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Ayala Corp. secures $200-M loan from Metrobank

AYALA Corp. has secured a $200-million senior long-term loan from Ty-led Metropolitan Bank & Trust Company (Metrobank) to fund the expansion of the conglomerate’s investments in “emerging portfolios.”

The loan was signed on Sept. 16 and will be used to support the conglomerate’s financing initiatives for ongoing commitments and investments in technology and payments, health, logistics, and mobility, Ayala Corp. said in an e-mailed statement on Tuesday.

“This loan agreement with Metrobank will support our efforts to sharpen our portfolio and allocate capital to clear business winners. We are glad to partner with Metrobank, an institution that has been working with us for over 30 years, supporting our purpose of building businesses that enable people to thrive,” Ayala Corp. Chief Finance Officer Alberto M. de Larrazabal said.

Metrobank previously provided credit facilities for the Ayala Group’s real estate developments, renewable energy projects, and data centers.

“This deal is a testament of our decades-long support to the Ayala group’s growth aspirations of building businesses that transform industries, challenge the status quo, and bring innovations that contribute to the Philippines’ social and economic development goals, all while being a standard bearer for good corporate governance,” Metrobank Institutional Banking Sector Head Mary Mylene A. Caparas said.

For the first half of the year, Ayala Corp. saw a 21% increase in net income, amounting to P22.3 billion, compared with P18.4 billion in the same period last year.

Revenue for the January-to-June period climbed 10% to P179.94 billion compared with P164.24 billion in 2023.

On Tuesday, Ayala Corp. shares fell 0.41%, or P3, to P737 per share. — Revin Mikhael D. Ochave

Filinvest Land adds fifth mall to portfolio

LISTED property developer Filinvest Land, Inc. (FLI) expanded its mall portfolio with the recent opening of its fifth mall Filinvest Malls Dumaguete in Negros Oriental.

The opening of Filinvest Malls Dumaguete adds 3,759 square meters (sq.m.) of gross leasable area (GLA) to the property developer’s shopping and dining portfolio in Luzon and Visayas, FLI said in an e-mailed statement on Tuesday.

The new mall, located at Flores Avenue corner E.J. Blanco Street, Dumaguete City, is the second FLI mall in Visayas, joining the IL Corso in Cebu City, which offers 18,049 sq.m. of GLA.

It is located along Dumaguete Bay, offering coastal views and an extensive lineup of local and national brands that cater to the tastes and preferences of Dumagueteños.

“We are excited to become a part of Dumaguete’s rich culture and history and to contribute to its continued progress and development,” Filinvest Malls First Vice-President and Retail Business Unit Head Mitch A. Dumlao said.

“Beyond creating a space where locals and visitors can come together as a community to enjoy shopping, dining, and leisure activities, we aim to boost tourism, create job opportunities, and support local businesses,” he added.

Filinvest Malls Dumaguete features brands such as UCC Cafe Terrace, The Medical City Clinic, Bigby’s, Power Mac Center, Island Souvenirs, Joneco Tech, Salon de Rose, and a Filinvest Land showroom.

The mall also has Executive Optical, Haru Photo Studio, iStore Service Center, Interpace Computer Systems, Kids Paradise, Liquid Flask, Lixx, V Spa, Vinci Aesthetic Clinic, and Watsons.

Some of the food and dining options of Filinvest Malls Dumaguete include Potato Corner, Jamaican Patties, Bongbong’s Piaya & Barquillos, Gong Cha, Japabites, Kettle Corn, Waffle Time, Cantina 13, Yscoop Cafe, Turks, Sans Rival Bistro, Hukad, Mr. Sizzlers Unlimited Rice & Gravy, and Mrs. Breadworth Bakery Café.

Aside from Filinvest Malls Dumaguete and IL Corso, Filinvest Malls also operates Festival Mall in Alabang, Main Square in Bacoor, and Fora in Tagaytay.

FLI shares were unchanged at 81 centavos on Tuesday. — Revin Mikhael D. Ochave

Art Jakarta’s steady growth: a bigger venue, more visitors

AIR PASANG by Iwan Yusuf at Art Jakarta — BRONTË H. LACSAMANA

AS Art Jakarta settled down in its new home at the JIExpo Kemayoran — a large convention space with high ceilings that it moved into last year — the fair expanded in size by 20% by occupying two more halls.

This allowed them to increase the number of exhibitors to 73 from 68 last year, with art galleries coming from all over the world to participate. It also boasted more corporate sponsorships from the likes of financial company UOB Indonesia and stock investing app Bibit-Stockbit, who collaborated with artists to put up elaborate displays.

Art Jakarta was held last weekend, from Oct. 4 to 6.

“We made the right decision with the spacious setting, all within a single compact hall, allowing us and our exhibitors to grow not only in size, but in substance,” said Tom Tandio, fair director of Art Jakarta, in a speech on opening day.

