FEU presents Pundaquit Virtuosi's Seven Last Words Lenten performance

The FEU Center for the Arts (FCA) continues its Tutti Concert Series with Tutti Strings, featuring the Pundaquit Virtuosi from Zambales in a special Lenten performance of The Seven Last Words of Jesus Christ by Joseph Haydn. Presented in partnership with the FEU Campus Ministry, this free concert will take place on March 31 at 5 PM at the FEU Chapel, offering the Tamaraw community a moving musical reflection in preparation for Holy Week.

Adding a unique dimension to the performance, each of the Seven Last Words will be accompanied by a short reflection delivered by representatives from the FEU Community.

Pundaquit Virtuosi

Founded in the quiet coastal village of Pundaquit, San Antonio, Zambales, the Pundaquit Virtuosi is led by internationally renowned Filipino violinist Coke Bolipata. Through his vision, music education has become accessible to children in the community, transforming lives and nurturing young talents through classical training and performance opportunities. What began as a grassroots initiative has grown into a respected ensemble known for its heartfelt performances and advocacy for arts education.

Reflecting on the significance of the featured piece, Bolipata shares, “Haydn’s Seven Last Words is a rare piece of music: one that invites stillness. It does not dramatize Christ’s suffering so much as meditates on it.”

Composed in 1786, Joseph Haydn’s The Seven Last Words of Christ is a deeply contemplative masterpiece originally written for Good Friday services in Cádiz, Spain. The work consists of seven sonatas, each reflecting one of Christ’s final utterances on the Cross, framed by a solemn introduction and a powerful concluding movement. Revered for its emotional depth and spiritual intensity, the piece invites listeners into quiet meditation through expressive melodies and profound musical storytelling.

Stations of the Cross by Carlos "Botong" Francisco

The concert is open to all but with limited seats available through pre-registration via the QR code on the poster or the registration link below.

Interested attendees may also contact the FEU Center for the Arts through its official platforms for further inquiries.

FEU Chapel

Registration Link:

https://forms.office.com/r/Tb3m5a9W49

Facebook:

https://www.facebook.com/FEUcenterfortheArts

Email:

fca@feu.edu.ph

ARDP brings Tales of the Manuvu to Proscenium at Rockwell

After a well received one weekend run at UP Diliman last February, Alice Reyes Dance Philippines (ARDP) brings the Tales of the Manuvu at the Proscenium Theater in Rockwell, Makati this March 28-29, 2026.

Presented in collaboration with the Cultural Center of the Philippines and the National Commission for Culture and the Arts, and with the generous support of Pinay In Action, ARDP's Tales of the Manuvu is the country's first ever rock opera ballet that premiered at the CCP back in 1977.

Telling the creation story of the Manobo tribe in Mindanao, Tales of the Manuvu is choreographed by Alice Reyes, National Artist for Dance from the libretto written by Bienvenido Lumbera, National Artist for Literature. OPM icon Dero Pedero composed the music with the rock band Afterbirth providing additional music.

Photo ©Erica Jacinto

As a rock opera ballet, the production features a powerhouse ensemble of singers and dancers, continuing the tradition of featuring live vocalists and a rock band alongside technical brilliance. The original staging boasted a who's who of Philippine theater and music with the casting of Boy Camara, Anthony Castelo, Haji Alejandro, Celeste Legaspi, and Leah Navarro who made her debut with this production.

For the 2026 restaging, the singers include Joshua Cadeliña, alternating with versatile theater artist Adonis Villanueva for the role of Manama/First Man; international a cappella sensation Almond Bolante and distinguished baritone Greg De Leon sharing the role of Ogassi; Christy Lagapa and Toni Carm Santos alternating the role of First Woman; and the UP Concert Chorus returning as the ensemble continuing an almost 50 year tradition.

ARDP dancers taking on the lead roles include John Ababon, alternating with Renzen Arboleda for Manama and Earl John Arisola and seasoned choreographer/dance artist Erl Sorilla sharing the role of Ogassi. Renzen Arboleda and James Galarpe alternate for the First Man while Krislynne Buri and Francine Beltran alternate dancing the First Woman.

