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!

          

Nude Illustrations from The Lifedrawing Setup by Tom Bucag

The two-man team of WHOAREMARO is at it again with The Lifedrawing Setup, a nude figure drawing event that gathers different people in a night of music, drinks, and well, nudity. Having just concluded their 6th installment, Mikee and Rocky continue to give artists (whether amateur or professional) a venue to practice their skill and hone their craft. But it's not just a place for artists to commune, it's also welcoming to those who simply wants to get exposed, The Lifedrawing Setup is as open as it gets.

WHOAREMARO invited us to one of the first sessions a while back, and we found it interesting and intriguing – so much that we wanted to have someone experience it, too. For this, we wanted to send someone who is already into drawing and illustration but thought of nude figures as unfamiliar territory, and so Tom Bucag came to mind. Tom is known for the illustrations he did for Preview last year, where he made portraits of their Best Dressed in a way only he can. We reached out to him, asked if he wanted to experience such a thing. He was surprised by the invitation but was equally curious, and so he went.

Artworks by Tom Bucag

Can you give a brief background about yourself?

It all started with a spontaneous slap of curiosity. I was a college student back then – an undergraduate trying to earn a degree majoring in Biology, when it hit me with the thought of "drawing" but without the intent of pursuing it. Bought the cheapest sketching pad, grabbed a random number coded graphite pencil and charcoal. I didn't have the slightest inkling as to how it works! So I just went on with it and drew my first ever portrait with a specific vision of a woman in mind. The result was far from how I wished it to be, but it was a self pat on the back thinking "kaya ko pala!"  (I can do it!) From then, I drew every chance I get.

I have always admired femininity – its fluidity and subtle yet firm expression of a message. My subjects mainly revolve around women with a distinct look of being aloof and nonchalant but proud. Style wise, I like experimenting on different techniques and media thus I can't claim yet a specific style I would consider mine.

What do you hope to achieve being an artist?

One of the artists I look up to, Yohji Yamamoto, once said "I want to achieve anti-fashion through fashion." There's a strange correlation about his views to mine wherein we're eyeing on the same trophy. Pursuing art without the formal education can be a real pain (aside from being very time consuming). That's why it was always a mindset to create art and present it in its truest form and content without the thought of undergoing through the process of how things should be.

What did you expect from The Lifedrawing Setup? How was the experience?

Honestly, I expected the event to be like scenes from films – quiet, well-lit, serious, and intimidating. It was close to being the complete opposite. Like the usual setup as films would portray, the nude model stands in the middle on a platform while the artists circle around. Apart from the setup, music was of great help. It was loud but not numbing, enough to kill the intimidating air that welcomed me as I entered the room. Everyone was serious. One would walk around trying to find the perfect angle despite the surprisingly huge crowd, then settles 'til the sketch is done and the model makes another pose.

As my normal uncalm self, my eyes kept roaming around different sketchpads from one hand to another, observing how other artists do it. The experience was initially very intimidating. I kept flipping pages to start another work. I put my observance to good use, turns out, not giving a whit is key. You just gotta do your own thing because honestly, other artists don't give that much damn about what you make as they're busy creating their own.

Would you want to do it again?

Definitely. Aside from enjoying the used-to-be unfamiliar The Lifedrawing Setup, I've met a great deal of people.

Why should artists experience The Lifedrawing Setup?

Artists should experience The Lifedrawing Setup because it will test your skills on the spot. There's no time for procrastinating. Everything is fast paced, thus your mind gets to come up with an idea in an instant, which is very crucial.

Lastly, could you briefly discuss to us your illustrations.

As mentioned earlier, I started with much intimidation from fellow artists, and it's clearly reflected on my first drawings. The style was very uncertain with much confusion on how I want the final output would look like. But towards the latter drawings, I went on with my mindset of just going with it with instantaneous ideas. It can be tricky at first, but one learns in the process.

Paola Mauricio's "Consent To This" is Your Latest Earworm

There's something refreshing about Paola Mauricio's music. At once rhythmic and lively, it borders along  electronic music and R & B; occasionally dipping into smooth verse before amping in a head-bobbing hook.

"Consent To This" is testament to such prowess. With sensual synths and bass lines, it's a tune that takes a fresh approach to timeworn themes of love and longing. Instead of typical, one-sided takes on the topic, the single - produced by Justin de Guzman of Deeper Manila and penned by Mauricio - delves into the importance of reciprocity; punctuated by an addictive drumline and Mauricio's sweet vocals.