“This enhancement offers an experience at par with other global art events,” he told BusinessWorld later. “And rightly so, because the art markets in Southeast Asia are all growing.”

The biggest downside to this venue would be its location north of central Jakarta, which meant braving traffic jams when coming from the city. This was made worse on the Saturday of the event, as the Indonesian military held a parade that citizens only found out about days before.

ON CULTURE AND CLIMATE
Despite the severe traffic, JIExpo served its purpose as a large-scale venue, the curated Spot section right in the middle being the most notable beneficiary of the expansion. There, Indonesian artists put up giant, striking installations that commented on sociopolitical and environmental realities.

Timoteus Anggawan Kusno’s Dismantling Nostalgia, a 13-plus-foot-tall canvas that collaged prints of romantic rural landscapes of Indonesia (known as mooi indie, or “beautiful Indies”) highlighted how Dutch colonial propaganda became a bedrock of misplaced Indonesian patriotism.

Nearby, former art professor Tisna Sanjaya’s Ganjel was a clear jab at modern politics, made up of a stack of orange binders with sculptures of President Jokowi and his eldest son Gibran Rakabuming Raka atop (the latter is set to become vice-president this year following a change in rules that allow those under 40 to take office). The monument to political nepotism and flawed bureaucracy was surrounded by a handful of grotesque paintings.

On the other end of the central Spot space were angular tree roots holding up a wooden block, a piece by Syaiful Garibaldi named Antara Muara, modeled after traditional stilt houses and made of leftover wood and leather. The work was an homage to mangroves in coastal villages that protect against erosion. Finally, Iwan Yusuf’s Air Pasang presented a chaotic cluster of fishing nets and sea debris strung up above, a recreation of the waste brought to shore by the ocean’s currents.

All four installations were commissioned just for the fair, “evidence of the rich goldmine of artistic expression that Indonesia can offer,” said Mr. Tandio.

“Together, we strive to provide artists and creative minds a unique platform to present their creations and to showcase Indonesia’s growing importance in the regional and international art worlds,” he explained in his opening speech.

COLLABORATION IS KEY
Mr. Tandio told BusinessWorld that showing off local artists at a big platform is not enough. “Collaboration is key,” he said. “We work with other art fairs like in South Korea; we have program exchanges. For the galleries, I introduce Indonesian galleries abroad and foreign galleries here.”

One of Jakarta’s leading galleries, ROH Projects, had several booths showing a variety of works, like Aurora Arazzi’s paper creation that gives the illusion of a bread crust abandoned on a tile, and Yogyakarta-based Eko Nugroho’s stunning monochrome paintings.

In contrast, the most minimalist booth was easily ShanghART Singapore’s. It presented New Forest, a nondescript newspaper stand installation amid the hustle and bustle of the fair, designed by Robert Zhao who represented Singapore at the Venice Biennale this year. It sold printed news posters that reported on a tree stump felled by a monsoon, the product of Mr. Zhao’s research project that followed the decay of the tree trunk via motion camera.

For Mr. Tandio, the increased size of Art Jakarta and consistent quality of works being exhibited show just how much the art market continues to grow. He also pointed out numerical proof of it (though they do not release sales numbers): from 32,000 visitors in 2022, they attracted 35,578 visitors in 2023. Days after the event, Art Jakarta notified BusinessWorld that the 2024 edition saw 38,368 visitors. For the fair, founded in 2009 by Mugi Rekso Abadi (MRA) Media, this “reaffirms its position as Indonesia’s flagship art event.”

“Ultimately, I believe in collaborations to promote art all over Asia,” Mr. Tandio said. “That is why Art Jakarta is an Asian-focused art fair.” — Brontë H. Lacsamana

Manila Water expands solar projects

MANILA Water Co., Inc. is expanding its renewable energy portfolio as it begins the installation of solar power systems with a total capacity of 2.5 megawatt-peak in its three facilities.

Manila Water will set up solar energy systems in Cardona Treatment Plant, East La Mesa Treatment Plant, and the San Juan Compound, the east zone concessionaire said in a statement on Tuesday.

The solar energy systems are estimated to generate 3.6 million kilowatt-hours per year and are expected to reduce greenhouse gas emissions by approximately 2,564 tons of carbon dioxide equivalent annually, as well as mitigate power costs.

“As a company whose business is heavily reliant on nature, it is imperative for us to be proactive in ensuring environmental sustainability across all aspects of our operations,” said Jeric T. Sevilla, Jr., Manila Water’s corporate communication affairs group director.

“The Decentralized Solar installation is just one of the many energy-saving measures Manila Water is undertaking as part of our Energy and Sustainability Masterplan,” he added.

Manila Water partnered with Ditrolic Energy last year for a 15-year solar facility power purchase agreement worth P217 million.

The three facilities are set for installation by the fourth quarter of this year.