Photo ©Erica Jacinto

The 2026 production is restaged by ARDP Ballet Master Lester Reguindin. This iteration features new set and costume designs by award-winning director and designer Loy Arcenas, and lighting design by Barbara Tan-Tiongco.

The March 28, 2026, 8:00 PM performance is a fund raising gala that will be a direct investment in the future of ARDP, providing vital support for our dancers and the preservation of the works of National Artists like Alice Reyes and Agnes Locsin.

Regular performances are set on March 29, 2026 with a matinee at 2:00 PM and an evening performance at 6:00 PM.

All proceeds from ticket sales will cover production expenses and provide essential financial support to ARDP dancers, musicians, and the artists involved in bringing this epic production to life. By purchasing tickets, patrons directly contribute to sustaining the legacy of Filipino dance and supporting the livelihoods of dedicated performing artists.

British soprano Katerina Mina headlines PPO Concert VII: Opera

As the ballet and opera world continue to react to Oscar-nominated actor Timothée Chalamet's now infamous remarks about not wanting to work in ballet or opera because no one cares about them anymore, the Philippine Philharmonic Orchestra gives more than enough reason to care with its upcoming opera themed concert happening on March 13, 2026, 7:30 PM at the Metropolitan Theater.

Billed as Opera, the seventh installment of the PPO's 41st season sees British soprano Katerina Mina headlining the concert performing opera arias by Giuseppe Verdi (Pace, pace mio dio from La forza del destino), Umberto Giordano (La mamma morta from Andrea Chénier), and Giacomo Puccini (Vissi d'arte from Tosca). She will also perform Angel of Fire, which is her poetry set to music by composer Stephan Hodel.

Katerina Mina

Angel of Fire is also the title of Katerina Mina's 2018 album with the Royal Philharmonic Orchestra and Maestro Grzegorz Nowak, who is currently the PPO's music director and principal conductor. The title track and all the arias in the concert program are part of the album that has been presented to King Charles of Britain.

Born in Cyprus and based in London, Mina is a prizewinning artist renowned for her powerful stage presence and wide-ranging repertoire, from Verdi and Puccini to Wagner and contemporary works. She recently starred in the world premiere of Three Women and has performed leading roles in classic operas, including Turandot, Tosca, Brünnhilde, and Isolde.

Mina’s vocal performances through the years drew raves from various critics, citing her “deeply passionate vocal sound,” having “added layers of depth and visualisation to the work that any singer coming after her will be hard put to replicate…”, with a “mature voice that has a given place in any Music Hall. Critics praise her as “one of those clear-as-a-bell soprano voices, displayed with great charm to the top of the register, and with generous volume.”

A versatile concert performer, Mina has performed with the Royal Philharmonic Orchestra, the Cyprus Symphony, and other orchestras across Europe, Japan, and Mexico. Mentored by British dramatic soprano Susan Bullock, Mina has received the Stockholm Culture Award in recognition of her contributions to opera.

Grzegorz Nowak

The concert will also feature Verdi's Overture to La forza del destino as well as Jeffrey Ching's Ring Symphony, a large-scale orchestral work based on Richard Wagner’s The Ring of the Nibelung cycle.

The previously announced world premiere performance of Jerry Dadap's Symphony No. 5 The Wrath of Prakṛti (nature) & Ragatmika-Bhakti (devotion) will be programmed for next season.

The PPO will also have an Opera Cosplay Challenge inviting audience goers to dress up inspired by any opera and/or ballet or as an orchestra musician for a chance to win merchandise and tickets to the PPO's season finale concert. Or just to let Timothée Chalamet know that people still care about ballets, operas, and orchestras. Complete mechanics can be seen at the PPO's social media pages.

Manila Symphony Orchestra, Ballet Manila present joint season opener with Sleeping Beauty

The Manila Symphony Orchestra formally begins its Centennial Season by joining forces with Ballet Manila with the staging of the ballet Sleeping Beauty happening on March 13-15, 2026 at the Aliw Theater, CCP Complex in Pasay.

Ballet Manila's Sleeping Beauty features the choreography of Lisa Macuja Elizalde, the company's Artistic Director and CEO Lisa Macuja-Elizalde and is the final installment of her Princess Trilogy following Cinderella and Snow White.