Check the links below for more of Paola Mauricio's music:
fb.com/itspaolamau
SoundCloud: @paolamau
 

Nike Combines Different Styles for its 30th Year Anniversary Edition, the Air Max 1 Master

In 1987 the Air Max was born. It was the very first silhouette where the visible Nike Air was showcased, which was designed by renowned shoe designer, Tinker Hatfield. Initially created to be used for training and sports that the iconic Nike Air commercial in 1987 clearly expresses. Though it found success in that direction early on, the Air Max 1 eventually became a household pair as a lifestyle shoe due to its design and heritage.

This is the famous Nike TV commercial that ran in 1987 that jumpstarted the Nike Air technology and the Nike Air Max specifically. The commercial adopted the tracks of The Beatles 'Revolution' to accompany the visuals that depict sports, training, celebrity athletes, amateur players, and more. It exhibited the philosophy of equality through sports, which Nike advocates. View the video above for the iconic commercial that kicked off the revolution. You can know more about the video and  The Daily Street . You can also see the original print ad of the Nike Air System below.

Fast forward to today, the Air Max 1 is celebrating its 30th anniversary by releasing the Air Max 1 Master. This monumental milestone for the silhouette and the line made Nike create a design that commemorates the most coveted styles in the Air Max lineage. We compiled the inspirations below so you can do a little search of where they pulled the materials from design to the Air Max 1 Master.

Shop Talk over Coffee with Baristas from Legaspi Village Cafés

Along the bustling streets of Legaspi Village in Makati are caffeine gems conspicuously tucked in between office buildings, perfectly juxtaposed against the busy vibe and fast pace of life in the city’s business district. The recent resurgence and newfound appreciation for craft coffee paved the way for these third wave cafes to rise. Most notable of those are Local Edition Coffee and Tea, Yardstick Coffee, and Toby’s Estate. While they are well-known for their undeniable quality coffee, they are remembered and loved for the sense of community they foster among their customers. This is what sets them apart from mainstream coffee shops. In here, the baristas engage you in genuine and insightful conversations.

More often than not, it is the baristas who ask questions to their customers – how their days are or how they’re feeling – and take the extra step to get to know them. But what if we do it the other way around? So on one Sunday afternoon, we decided that it was fitting that we get to know them as well. After all, everyone has stories worth sharing. Here are theirs.

Photos by Zaldine Alvaro

Imari June Emia, Senior Barista

Local Edition Coffee and Tea

Why did you become a barista?

Actually, I didn't really start out as a barista. I was initially a cook, and that's how I applied in Local Edition. But once I got in, I learned to be an all-around employee, because here we all take turns in doing different tasks – we get to serve the customers, man the register, and make coffee. So because of that, I eventually learned how to make coffee. Now, I'm really happy to be a barista.

What's your most interesting experience in the café so far?

There are a lot, but for me it's the day-to-day task of being friendly to the customers because it's very important especially since we're a neighborhood café. The best thing is that all of our regular customers have become our friends. And within the store itself, every few months we change the art installations which means new artists to work with. These artists become our new friends as well.

A particular instance would be when I formed a good relationship with a group of people from Lazada who have been our regular customers for the longest time. We also meet up and hang out with each other even outside of Local Edition.

What do you think is key to make customers keep coming back?

It's the attitude of the baristas. It's very important that you are attentive to their needs and mood, and being friendly – that's what the customers really notice. If they like the coffee but don't like the attitude of the barista, I don't think they will come back to the café.

What do you want to achieve as a barista and what makes this job fulfilling?

The coffee shop industry is already booming, and it has really grown, and it’s nice that people begin to appreciate you even more. For example, if you are a barista people already know that you are knowledgeable and skilled in a lot of things related to coffee. To be honest, because of this we feel pressured to practice our skills even more because nowadays the competition in this industry can get really tight. But once we do get to learn and apply what we learned in the store, that’s when it gets really fulfilling.

As for my goals as a barista, I really would like to someday be able to learn how to mix coffee and cocktails, or make something different and experimental with coffee.

What's your recommendation from the Local Edition menu?

Two of our best-sellers which are Azucarado, which uses sweetened milk as the whipped cream, and Tablocha which uses Tablea chocolate instead of the regular chocolate mixed together with coffee.