Once completed, the company’s solar projects are expected to increase the facilities’ operational efficiency, benefiting residents of Metro Manila, Rizal province, San Juan City, and Quezon City.

“By investing in renewable energy sources such as solar power, Manila Water secures more sustainable operations while contributing to the broader goal of reducing the country’s dependence on fossil fuels,” the company said.

Manila Water serves the east zone network of Metro Manila, covering parts of Marikina, Pasig, Makati, Taguig, Pateros, Mandaluyong, San Juan, portions of Quezon City and Manila, and several towns in Rizal province. — Sheldeen Joy Talavera

Pinoy Pride: Olivia Rodrigo’s homecoming concert draws 55,000 fans, and scalpers

By Chloe Mari A. Hufana, Reporter

Concert Review
GUTS
Featuring Olivia Rodrigo
Oct. 5, 2024
Philippine Arena, Bulacan

FILIPINO-AMERICAN popstar Olivia Rodrigo’s sold-out one-night concert, GUTS, held at the Philippine Arena on Oct. 5, was a visual and musical spectacle that saw the singer serenading 55,000 fans with her raw lyrical storytelling and vocal prowess. Her biting lyrics and infectious attitude seemed to spill into the audience during the entire two-hour show, unleashing a torrent of unapologetic emotion. This was Olivia Rodrigo at her most punk — edgy, loud, and defiant.

Ms. Rodrigo’s inaugural performance on home soil was her biggest since she kicked off the GUTS Tour in February. The multiple Grammy winning singer-songwriter, whose father is Filipino, proved her “Pinoy Pride” as the Manila leg of the show had tickets priced at a flat rate of P1,500 for the sake of her fans. All net proceeds from the show will go to Ms. Rodrigo’s “fund 4 good.”

According to the Entertainment Industry Foundation’s website, Ms. Rodrigo’s fund 4 good is “a global initiative committed to building an equitable and just future for women and girls through direct support of community-based non-profits that champion girls’ education, support reproductive rights and prevent gender-based violence.”

The net proceeds of the Manila stop will go to the non-profit organization Jhpiego in Manila, which provides healthcare to women and girls in the country.

“I’m SO stoked that all the net ticket sales from last night could be donated to @jhpiego through my fund 4 good,” she wrote in an Instagram post after her show.

“It was the most special show and the most meaningful trip. To say I’m grateful doesn’t even cut it! Mahal kita,” she ended.

EMOTION-FILLED PERFORMANCES
The setlist was balanced with the highs of teenage angst and lows of introspection. She set the tone of the show with “bad idea right?” from her sophomore album GUTS, which made the arena shake as the riotous sing-along was followed by “ballad of a homeschooled girl” from the same album. 

From that frenetic pace, the 21-year-old singer went on to haunt the crowd with the biting, vulnerable lyrics of “vampire” and “traitor” from her debut album SOUR. While the tunes were mellow, the lyrics shouted betrayal and disillusionment.

Ms. Rodrigo, a self-confessed romantic, has established a penchant for raw lyricism which often features her personal experiences. When she sang her 2021 hit “drivers license” before the crowd, it felt like she was singing not just for herself, but for every broken heart in the packed arena.   

The songs “teenage dream” and “pretty isn’t pretty” are both bittersweet depictions of navigating identity. Both anthems of growing up and chasing perfection, with them the former Disney star has perfectly captured the anxiety of teenagers, making her more relatable.

Staying true to her reputation of raw honesty, she followed these up with “love is embarrassing” and “making the bed” which show different faces of vulnerability. One is a fun, upbeat track that captures the awkward and cringey moments of love, while the other is a melancholic open diary that explores feelings of dissatisfaction and self-blame.

She followed the somber tune by sitting atop a crescent moon and flying over the arena while singing “logical” and “enough for you.” She ended the train of pensive tunes with “lacy,” detailing more of her insecurity as she struggles with self-image.

The flying-while-sitting-on-the-moon moment was the perfect transition into the rest of the show as the songs got edgier. Crowd-favorite “so american” was extra special as she pointed to her British boyfriend, actor Louis Partridge, who was in the crowd, during the chorus.

She followed up with four songs from her debut album: “jealousy, jealousy,” “happier,” “favorite crime,” and her hit “deja vu,” all of which candidly detail the insecurities that come with constantly measuring oneself against others. 

The last forlorn melody in her setlist was “the grudge,” a haunting exploration of resentment and unresolved pain.

A trio of songs — “brutal,” “obsessed,” and “all american bitch” — were a train of riotous, punk rock anthems that electrified the packed venue. The Filipino American superstar worked up the crowd with her rebellious energy, blending her grit and distorted guitars.

Wearing a white tank top sporting the words “Pinoy Pride” for the last part of the show, the singer ended the 23-song setlist with “good 4 u” from her debut album and “get him back!” from her sophomore record. The crowd roared as they screamed the lyrics out, each line dripping with unapologetic intensity as the singer unleashed her final burst of energy — a perfect finale as Ms. Rodrigo did not just perform; she bared her soul.