Shapira Drapete and Joshua Enciso

The music of Pyotr Ilyich Tchaikovsky will be brought to life by the Manila Symphony Orchestra under the baton of Maestro Alexander Vikulov. The MSO, BM, and Vikulov have been frequent collaborators since 2011.

Music highlights of the ballet include the Rose Adagio and the popular Waltz known to most as Once Upon a Dream from the animated feature by Disney. Both the Tchaikovsky music, completed in 1899, and the ballet, premiered in 1890, predate by six decades the Disney adaptation that was released in 1959.

Alexander Vikulov

Another music highlight to look out for is Aurora's Variation featuring a special violin passage to be performed by MSO's concertmaster Alessio Benvenuti.

Manila Symphony Orchestra

Below is Manila Symphony Orchestra's updated Centennial Season Lineup.

Concert I: Centennial Opening: Sleeping Beauty

March 13-15, 2026

Aliw Theater

Ballet Manila

Alexander Vikulov, conductor

Concert II: From Mozart to Mahler

May 30, 2026

Proscenium Theater

Emanuel John Villarin, violin

Christian Wrona, viola

Joshua Dos Santos, conductor

Concert III: Concert Celebration: 80 Years of Filipino-American Friendship

July 4, 2026

Metropolitan Theater

Jeanne Marquez, violin

Jason Marquez, clarinet

Jose Lorenzo Reyna, Jr., conductor

Concert IV: Opera and Kundiman: The Legacy of Maestra Conching Rosal

August 29, 2026

FEU Auditorium

Rachelle Gerodias-Park, soprano

Michelle Mariposa, mezzo-soprano

Byeong In Park, baritone

Marlon Chen, conductor

Concert V: Cellist Camille Thomas with the MSO

October 24, 2026

Hyundai Hall, Areté, Ateneo de Manila University

Camille Thomas, cello

Marlon Chen, conductor

Concert VI: World Premiere: Filipino Master Composers

January 2027

Venue: TBA

New works by Ryan Cayabyab

Marlon Chen, conductor

Violinist Bartek Nizioł, pianist Junhee Kim join PPO for Romanza concert

For this Valentine's Day weekend already overflowing with multiple concerts happening all over the Metro, try something orchestral with the Philippine Philharmonic Orchestra's Romanza this February 13, 2026, 7:30 PM at the Samsung Performing Arts Theater in Circuit, Makati.

Joining PPO music director and principal conductor Maestro Grzegorz Nowak are violinist Bartek Nizioł and pianist Junhee Kim for an evening of music by Wolfgang Amadeus Mozart, Jeffrey Ching, Henryk Wieniawski, and Maurice Ravel.

Nizioł and Kim will be the soloists for Mozart's Concerto for Violin and Piano in D major, K. Anh. 56/315f. This unfinished piece from 1778 will be completed by Jeffrey Ching, the PPO's composer-in-residence. Romanza sees the world premiere of this Mozart/Ching work.

Nizioł will also have his shining moment on stage with Wieniawski's Violin Concerto No. 2 in D minor, Op. 22. Dedicated to celebrated Spanish violinist/composer Pablo de Sarasate, this work is one of the most enduring violin concertos of the Romantic era.

Bartek Nizioł

Violin prodigy Nizioł graduated from the Academy of Music in Poznań. He then resumed his education at the Conservatoire de Lausanne. Apart from winning the Henryk Wieniawski International Violin Competition in 1991, Nizioł has coveted awards in several international violin competitions. Nizioł has spent nearly four decades as both a soloist and a chamber musician, with over 20 albums. On numerous occasions, he has performed and recorded with Maestro Nowak.

Rounding up the program is Ravel's Daphnis et Chloé: Suite No. 2 which is music extracted from the ballet of the same name. Stravinsky calls this "not only Ravel’s best work, but also one of the most beautiful products of all French music.”

After the PPO concert, Kim will have a solo recital on February 15, 2026, 7:00 PM at Manila Pianos at Ronac Lifestyle Building, Paseo de Roxas Magallanes, Makati. Prior to that, he is also scheduled to conduct a masterclass on February 14, 2026, 2:00 PM at Pacific Plaza in Makati.

Junhee Kim

South Korean pianist Kim is known for his stage presence, tone, and refined sense of repertoire. Fusing technical mastery with emotional clarity, his musical interpretations showcase fresh perspectives on the classical piano tradition. Currently, Kim curates long-term projects for the Santa Barbara International Music Festival in Sardinia as its artistic director.