Aldrin Lumaban, Senior Barista

Yardstick Coffee

Why did you become a barista?

It’s actually an interesting story. I started out when I was in second year college. My cousin asked me to join the Barista Guild of the Philippines. Back then, I had zero knowledge about coffee. In fact, I didn’t want to learn about coffee because I was a culinary student, so I wanted to be a cook. But when I started learning about coffee, I fell in love with it. So come third year college, I pursued being a barista while studying, and it went on from there. Now I’m working here for two years already.

What's your most favorite part about being one?

I really love serving coffee to the customers and talking to them because you can discuss the tastes, sources, and variety of coffee. The most special thing about it is you can connect to the guests and tell them why their coffee tastes a certain way. You also get to understand the different connections – from the farmers of the beans to the roasters down to the customers. That’s basically my favorite part about being a barista.

What's your most interesting experience in the café so far?

I just noticed something interesting about people’s orders recently. Back then, almost everyone who walked in here ordered iced mocha, but now majority of them order latte, espresso, pour-overs. So if you compare it two or three years ago, the orders then had a lot of syrup in it, but now it’s more coffee-based already. And I think that’s a good thing.

What do you think is key to make customers keep coming back?

Good service, consistent product, and customer interaction. I think those three are the key things for a customer because we’ve had a lot who kept coming back because of the way we serve and interact with them. If we have time to spare, we really try our best to talk to them.

What do you want to achieve as a barista?

I want to someday have my own coffee shop – to be in the wave when people are becoming aware and appreciative of good coffee. I envision a rustic coffee shop, similar to Cartel, with minimal food and just really focused on coffee. I want it to be more of a happy place than a work place. If someone wants to explore more about coffee, then he or she can go to my café.

What's your recommendation from the Yardstick menu?

Be Good, our Christmas blend, available only until March.

Jayson Montoya, Senior Barista

Toby’s Estate

Why did you become a barista?

I trained for free in TESDA initially just for fun, and it went from there. I enjoyed making coffee, and my passion for it developed over time.

What’s your most and least favorite parts about being a barista?

My favorite part is customer relations. The day-to-day interactions with our guests feel so natural. We even joke around with our regular customers, and they are just as friendly as well. As for my least favorite part about being a barista, it would have to be the paperwork (laughs).

What do you think is key to make customers keep coming back?

Number one key to make them come back is of course, the coffee. Another is how we treat the customers. Basically, it comes down to quality product and customer satisfaction.

What makes this job fulfilling?

The fact that I am working and at the same time doing something that I love is really something else. Being here doesn’t feel like work at all because I enjoy what I do.

What's your recommendation from the Toby's Estate menu?

Our Flat White and something off the menu called, Gibraltar.

***

More than the coffee, the playlist, or the store’s aesthetic, it is the baristas who pour their heart and energies out into their craft that make our café trips worthwhile. Maybe the next time they ask for our story, we can, in return, ask them about theirs too.

What makes Malasimbo Music & Arts Festival different?

"The entire weekend is just a treat. You’d always want to go back to the amphitheater to immerse yourself back in the music again and again."

I check on my email inbox religiously and this is what catches my eye. It was a response from Mr. King Puentespina himself, or Crwn rather, the moniker he publicly manifests. On March 10, the magic is bound to be alive yet again, mysteriously surrounding the mountains of Malasimbo in the glorious, oft overlooked Puerto Galera landscape. And Crwn, known for his take on soul and old school jazz laced with modern beats, is one of the lucky ones to have graced and headlined a locally inspired world stage with nature as its backdrop, away from the awry city buzz. He’s been a regular since 2015 and this year, he’s back and he couldn’t be happier, “First time I played in Malasimbo was just too surreal. The show literally drowned me in music and eventually I learned how to swim in it there. The musicians playing there were just unbelievably talented. It was an overwhelming experience for me to be on the stage, let alone do an entire set.”

All photos are from @malasimbofestival and @shutterpanda

It’s hard to believe that the Malasimbo Music Festival, no longer spoken of in hushed tones but in loud booming notes of anticipation, started out on a whim. Miro Grgic was born and raised in Croatia and lived in Australia for half of his life before moving to the Philippines and eventually making it his home in 2010. In his adventures and misadventures as a recurring tourist in our country, he had several encounters with local artists who were craving for more, who wanted a platform to be heard. Then, the feedback he was hearing firsthand wasn’t just mere coincidence anymore. 