BITTER PRE-CONCERT EXPERIENCE
While the show itself was wonderful, the pre-show experience was another thing entirely as the low ticket price drew scalpers and spawned a wild speculative environment.

Avid concertgoer Czarina Lyn V. Buñag shared her disappointment with her experience before and during the concert, saying the “scalper culture” in the Philippines soured the well-intentioned concert.

“The ticket selling was actually interesting [because] it was only for P1,500 and it goes for a good cause but this kind of concert being held here in the Philippines did not go well… A lot of scalpers got to secure tickets and people with connections secured their slots in the VIP section which was unfair for a lot of the fans,” she told BusinessWorld on the concert day.

She said she saw a lot of resellers online selling tickets for as much as P15,000.

“Up until the ticket claims, [many were] selling their tickets depending on the section revealed. Then there are these scammers where they grab photos of tickets from random people and pretend that they are selling these for the right amount of price,” she added, calling her GUTS Tour experience worse than her experience at the Taylor Swift Eras Tour concert in Singapore.

“People in this country think so  much about the money they can earn through scamming or securing tickets they don’t really want.”

While a person with a disability, Ms. Buñag was not given priority at the queue in the Philippine Arena because her friends did not require special assistance. As a result, she had to endure hours of waiting in line as she was barred from priority access inside the venue.

Prior to the ticket selling, GUTS Tour organizer Live Nation PH said every ticket would be stamped with the name of the buyer and would require identification cards to claim before entering the venue, all in an effort to fight scalper culture. However, the attempt to check that every ticketholder matched their ticket faded quickly as the staff was overwhelmed with excited fans. In the end, they just let everyone through without even checking ID cards and tickets.

As Ms. Rodrigo wraps the Asian leg of her tour, fans hope that the bitter pre-concert experiences of many will not overshadow the success of her show. 

In the end, Olivia Rodrigo’s GUTS Tour in the Philippines was more than just a concert — it was a night where Pinoy pride and a punk attitude collided, creating a memory that fans will cherish long after the last note faded away. It was a night of catharsis, a celebration of angst, vulnerability, and empowerment. She is a force to be reckoned with — and she is just beginning.   

Cemex Philippines subsidiary reduces capital stock

LISTED cement manufacturer Cemex Holdings Philippines, Inc. (CHP) is expected to receive more capital as one of the company’s subsidiaries lowered its authorized capital stock.

CHP subsidiary Edgewater Ventures Corp. (EVC) has secured approvals to lower its authorized capital stock to P20 million, consisting of 200,000 common shares with a par value of P100 apiece, the cement producer said in a stock exchange disclosure on Tuesday.

Prior to the move, EVC’s authorized capital stock was at P229 million, comprising 1.83 million common shares with a par value of P100 per share and 2.85 million redeemable preferred shares with a par value of P16 each.

“The reason behind the decrease in authorized capital stock is to eliminate the 712,500 redeemable preferred shares that were retired into treasury back in December 2015 and to implement a return of capital to CHP,” the cement firm said.

CHP holds APO Cement Corp. directly and indirectly, through EVC and Triple Dime Holdings, Inc.

APO Cement is engaged in the production, marketing, distribution, and sale of cement and other cement products.

Last month, DMCI Holdings, Inc., through the Consunji group’s private holding company Dacon Corp., announced the conduct of a P1.94-billion mandatory tender offer to acquire the remaining 10.14% of CHP, which will remain listed.

The tender offer intends to acquire up to 1.37 billion publicly owned CHP common shares at P1.42 apiece, equivalent to 10.14% ownership. The tender offer period will be from the morning of Oct. 23 up to noon of Nov. 21.

The move is part of DMCI’s acquisition of CHP. Under the deal, Dacon has been appointed as the bidder for the mandatory tender offer to acquire the remaining 10.14% of the total issued and outstanding capital stock of CHP.

DMCI, Semirara Mining and Power Corp. (SMPC), and Dacon Corp. announced in April the acquisition of CHP for $305.6 million under a share purchase agreement to expand the conglomerate’s portfolio.

DMCI bought the entire share of Cemex Asia B.V. in Cemex Asian South East Corp. (CASEC), the majority owner of CHP with an 89.96% equity interest. DMCI will acquire a 56.75% stake in CASEC, Dacon will secure 32.12%, and SMPC will purchase the remaining 11.13%.

On Tuesday, CHP shares were unchanged at P1.57 per share. — Revin Mikhael D. Ochave

ManilART holds satellite exhibits

MANILART’24, the National Art Fair, will kick off on Oct. 8 and will run up to the 13th at the SMX Convention Center in SM Aura in Taguig. The event is truly national, with satellite exhibits running alongside it, not only in Luzon but around the world.