In 2025, he commissioned Ching for a reimagined version of Pergolesi’s Stabat Mater with piano and premiered it at a festival. He later focused on Franz Liszt’s lesser-known compositions and worked with WDR 3 to release Apparitions on Deutsche Grammophon.

February 2026 concerts at a glance

January 2026 saw more than a dozen concerts happening in Metro Manila and it just continues in February. With the National Arts Month, Valentine's Day, and the Lunar New Year all happening this month, there's an abundance of events lined up.

February 1, 2026

Duo Zaher Concert

Duo Zaher

Sara Zaher, guitar

Sanaz Zaher, guitar

February 1, 2026, 4:00 PM

Corazon Aquino Hall

St. Scholastica's College Manila

Orchestra of the Filipino Youth

Triumphs of Tchaikovsky

Gavril Tiburcio, violin

Gerard Salongs, conductor

Orchestra of the Filipino Youth

February 1, 2026, 5:00 PM

Proscenium Theater

February 5, 2026

Cinema Paradiso Al Fresco

Alessio Benvenuti, violin

Mariel Ilusorio, piano

February 6. 2026, 6:30 PM

MiraNila Heritage House and Library

February 13, 2026

Philippine Philharmonic Orchestra

Concert VI: Romanza

Bartek Nizioł, violin

Junhee Kim, piano

Grzegorz Nowak, conductor

February 13, 2026, 7:30 PM

Samsung Performing Arts Theater

February 15, 2026

Junhee Kim Concert

Junhee Kim, piano

February 15, 2026, 7:00 PM

Manila Pianos Showroom, Makati

February 19, 2026

Kundiman After Dark

Ervin Lumauag, tenor

Shiho Takashima, violin

Augusto Espino, piano

February 19, 2026, 7:00 PM

Sine Pop, Cubao

51st International Bamboo Organ Festival

Gala

Ateneo de Manila College Glee Club

Manila Baroque Ensemble

Toshiyuki Shibata, flute

Anton Luis Avila, guitar

Andres Cea Galan, organ

Eudenice Palaruan, conductor

February 19, 2026, 8:00 PM

Bamboo Organ Church

February 20-21, 2026

51st International Bamboo Organ Festival

Treasures of the Baroque

Ateneo de Manila College Glee Club

Manila Baroque Ensemble

Toshiyuki Shibata, flute

Anton Luis Avila, guitar

Andres Cea Galan, organ

Eudenice Palaruan, conductor

February 20-21, 2026, 8:00 PM

Bamboo Organ Church

February 23, 2026

51st International Bamboo Organ Festival

Organ Recital

Andrés Cea Galán, organist

February 23, 2026, 8:00 PM

Bamboo Organ Church and Johann Trummer Auditorium

February 25, 2026

51st International Bamboo Organ Festival

Spem in Alium

Aleron

Collegium Vocale Manila

Armando Salarza, organist

Beverly Shangkuan-Cheng, conductor

February 25, 2026, 8:00 PM

San Ezekiel Moreno Oratory

February 28, 2026

51st International Bamboo Organ Festival

Spem in Alium

Aleron

Collegium Vocale Manila

Armando Salarza, organist

Beverly Shangkuan-Cheng, conductor

February 28, 2026, 2026, 8:00 PM

Hyundai Hall, Areté

Ateneo de Manila University

51st International Bamboo Organ Festival

Night of My Favorites

Banda San Jose

February 28, 2026, 2026, 8:00 PM

Bamboo Organ Church Patio

MSO's 100th Anniversary Concert: A celebration of Beethoven and Cayabyab

Muyu Liu, Darrell Ang, and the Manila Symphony Orchestra
Photo ©Manila Symphony Orchestra

Back in January 22, 1926, a newly formed symphony orchestra under the leadership of Alexander Lippay gave its first concert at the Manila Grand Opera House This orchestra eventually became known as the Manila Symphony Orchestra (MSO). And exactly a century later to the date, the MSO celebrated this milestone with the 100th Anniversary Concert held at the Samsung Performing Arts Theater.