A strong force drew him here and it was clear that the universe wanted him to do something bigger than himself in a foreign land. “It just seemed like a festival was the right catalyst, so I ended up spearheading this movement that would help encourage others commit to their craft,” he says of the endeavor. Miro Grgic was not pining for a Philippine version of Coachella, no, not even close. He’s quick to point out that the movement he pioneered was a means towards that end, a meaningful one at that. It’s a place where the local scene is invested on, where local artists who have yet to make it big are made known and developed.

There was a time around 2009 that music festivals started sprouting out like daisies all over Manila. Before this even took place, Miro saw the potential right off the bat. Music festivals can indeed take off in the Philippines. He was right all along. But lo and behold, he chose to go against the flow. Given the rising trend, the ideal route would be to have one in a large metropolis in the Metro (say Pasay, Makati or QC, cities where the musically inclined youth get their fill). If not the city, then definitely a well-known beach where the weekend warriors and the party animals come to play. You’ve got the likes of La Union or Boracay for that. But Puerto Galera? And not on the beach but on the mountains? What gives? Apparently, there’s a method to the madness. “(Personally) That’s because my wife grew up there. And it was also a good place because it was lacking a bit of attention from the tourism…We really went against the rules and against the grain and I think it’s really something. That’s how it became what it is today.” Indeed, making a huge endeavor happen in the most unexpected place reaps rewards.

Since then, Malasimbo has curated a wide set of artists, left and right—of different genres and diverse personalities. They fly independent musicians from abroad too but the spotlight has always been transfixed on the local musicians from different parts of the country. The process of handpicking the acts for the three-day event is rigorous, as Miro suggests, but surprisingly, it’s also as simple as getting in touch with what’s happening online. The process of curation starts with visits to Youtube and Soundcloud. He also makes it a habit to spin some records on his basement. He shortlists his favorites and then tries his luck at finding these people personally, reaching out to them to give them an opportunity of a lifetime.

Enter Mito Fabie, a.k.a. Curtismith, who came into the Malasimbo picture three years ago and has been living it up ever since. It’s a match made in heaven actually. He’s a firm believer of the musical advocacy the festival presents. A typical weekend at Malasimbo is the epitome of chill. It’s more than just a nature trip, it’s more than just the music.  The homegrown rapper known for his slick raw verses puts his personal experience to words, “You have to experience it to understand…I like to play things by ear when I’m there because there’s a lot to do depending on who you’re with.” Crwn agrees with this sentiment, at a loss for words by the weekend’s pure bliss, “It’s the island. You just want it to swallow you alive, if that makes any sense”.

What is it exactly that keeps people coming back for more? For Jorge (more known as SimilarObjects), another returning performer for this edition, five things immediately come to mind: nature, art, music, good people, and magic. On a separate correspondence with the multi-genre beat-maker, he shares his thoughts on the yearly fest that has consistently drawn a devoted crowd since year one. "No hype, (it's) just pure vibes all around...it allows people to get away from all the dense vibrations of the city to be able to enjoy the healing energies of nature and music and the context of an open celebration," he says.

Now on it’s 7th run, the Malasimbo Music Festival promises to be that much needed escape for the soul. It promises to stay the same old festival we fell in love with back in 2010, but also promises new surprises. For instance, the two biggest additions for this year will be the drum shows and the silent disco. It will also be featuring June Marieezy’s last show as June Marieezy before she reinvents herself into another musical persona.

It’s no question that Malasimbo has been keen on pushing the envelope and taking Original Pinoy Music to a higher place. While they’re at it, they even showcase the lesser heard voices and talents the rest of the world has to offer. Curtismith elaborates further, “They’ve contributed by elevating the culture. Everyone behind Malasimbo is coming from a genuine place”.

Perched atop Mt. Malasimbo while the sea-scented wind blows and the birds chip chirp in unison and the stars twinkle even brighter in the night sky, the magic rests in the music. The magic happens when all these artists from different backgrounds and genres merge to just play and celebrate the beauty of harmonies and beats and chords and notes.

Just the thought of basking in that revelry is enough to put a smile on my face.

For more info, visit the Malasimbo Music & Arts Festival page.

All photos are from @malasimbofestival and @shutterpanda