This year’s theme, “Prisms & Mosaics,” reflects the multifaceted nature of contemporary Filipino art. “Artists from diverse backgrounds will come together to create a collective artistic tapestry, highlighting the unity and strength of the Philippine art community. Through this unity, much like a mosaic, the individual pieces come together to form a larger, more meaningful image,” said the organizers in a statement. The event also happens to be aligned with the National Commission for Culture and the Arts’ (NCCA) Museums and Galleries Month and its theme, “Ani ng Sining, Bayang Malikhain” (Harvest of Art, Creative People).

The satellite shows of ManilART include Viaje 4: Filipinism, hosted across Europe, including Germany, the Netherlands, Belgium, and France. It will showcase Filipino identity through the works of Nino Cris Odosis, Joseph Albao, Ian Maigan, and Windsor Magnaye.

Another show was Refracted Light, which took place from Oct. 6-7 at Ricardo’s Galeria Al Fresco in Amadeo, Cavite, which highlighted local talent.

Kutkot Pa More, a solo exhibit by Elmer Nocheseda at Galerie Du Soleil in Taguig, will explore his distinctive kutkot technique as he navigates life with Parkinson’s disease.

Finally, The 20th Annual Sculpture Review will take place at the Marco Polo Ortigas, and will feature a four-meter brass installation by Jik Villanueva, symbolizing diligence and nature’s gift of abundance. Other prominent sculptors will also present large-scale works.

Speaking of sculptures, a highlight of ManilART will be the launch of sculptor Ramon Orlina’s coffee table book, written by Cid Reyes. The book will be launched on Oct. 9, coinciding with the Art Fair Gala Night. Mr. Reyes and Glenn Cuevo will be speaking during the event.

Featured exhibits at the art fair include Plugged into Fernalia: Art in the Age of AI, curated by Gromyko Semper. “As artificial intelligence (AI) increasingly permeates the art world, this exhibit raises important questions: What does it mean to be an artist in this new technological landscape? How does AI influence creativity?,” said in a statement. The exhibit features four thematic sections: “Origins and Inspirations,” “Ethics and Appropriation,” “Human vs. Machine,” and “Future Visions” — each addressing different aspects of AI’s impact on art. Participating local and international artists, such as Noel Sadicon, Pen Medina, Isobel Francisco, Peter Gric, and others, will present works that challenge the boundaries between human creativity and machine-generated art.

ManilART’24 will also feature a diverse array of works across different media. Mr. Orlina will lead the showcase, joined by Marge Organo and Anna Orlina. Ombok Villamor’s oversized metal sculptures, Agi Pagkatipunan’s wood art, and Danny Rayos Del Sol’s intricately carved skulls and ostrich eggs will also be on display. The center podium will host a large triptych mural entitled The Wave by Ed Coronel, whose hyperrealist work reflects the tensions in the West Philippine Sea and explores resilience amidst conflict.

ManilART’24 is co-presented by the NCCA and the ManilART Foundation, in collaboration with partners including Museo Orlina, the City of Taguig, SM Supermalls, and the SMX Convention Center. ManilART’24 tickets are available at Ticketbooth.ph. For group tours and school group inquiries, contact manilartsecretariat@gmail.com.

Converge partners with Netflix to expand services

REUTERS

LISTED fiber internet provider Converge ICT Solutions, Inc. has partnered with streaming service Netflix to offer media services.

In a stock exchange disclosure on Tuesday, Converge said it is extending its services beyond connectivity by offering internet and Netflix entertainment plans.

According to the company, the new Converge Netflix bundle will be offered to its existing FiberX customers.

“The new Converge Netflix Bundle will include a boosted FiberX plan with 325 Mbps speeds for faster streaming, a Netflix subscription with a lock-in period of 36 months, a new Wi-Fi 6 Next Gen Modem, and a Converge XperienceBox with Freemium Channels — all put together into one subscription for the convenience of the customer,” the company said.

It said the bundle plans target to expand its entertainment offerings.

Converge has revised its revenue growth forecast for 2024 to between 12% and 14%, up from the earlier estimate of 7-8%, driven by market optimism after posting strong financial results.

It registered an attributable net income of P2.74 billion, up 29.8% from P2.11 billion in the same period last year, its financial statement showed.

Despite posting increased gross expenses for the April-to-June period at P6.18 billion, 15.1% higher than P5.37 billion previously, the company managed to register higher earnings on elevated revenues.

For the first semester, Converge’s attributable net income climbed to P5.29 billion, marking an increase of 23.6% from P4.28 billion in the same period last year.