Joining the MSO in this concert are pianist Muyu Liu, the Philippine Madrigal Singers, and conductors Darrell Ang and Mark Anthony Carpio.

Prior to the concert, MSO's Executive Director Jeffrey Solares gave a walking tour about the history of the MSO, occasionally stopping by old photographs, souvenir programs, and other documents and artifacts that were on display at the lobby. The Manila Symphony Junior Orchestra also gave a short performance to cap the walking tour.

Muyu Liu opened the concert proper with Ludwig van Beethoven's Piano Concerto No. 5 in E-flat major, Op. 73 which is also known as the Emperor Concerto. Beethoven music has been regularly performed at the MSO's early concerts and this concerto was no exception. As if totally embracing her part in this once in a century event, Muyu Liu exuded joy with her take on the Emperor Concerto. With an ever present smile, her rendition was celebratory and triumphant befitting the occasion.

Philippine Madrigal Singers, Mark Anthony Carpio,
and the Manila Symphony Orchestra
Photo ©Manila Symphony Orchetsra

The other Beethoven work programmed, Leonore Overture No. 3, Op. 72b, was a music throwback to the 1926 concert where this work was performed as the finale. It was expected that this overture would open 2026 concert for a full circle moment but it ushered in the second half instead. Seeing how dynamic and exciting Darrell Ang was on the podum, one would quickly realize that it would've been a crime if he was partially obstructed by the piano onstage while conducting this Beethoven showpiece.

The remainder of the program was devoted to sacred music by Ryan Cayabyab, National Artist for Music, with the MSO now joined by the Philippine Madrigal Singers and Mark Anthony Carpio conducting. The performance of Cayabyab's Sanctus and Gloria from Misa 2000 with the Te Deum tucked in between, transported the audience to a virtual cathedral with the double chorus of the 80 member-strong Madz reverberating inside the theater.

Jeffrey Solares and the Manila Symphony Junior Orchestra

The MSO's 100th Anniversary Concert looked back at the orchestra's beginnings when Beethoven figured prominently in its early concerts. And it also served as a reminder that in the MSO's century of existence, the orchestra has been shaping Philippine music history and continues to do so by championing Filipino works as evidenced by the Cayabyab music.

A musical journey with Raffi Kasparian

Dr. Raffi Kasparian

A musical odyssey narrating the evolution of western classical music spanning four centuries was presented by American pianist and mathematician Dr. Raffi Kasparian in various cities and campuses in the country recently.

Entitled Tones Through Time: A Musical Odyssey, this lecture/performance tour was presented by the Silaw Foundation as part of its outreach program in the country, led by its founder, Joyce Kasparian, Dr. Kasparian’s wife.

One of the tour's stops was at the Far Eastern University where the FEU community and guests were treated to an afternoon of piano music sprinkled with music history at the equally historic FEU Auditorium.

Tones was like a guided tour through various music eras starting from the Baroque, moving into the Classical, the Romantic, the Impressionistic up to the 20th Century, and more.

Before playing the pieces, Kasparian introduced music elements and concepts that characterized each of the eras. He also played on the piano short phrases to demonstrate how these elements and concepts are applied musically. Hearing bits of the music served as cues that guided the audience, giving them a better appreciation of the music performed in its entirety,

The Baroque pieces performed included Johann Sebastian Bach's Invention No. 1 in C major, BWV 772 ,François Couperin's Les Barricades Mystérieuses, and Domenico Scarlatti's Sonata in D minor K. 517 with Kasparian emphasizing the concept of polyphony.

Moving on the Classical period, Kasparian tackled homophony and the period's adherence to form and structure that enables the music to tell a story. And a story did Kasparian tell with his playing of Wolfgang Amadeus Mozart's Fantasia in D minor, K.397 that had a clear finale and Ludwig van Beethoven's Rondo a capriccio in G major, Op. 129 'Rage Over a Lost Penny' highlighting its repeated rondo theme.

Dr. Raffi Kasparian

Form and structure took a step back to give way to lush harmonies and emotional expression during the Romantic era with Franz Liszt's Liebestraum No. 3 in A-flat major, S.541/R.211 being a prime example. This period also saw national and folk idioms figure more in music as composers reacted to historic events unfolding at the time. Frédéric Chopin's yearning for his home country Poland led him to compose mazurkas and polonaises, including Polonaise in A-flat major, Op. 53 'Heroic'  during his self-imposed self exile in France.

