, it really brings a different vibe to the entire exercise of trying to revitalize Metro Manila and make it more livable. It’s a very tedious, very complicated journey, and art offers something different – something that can be more positive and hopeful, and also really highlight what’s special about the city. So it’s not just problems, but there’s also a lot of opportunity. I find that creative collaborations have really instilled a lot of inspiration for me as a planner, in appreciating how to see things differently through the art engagements that people have done. As opposed to just drawing maps, drawing plans. We can really get bogged by all the problems of Metro Manila and art is one of the ways to try to engage people more positively as well.

What can you say about Art Fair’s expansion this year?

In the last couple of years, I guess, you can see more people attending. I really appreciate having a lot of the talk series this time. It’s good that there is a mass appreciation for contemporary art, that’s great. But getting people beyond coming just to take a selfie with the works or take that fashion picture themselves strolling through the gallery for their Instagram or for Tinder or whatever it is, and getting them into the talk space to really stay, listen and engage. Beyond normal practitioners, people from different departments and galleries, we hopefully want to have students or people who don’t know anything about art but just want to learn something different. I think that’s really valuable ‘cause we want to use it as a way to start a conversation. It’s not just a market-driven event and about buying works. It’s about talking about art as well. Enriching the knowledge of people, expanding mindsets.

Gabby de la Merced

Gallery Owner, Vinyl on Vinyl

What can you say about the transformation of the arts in the country in the recent years? 

Well, there’s been a big evolution so to speak. It’s not just the change in the vigor or vibrance of how the art community is over here, how the world perceives Philippine art, or how we projected ourselves in Southeast Asia; but also in terms of how much we’ve grown to the new genres. Our gallery, as you could see, catered to a very specific type of art. Some people may consider it a bit experimental, it may be very new forms from street art to pop surrealism, all those other sub-genres that we’ve personally been influenced and been following for the past, more or less, 10 years now. 

What do you think is the importance of making art more accessible to the public?

I think that’s pretty much one of the most important things. Art is meant to be shared with the world. For me, the importance of art is that it maps out a particular period in history. And this is what’s happening now, in terms of contemporary art. We are living it, we are part of history. So, the more that society sees it, the more that they get oriented, the more that they accept it, the more that they are educated by it, the more things change, and that forces another part of evolution.

What do you think is the role of the city in forwarding art?

Obviously, props to Makati because they’ve been holding the Fair in Makati for quite some time, in a sense ushering it. I think, Makati, like other cities, has done a lot to create this atmosphere. Not just in terms of the Art Fair in The Link, but in other spots as well. From performance art, to all these other art installations. And it really does well to the community. It not just brightens up the environment but it also helps with the people that go around, the people that visit. 

Art is broad in a sense – aesthetics, beauty. Architecture (as seen in the city) is a part of art. Everything else is part of art. So if you fuse this particular visual with that landscape, with that aesthetic, it gets more layers to it.

How has art affected your lifestyle or life in general?

Oh, yeah. (laughs) It’s definitely a part of me. I could speak with a lot of gallery owners here and they’d probably say the same thing – that it’s not just either a hobby or a business; it’s a lifestyle. It’s what you think, it enriches you. There’s so much growth, there’s so much learning. Art is basically what I see every day, what I do. I’ve always strongly believed that everything should have purpose. With me, art gives me purpose.

What can you say about Art Fair’s expansion this year?

Well, it’s been wonderful. I mean, it not just caters to a wider audience – for people who want to experience food or drink or party. People have different reasons for going to the art fair. But as I’ve said, art isn’t just about white walls. It’s about other stuff also. And for them to expand and make it more extensive, it just broadens the whole vision of that it is a certain lifestyle, it is a certain experience. More than anything, art is an experience. And they are trying to give that experience to the public.

Issa Lorenzo

Gallery Owner, Silverlens

What can you say about the transformation of the arts in the country in the recent years?

I don’t know if transformation is the right word. It’s just that the audience has gotten bigger. The artists have become more professional. The gallery system has become more structured. I don’t think it’s “transformation”. It’s the awareness that’s become more evident. 

Do you think making art more accessible to the public is important?

Of course. Of course! Yeah, it’s important.

What do you think is the role of the city in forwarding art?

Public art? Actually, there already is a lot of existing public art. All those Tolentino statues on the corners – that’s all public art. But I guess, they want to engage public spaces more with temporary artworks that are more contemporary. I think it’s great. I wish it would become more permanent. Because these would all go down when the Art Fair goes down. It would be nice if there were commissioned pieces by Filipino artists that were more permanent. 

What can you say about Art Fair’s expansion this year?

I think it’s great! Because it extends art into a more experiential thing. And also, art is a living thing, especially contemporary art. Everyone’s practices are on-going. So, yeah, it makes sense. 

Jonathan Olazo

Professor, UP College of Fine Arts / Curator, 1335 Gallery 

What can you say about the transformation of the arts in the country in the recent years?

That’s hard to answer actually. I think it’s improving. From where we stood in college, some time ago, the perspective is more modern, unlike now where the discourse has somehow adjusted, even in terms of teaching. I think that’s okay. Before, it’s more selective or exclusive, maybe. I can still remember our time in the university, in the ‘80s, it was during the height of modern thinking – everyone wanted to do a certain work. I think there are still restraints now, though. But at least, the perspective is more open. Before, the works were more personal, unlike now wherein they talk about social issues more. 

What do you think is the importance of making art more accessible to the public?

For me, I think that’s the purpose. It stands between the audience and the artists. Art is a model of something related to life. Art captures the essence of that time.