At the stock exchange on Tuesday, shares in the company closed 38 centavos, or 2.22% lower, to end at P16.72 apiece. — Ashley Erika O. Jose

Arts & Culture (10/09/24)


REP inaugurates Eastwood City home with Jepoy

THE brand new 500-seat REP Eastwood Theater recently opened with the children’s production Jepoy and the Magic Circle. Located on the 4th floor of Eastwood Citywalk, the new theater marks a new era for Repertory Philippines (REP), which was founded in 1967. The area spans 1,400 square meters of upgraded amenities and common areas that feature a contemporary classic design for superior viewing comfort. The original production based on the short story “The Magic Circle” by Gilda Cordero-Fernando, heralds the milestone. Jepoy and the Magic Circle has performances at the REP Eastwood Theater on Oct. 13, Nov. 9 and 24, and on Dec. 15. Tickets are available at Eastwood City’s Cinema hub and through TicketWorld outlets for P1,030 for Orchestra Side and P1,545 for Orchestra Center.


Museo El Deposito, UA&P put up WPS Exhibit

IN LINE with the celebration of Museum and Galleries Month, the National Historical Commission of the Philippines’ Museo El Deposito, in partnership with the College of Arts and Sciences of the University of Asia and the Pacific (UA&P), will open the special exhibition entitled Pag-asa sa Gitna ng Kalayaan which was first displayed at the National Library of the Philippines in July. The exhibit features photos taken by Paul Quiambao during a trip to the Kalayaan Islands in the West Philippine Sea. The exhibit opens on Oct. 9, at 1:30 p.m., at the Hanns Seidel Hall of the UA&P. It will close with a special program on Nov. 14, at 9:30 a.m., featuring a lecture by Retired Chief Justice Antonio Carpio.


Ballet Manila to premiere Florante at Laura

COMING at the heels of Ballet Manila’s Ibong Adarna, a new adaptation of a classic tale will be staged at the Aliw Theater this October. Gerardo Francisco’s Florante at Laura, planned by the company even before the COVID-19 pandemic, will have its premiere on Oct. 12, 8 p.m., and subsequent performances on Oct. 13 and 19, 5 p.m. At the helm is British choreographer Martin Lawrance, OPM composer and National Artist for Music Ryan Cayabyab, and the Orchestra of the Filipino Youth under the baton of Toma Cayabyab. All performances will be staged at the Aliw Theater, CCP Complex, Pasay City. For tickets, visit TicketWorld.


CCP presents In Situ performance art installation

AN upcoming project of the Cultural Center of the Philippines (CCP) is In Situ, Performance as Exhibition, The Philippine Edition, which aims to bring the power of performance to a transformative exhibition format, set against the backdrop of the urban and rural environments in the Philippines. Done in partnership with Belarmino&Partners and supported by the New Carlsberg Foundation and the Danish Arts Foundation, the show is curated by Vanini Belarmino and features eight works by Danish visual and performance artists Lilibeth Cuenca Rasmussen, Molly Haslund, Sophie Dupont, and Filip Vest, alongside choreographer Kai Merke. The artists will reimagine their existing works in Metro Manila, Los Baños, and La Union from Oct. 15 to 26. First-time collaborators include Filipino choreographers and performers Christine Crame, Ea Torrado, and the Daloy Dance Company, along with emerging multidisciplinary artists Sasa Cabalquinto, Jeremy Mayores, and Kyle Confesor, engaging in what the curator refers to as artistic “blind dates.”


BLKNEST presents Ang Sugo at May Sala in Nov.

THE thought-provoking one-act play, Ang Sugo at May Sala, will take center stage at the Tambayan sa Gamma on Nov. 3. The haunting psychological drama delves into the complexities of faith, human nature, and the true meaning of accountability, brought to life by actors Manu Respall as Lucifer and Ellsworth Ng as Jesus, with Mr. Respall also directing. The play will have performances at 3 and 7 p.m. at the Tambayan sa Gamma, on the 2nd floor of Robinsons Cyberscape Gamma on Topaz and Ruby Roads, Ortigas Center, Pasig City. Regular tickets are priced at P950, with PWDs and seniors’ tickets at P770, and student tickets at P700.


Jose Tence Ruiz to hold exhibit at Silverlens Manila

SILVERLENS MANILA will present The Carbon Footprint of the Stoic Heroic, a solo exhibition by Jose Tence Ruiz, this October. It will showcase mixed media works and self-portraits from the late 1970s alongside new works on canvas, a large installation that spans almost the entire large gallery space, and another installation depicting the artist’s body in the small gallery. The exhibition opens Oct. 17 with an opening reception at 4 p.m. With an artistic practice that spans over 50 years, the social realist artist will produce new visual metaphors for his current thematic preoccupations: disillusionment, genocide, and the death of utopia. There will be nine new works in the show, the centerpiece of which is a large mixed media installation of a baptismal font encircled by a circular queue of several hundred empty water containers, resembling a living rosary and evoking a perverse litany. The painting after which the show is titled, in addition to three others, utilizes Mondrian’s visual language. The exhibit will run until Nov. 16 at Silverlens Manila, Chino Roces Ave. Ext., Makati City.