Kasparian then explained that during the Impressionistic period, mood prevailed with harmony becoming more ambiguous as exemplified in Alexander Scriabin's Poème in F-sharp major, Op. 32, No. 1 and Claude Debussy's Voiles.

As the music progressed to the 20th century, Kasparian mentioned that harmonies and rhythm during this time had become so complex that even a dissonant chord resolves tension in a musical phrase. To give the audience examples of this and more, he performed Samuel Barber's Nocturne, Op. 33 'Homage to John Field', the Allegretto and Sostenuto from Béla Bartók's Suite, Op. 14, Sz. 62, BB 70, and Alfredo Ginastera's Danza del gaucho matrero from his Danzas Argentinas, Op. 2.

During the early part of the 20th Century, Popular (Pop) music came to the fore. Not as serious compared to the music that came before, pop music is more for entertainment and  Scott Joplin's aptly titled The Entertainer fits the bill. And when ragtime fell out of fashion, Jazz emerged. Kasparian then played some jazz chords to show how harmonies have evolved throughout the centuries. A composer whose work spanned both popular and jazz styles was George Gershwin and Kasparian included Gershwin's Three Preludes in the program.

It was inevitable that western classical music would eventually find its way to Philippine shores and that locals would compose works in a similar vein. One such work is Mayon Fantasy by Francisco Buencamino, Sr. that contained elements from various music eras. Kasparian received an enthusiastic response from the audience that after the Buencamino, he obliged with an encore of Johann Sebastian Bach and Charles Gounod's Ave Maria. This was a full circle moment since it was this piece that served as the opener during his last performance at the FEU with the Manila Symphony Orchestra back in 2019.

FEU Center for the Artsstages Walang Sugat sarswela on Feb. 4

In celebration of Far Eastern University’s 98th founding anniversary, the FEU Center for the Arts (FCA) proudly presents Walang Sugat on February 4, 2026, 5:30 PM at the FEU Auditorium.

First performed in 1902, Walang Sugat is a sarswela written by Severino Reyes with music by Fulgencio Tolentino set during the Philippine revolution towards the end of the 19th century.

This special production features arrangements and additional music by Josefino Toledo, an FEU Outstanding Alumnus.

Under the direction of Alegria O. Ferrer from the University of the Philippines College of Music, the production brings to life one of the most beloved works in Philippine theater.

The musical direction will be led by Roijin Suarez, Artistic Director of the FEU Chorale.

The cast is composed of both current students and alumni from the FEU Chorale, FEU Theater Guild, and FEU Guides, highlighting the University’s diverse artistic community.

The production will also feature special performances from the FEU Bamboo Band, FEU Dance Company, FEU Theater Guild, FEU Drum and Bugle Corps, and FEU Drummers.

This landmark staging not only celebrates FEU’s 98th year of excellence in education and culture but also commemorates the anniversary of the shot that started the Filipino American War on February 4, 1898.

Walang Sugat revolves around the love story of Tenyong and Julia during the time of revolution. While Tenyong takes up arms in the fight for the nation’s freedom, Julia is confronted with pressure and opposition from her family and the church because of her love for him. Through their story, the sarswela depicts the sacrifices demanded by the struggle for independence and the deep wounds left by war and colonization.

Admission for Walang Sugat is for free. Register through the QR code or via the link below.

https://forms.office.com/r/TLQwAUQYBF

Asia Butoh Gathering 2026 all set for Feb. 6-8

This February 6-8, 2026, Butoh practitioners across Asia convene in Manila for the Asia Butoh Gathering 2026 (AGB 2026). Attendees from Japan, Thailand, Taiwan, Singapore, South Korea, Malaysia, Indonesia, Hong Kong, and the Philippines will gather for the three-day festival consisting of performances, workshops, film screenings, roundtable conversations, and lecture-presentations.

Butoh is an avant-garde dance from originating in Japan during the postwar era. Founded by Tatsumi Hijikata and Kazuo Ohno, Butoh is characterized by the grotesque, contorted yet precise movements of the dancers usually in white face and body paint. This artform, straddling the line between dance and theater, has taken a foothold on the rest of the world with Sasa Cabalquinto pioneering Butoh in the Philippines. Cabalquinto, the founder of Kapwa Movement, serves as Festival Director and Program Curator of the Asia Butoh Gathering. 