What do you think is the role of the city in forwarding art?

I think, Manila is fast becoming an art center in the Philippines and Southeast Asia. Curators from outside are looking here and even think that the Philippine art scene is really rich. Yeah, I think that’s nice. There is this awareness. I got to talk to a curator from Singapore who said that during the 90s, the Philippines is 15 years ahead of other countries, in terms of art making or the mentality. It was good during that time. So, the city is a good platform to showcase these works and the message they are trying to convey.

How has art affected your lifestyle or life in general?

Art-making is salvation for me. When I was growing up, I was a way-ward son. It took a while for me to see. My father was a practicing artist, at the time, and I was like the black sheep among his kids. And since the time that I saw the light, I realized that it’s possible, it’s something that you can do. And art allows you to think about life. It makes you think about philosophical questions while doing the work.

What can you say about Art Fair’s expansion this year?

I think it’s very healthy. 

A Discussion With. Nix Damn P: Mastering a Craft, Spinning a Legacy

Let’s face it, few job titles excite people like being a DJ does. Upon mention to anyone, there’s a good chance requisite questions from music genres to gig locations will be coming your way. From friends sharing playlists of exquisitely curated songs online, to old high school batch mates spinning in-house at some new bar you just discovered, these days, it seems like everybody’s a DJ.

Nix Pernia knows that. He’s been doing this a long while now. From regular performances around the local bar scene, to playing the biggest parties across the country, Nix acknowledges that it’s way easier for anyone now to make a living by hopping on the DJ bandwagon. However, he’s also quick to point out that just like with any craft – enjoying longevity is a product of hard work and dedication. 
We took some time with Nix, known to many as Nix Damn P to talk about his roots, what’s next, what’s on his feet, and the importance of trusting your DJ.

Words by Mykee Alvero & Photography by Zaldine Jae Alvaro

Can you tell us a little bit about yourself?



I’m Nix Pernia aka Nix Damn P. I’m a sucker for good music, and I'm also passionate 
about food, except for pineapples on pizza. And I provide good vibrations through DJ-ing.



How did you first discover DJ-ing?



I discovered it through a friend from college. When I saw his DJ set collecting dust 
inside his room, I asked what it was for and if I could borrow it. Looking back, it’s not like he had a choice, but good thing he said yes. 


When did you know it was something you wanted to do?



I didn’t have plans on being a DJ before. But when I lived with my
 brother in the US and won a DJ competition in California, it was a pretty big deal to me. I realized DJ's are artists too. There's a whole "industry" for it, and that the craft is 
way deeper than I thought.



How were your first gigs like? What was the most memorable gig that
 formed your strong perspective of DJ-ing?


One big question mark. It was a time in my life where I had a lot of questions in my head, I was really confused. Since I didn’t know how to spin different kinds of music, I was only playing hard house or trance at small parties for free. I went from gigs with no talent fees to P500-1000 a night. I used to think it was all about the music, but it turns out there’s a business and culture side to DJ-ing too.


Does your own personal taste in music influence what you play live? 
How do you balance it with what the audience like?



Yeah, it’s our identity as music influencers. I balance it by keeping 
my ears wide open to all genres, from underground stuff to mainstream joints. When it comes to playing live, people either hear good or bad music. No in-betweens. 


When it comes to approaching a performance, do you come prepared or is 
it something you just vibe out?



Whether it’s an event or a party, I treat a performance like I’m telling a short story. Different environments have different crowds, but having the right music really gets vibes going. But still, hours in the studio reflect on your performance. Practice in silence, perform with confidence.




Are there any assumptions people have towards being a DJ or any 
challenges that come with it that you’ve had to overcome?



Where do I start? Everyone is a DJ now [laughs]! Kidding aside, it’s become so popular that it created a lot of new industries to make a living from – magazines, events, blogs to
 movies. So it actually helps a lot. People now know we’re not robots [laughs]. But at the same time, it’s on us to stay true to the craft, be consistent to the craft, and innovate. 



Are there any other DJs or people you look up to, people you’d
 consider masters of their craft?


Oh yeah! DJ Craze is up there on the top of the list with DJ Premier, DJ Krush, Jazzy Jeff, DJ AM, A-Trak, Gaslamp Killer, RL Grime, Deadmau5 and more. They’re up there cause they innovate while staying true to their craft.



What inspires you to keep working on yours?



Our people, education, and the road of learning that never ends. It drives
 me to take this craft to new levels. It excites me to create, and it moves me toward directions that were goals I once dreamed of.



Speaking of masters, you’ve got the “Master” Air Max 1s on. They take 
cues from the greatest Air Max 1s of all time and spin them into an
entirely new shoe. Do you think it’s a good representation of what a
 DJ does? 


Yeah! It’s crazy when you think about it, because DJs aren’t just about the music now. There’s a Swiss Army Knife vibe to being a DJ like how people say to use music as a tool. We can connect it to graphic design, we score films, and we can even create events.

In terms of the Air Max “Masters”, I guess it’s the blend of materials, cultures and influences coming together that relates to how our industry is. There’s chaos and balance, at the same time.


What’s next for NixDamnP?


Still climbing this mountain called music [laughs]! It never ends 
man! I’m in a good place now cause of new skills. It’s
 exciting to create your own music. It’s hard but it’s rewarding.



What words of advice would you give for anyone who wants to be a DJ as well?



Know your roots. Be real. Respect the craft. And oh practice and
 practice and practice and practice and practice…and practice! TRUST YOUR DJ!