Tabing Ilog the Musical returns

THOSE who grew up watching the original Tabing Ilog series or are discovering it for the first time will have a chance to experience the iconic barkadahan, story, and heartwarming moments live on stage. Tabing Ilog the Musical is a fresh, modern take on the material that will resonate with Gen Z audiences. It will run from Nov. 8 to Dec. 1, with showtimes at 2 and 7:30 p.m., at the PETA Theater Center, No. 5 Eymard Drive, New Manila, Quezon City. Tickets are now available via TicketWorld.


Summit Hotel Greenhills holds Dame Matibag exhibit

SUMMIT HOTEL Greenhills, in collaboration with Artablado, will host The Red Gallery; Hues of Abundance, a solo exhibit by abstract artist Dame Matibag. Inspired by the bold red color branding that symbolizes passion and cravings, the Red Gallery series takes its cue from San Juan City, renowned for its vibrant art scene, by spotlighting talented Filipino artists over the year, each featured for two months. The first exhibit will feature Dame Matibag, a Filipino-British abstract minimalist painter, whose works are on display until November. The exhibit is open to the public daily from 6 a.m. to 10 p.m. at Café Summit in Summit Hotel Greenhills.


Dulaang UP’s 47th season opens with Nanay Bangis

DULAANG Unibersidad ng Pilipinas (Dulaang UP) will be probing climate tensions for its 47th season, “Amihan at Habagat.” It opens the season on Nov. 15 with Nanay Bangis, an adaptation of Bertolt Brecht’s Mother Courage and Her Children, directed by J. William Herbert Sigmund Go and adapted by Rody Vera. It follows Bangis, a mother who loses her children to the conflict between the Moro National Liberation Front and the Philippine Army from 1971 to 1981. It is part of the “DUP Classics,” which continues the legacy of Dulaang UP’s founder and National Artist for Theater, Tony Mabesa, by mentoring young theater makers and bringing Filipino masterpieces and world classics to Filipino audiences. Meanwhile, “DUP Innovate” is a program for incubating ideas that can be tried and tested on the Dulaang UP stage, culminating with Mga Anak ng Unos, a twin bill of selected works. For more information on this season of Dulaang UP, visit their social media pages.

ANZ: RRR cut won’t automatically boost lending

OJ SERRANO-UNSPLASH

THE UPCOMING CUT in Philippine banks’ reserve requirement ratios (RRR) will not necessarily lead to faster lending growth, ANZ Research said on Tuesday.

“Banks do have the flexibility to lend out the liquidity arising from the RRR reduction. However, this does not imply that bank lending will necessarily increase by an equivalent amount,” it said in a report.

The Bangko Sentral ng Pilipinas (BSP) last month announced that it would reduce the RRR for universal and commercial banks and nonbank financial institutions with quasi-banking functions by 250 basis points (bps) to 7% from 9.5% effective on Oct. 25.

It will also cut the RRR for digital banks by 200 bps to 4%, while the ratio for thrift lenders will be reduced by 100 bps to 1%. Rural and cooperative banks’ RRR will likewise go down by 100 bps to 0%.

The RRR is the portion of reserves that banks must hold onto rather than lending out.

Based on historical data, ANZ Research said there is no “durably positive relationship between RRR cuts and bank lending.”

“The Philippine credit cycle has been quite independent of RRR cuts, even if the pandemic years of 2020 and 2021 are excluded,” it said. “On balance, we do not anticipate a boost to credit arising from the RRR cuts until nonfinancial constraints on the Philippines’ business cycle eases.”

“Overall, the decision to lower the RRR is a positive development; though, in the short term, credit growth is unlikely to materially accelerate. The demand for credit remains moderate at an overall level and is narrowly focused on some segments of household lending.”

Latest data from the BSP showed bank lending rose by 10.7% to P12.25 trillion in August, the fastest increase in 20 months or since the 13.7% in December 2022.

ANZ expects around P300 billion in liquidity, equivalent to about 1.1% of gross domestic product (GDP), to be released into the financial system following the RRR cut.

“A surprisingly commonly held view is that this additional liquidity will be directed towards bank lending. This is unlikely to be the case, even though banks will have the flexibility to do so,” it said.

It added that current conditions do not show a “strong borrower appetite for funds.”

“Transitioning to market-based liquidity management has been a long-standing objective of the central bank. As the RRR is not market determined, it does not accurately reflect prevailing liquidity conditions.”

“We think most of this additional liquidity will be absorbed via the BSP’s market-based tools of liquidity management,” it added.

ANZ said the Philippines’ RRR level is “unusually high.”

“It was kept at an elevated level to avoid a repeat of bank failures that occurred in the 1980s. However, with other measures of financial stability evolving, the BSP has scope to lower the RRR and has been doing so since 2018,” it said.