Sasa Cabalquinto

Rooted in cultural exchange and dialogue, the Asia Butoh Gathering honors the powerful legacy of Japanese Butoh while opening space for regional voices shaped by distinct social, political, and ecological contexts. The festival creates an environment where artists meet across borders to share embodied practices, engage in critical conversations, and explore how Butoh continues to transform across Asia today.

Through performances exploring themes of ecology, ancestry, land, and gender; roundtable discussions on ethics, lineage, and decoloniality; and lecture-presentations tracing Butoh’s historical and contemporary intersections, ABG 2026 holds space for both critical discourse and embodied practice, inviting artists and audiences alike into processes of reflection, exchange, and movement.

The 2026 edition of the Asia Butoh Gathering coincides with the 70th anniversary of Japan–Philippines diplomatic relations, marking a significant moment for cultural collaboration. The festival honors historical ties while fostering new solidarities across Asia, embodying the spirit of kapwa—the shared self and interconnectedness—as an ethical ground for creating, remembering, and imagining together.

Moving Roots, Moving Cultures

Under the banner Moving Roots, Moving Cultures, the festival recognizes Butoh not only as a form born in Japan but as a living, evolving ecology of practices across Asia. Bound by different lands and cultural histories, participating artists reflect on lineage, transmission, and transformation, honoring Butoh’s origins while celebrating how it has rooted, grown, and continues to move through diverse communities.

Curatorial Frame: Butoh in the Time of Ecological Crisis

ABG 2026 unfolds within the curatorial frame Butoh in the Time of Ecological Crisis, responding to a world shaped by environmental collapse and renewal. At the center of the festival is the performance program Falling Earth, Moving Sky, a reflection on the earth as home—undergoing cycles of descent and regeneration.

The program begins with Falling Earth, evoking gestures of extinction, grief, and collapse, and culminates in Moving Sky, where bodies search for new forms of flight, kinship, and repair. Suspended at the heart of the stage is the image of a floating, uprooted tree—both wounded and alive—serving as a shared symbolic space that holds the tension between loss and persistence, decay and resilience.

Butoh practitioners participating at the Asia Butoh Gathering include Tenko Ima, Yuko Kawamoto, Kae Ishimoto from Japan, Sineenadh Ketprapai from Thailand, Vinci Mok from Hong Kong, Xue from Singapore, Lee Swee Keong from Malaysia, Ramoo Hong from South Korea, Hu Chia from Taiwan, Ari Rudenko and Sofyan Joyo Utomo from Indonesia, and Sasa Cabalquinto from the Philippines.

Festival Highlights

February 6, 2026

Opening Program: Moving Roots, Moving Cultures

1:00–5:00 PM Roundtable Conversations on Butoh in Asia

WhyNot Manila, 4th Floor Karrivin Studios, Chino Roces Ave Extension, Makati | Hybrid | FREE

Speakers from Thailand, Malaysia, South Korea, Singapore, Hong Kong, Indonesia, Taiwan, and the Philippines

Moderator: Katrina Stuart Santiago

Opening Keynote: Anton Juan

7:00–9:30 PM Butoh Workshop by Yuko Kawamoto

WhyNot Manila, 4th Floor Karrivin Studios, Chino Roces Ave Extension, Makati | On-site | FREE (limited slots)

February 7, 2026

Film Screening and Documenting Archives: Japanese Butoh to Asia

1:00-2:30 PM The Utter Darkness Version of Princess Kaguya

3:00- 3:40 PM History of Butoh in Japan and Tatsumi Hijikata Archives

3:45-4:25 PM Lecture Presentation: Byakko Sha's Southeast Asian Tour

4:30-5:00 PM Asia Butoh Tree Project

WhyNot Manila, 4th Floor Karrivin Studios, Chino Roces Ave Extension, Makati | On-site | FREE

Lecture-presentations by Kae Ishimoto, Tenko Ima, and Yuko Kawamoto

Moderator: Rina Corpus

7:00–9:00 PM Butoh Fu Online Lecture by Kae Ishimoto

WhyNot Manila, 4th Floor Karrivin Studios, Chino Roces Ave Extension, Makati Hybrid | FREE

February 8, 2026

6:00–10:00 PM Closing Program: Falling Earth, Moving Sky

Carlos P. Romulo Auditorium, RCBC | On-site | Ticketed

Moderator: Jaya Jacobo

Ticketing Information

Early Bird (until Jan 31, 2026): ₱800

General Admission: ₱1,000

Student / PWD: ₱800

Student / PWD: ₱600 (with Early Bird)

Register and purchase tickets here: https://forms.gle/maRWpuuWsfk9ZvRs5

Asia Butoh Gathering 2026 is presented by Kapwa Movement and the Japan Foundation, Manila.

Szymon Nehring's Chopin dazzles at PPO's 2026 opener

Jeffrey Ching, Glober, Calambro, Andión Fernandez, Diomedes Saraza Jr.
Grzegorz Nowak, Szymon Nehring, Jonathan Velasco, and Dennis Marasigan

Back in October 2025, music lovers had their fill of Frédéric Chopin's music while the XIX International Chopin Piano Competition was underway. The devoted were glued to the livestreams during unholy hours while those valued sleep opted to watch the uploaded videos later on. But nothing still beats watching a well performed Chopin, especially one of his piano concertos, live. Thankfully, Polish pianist Szymon Nehring was recently in town for the latest concert of the Philippine Philharmonic Orchestra (PPO), thus able to fulfill that craving for a live Chopin performance.

For his stint with the PPO, Nehring harkened back to his days as a finalist at the XVII International Chopin Piano Competition back in 2015 by performing Chopin's Piano Concerto in E minor, Op. 11, the same piece he played at the competition's final round. Under the baton of Maestro Grzegorz Nowak, Nehring dazzled with his familiar and comfortable take on Chopin. He generated excitement through his impeccable musicality especially with his elegant phrasing of the second movement Romanze. His technical mastery was also on full display at the third movement Rondo that prompted some audience members to applaud even before the final note of the orchestra ended.

An étude or any of Chopin's miniatures would've sufficed for an encore, but Nehring felt very generous performed Chopin's Grande polonaise brillante, Op.22 instead. This felt like received a belated Christmas gift even though it's halfway past January already.

Fortunately, the PPO stepped up to the plate and kept up with Nehring. Gone are the tiny slips that occasionally plague the orchestra and ultimately distract from the overall performance. There were no indications that the PPO came from the long holiday break.

The PPO were on top form probably because they were kept on their toes by the Jeffrey Ching piece that opened the concert. Ching's avant-garde works, to put it lightly, have challenged audience and orchestra members alike with their complex musical language that local audiences aren't used to. Surprisingly, the Ching work that opened the concert, Fenghuang Singing, is one of his more accessible works.

Grzegorz Nowak and the Philippine Philharmonic Orchestra

The piece had soprano Andión Fernandez and trumpeter Glober Calambro, positioned among the audience at the orchestra section, engage in a musical conversation while accompanied by atmospheric strings. Both Fernandez and Calambro then moved, always in symmetry, to different parts of the orchestra section, as their conversation continues. A handful of musicians were also positioned at the upper boxes and their interwoven flourishes gave this piece a more spatial, immersive experience.

More interesting was the second part that had a fugue played by muted strings. The muted sound combined with an ever lingering but faint dissonance gave the music an incorporeal quality. This was made more evident with the unexpected beats from the drum set that felt a lot more palpable.

Overall, the visual element provided by the soprano and trumpeter, coupled with the discernible architecture of the fugue, made this Ching work a lot more palatable compared to the ones that have been performed by the PPO for the past couple of seasons.

Fernandez performed an encore, Wuxingming lao huashi an aria from Ching’s soon to be premiered opera The Butterflies which is based on the Chinese legend The Butterfly Lovers. Sung in Chinese, the aria was surprisingly tonal for a Ching work.

All of this made up for a front loaded program with only Franz Liszt's Les Préludes S.97 listed for the second half. While the PPO performed this symphonic poem competently, it eventually felt like an afterthought. But after Nehring's splendid Chopin, as well as a surprisingly accessible Ching, there was no reason to complain.