BSP Governor Eli M. Remolona, Jr. has also said that the country’s reserve requirements are higher than those of its neighbors.

The central bank has brought down the RRR for universal and commercial banks to a single-digit level from a high of 20% in 2018.

Mr. Remolona this month said they may bring down big banks’ RRR to zero by the end of his term in 2029.

ANZ said that RRR reductions are also unlikely to lead to increased interest earnings for banks.

“Unlike other liquidity management tools, the RRR does not earn interest, so it raises intermediation costs for banks and impedes monetary policy transmission,” it said. “A reduction will therefore bolster bank profitability and reduce intermediation costs. It should also, over time, improve policy transmission.”

It added that as RRR balances do not earn interest, this may “suppress banks’ net interest margins (NIM).”

“A reduction in the RRR should improve NIMs as has been the case with previous reductions. As such, NIMs of banks have trended up in the tightening cycle as lending rates have risen by more than deposit rates. This increase is likely to reverse with monetary policy easing particularly as the share of time deposits in overall deposits has risen and will take time to mature.” — Luisa Maria Jacinta C. Jocson

Can Philippine manufacturing ever recover? The transition from Industry 1.0 to  Industry 4.0

PIKISUPERSTAR-FREEPIK

(Part 2)

As we can read in the blog of Eric Howard entitled “The Evolution of the Industrial Ages:  Industry 1.0 to 4.0,” modern industry has undergone great advances since its earliest iteration at the beginning of the industrial revolution in the 18th century (1770 to 1840).

Previous to that game-changing economic event — literally for millennia — most of the goods consumed by human beings all over the world, which included weapons, tools, food, clothing and housing, were fabricated by hand or by using animals.  These ancient practices changed at the end of the 18th century with the introduction of manufacturing processes. The progress from Industry 1.0 was then a rapid uphill climb that led to what is now called Industry 4.0 characterized by the digital age to which we belong. We will now briefly recount the transition from Industry 1.0 to Industry 4.0.

Industry 1.0 is the first industrial revolution which began in England in the 18th century, covering more or less the period between 1770 to 1840, almost 300 years ago. By the end of the 18th century, this industrial revolution had already spread to the British colonies including America. The core of this first industrial revolution was the mechanization of production, the replacement of human or animal work with machines. It was also the beginning of the vast usage of steam power. The Industrial Revolution (IR) 1.0 marked the first major transition from a handicraft economy to one involving the use of machines in the manufacturing processes.

It is clear from the present situation of the Philippine economy that we have not completely transitioned to IR 1.0. In the agricultural sector, there is still a widespread use of human or animal effort in the various phases of farming and not to mention in the transport of goods. In the fabrication of goods, especially in clothing and household goods, the handicraft economy is still prevalent. We still have to depend on the handicraft sector for poverty eradication rather than for significantly increasing our per capita income. This is also true for the small farming sector. The government efforts to help them with infrastructure and other support services are predominantly oriented towards poverty reduction rather than an increase in agricultural productivity. Only large-scale production of goods in the manufacturing or agricultural sectors through increased mechanization will result in big increases in our GDP per capita.

The industries that were impacted by IR 1.0 included the glass, mining, agriculture, and textile sectors. For example, before the first industrial revolution, threads for textiles were manufactured at home using simple spinning wheels. The basic tools, materials and equipment used to make the textiles were usually provided by merchants. The need to use tools made it difficult to manage production and to produce large quantities of items with the desired quality. With the onset of IR 1.0, mechanization was introduced into the production process, leading to faster turnarounds and relatively large-scale production. In fact, the mechanized version of textile making led to a total production that was eight times more in volume than the former production process.

While steam power was already known, it had not yet begun to be utilized in manufacturing. When its usage was introduced in industry, it was considered the biggest breakthrough ever accomplished during this era. Not only did steam power lead to the production of larger volumes, it also led to a significant increase in the productivity of labor, making possible the granting of higher wages. For example, rather than employing people to power weaving looms, steam engines were used to provide adequate power for the machines.  In sum, the landmark technologies that characterized IR 1.0 were the machines powered by water and steam, such as the mechanized weaving loom that was first developed in 1784. Other machines that were invented during this period included the water wheel, more complex spinning wheels, and the steam engine.

These newly invented machines allowed workers to produce goods in large quantities, enabling economies of scale that reduced the cost per unit of the products. This allowed small businesses to grow and to develop larger organizations that served larger markets. The two sectors that benefited most were the textile and transport industries. These benefits were enhanced further when coal began to be used as an additional source of fuel for different manufacturing processes.

The dark side of IR 1.0, exposed in the famous novels of Charles Dickens, was the greater demand for the production machines than could be produced. After all, these machines had just been invented and it took some time before they could be mass produced. The consequence was that there were relatively fewer machines and technologies to meet the swelling demands of a rapidly growing population. Ironically, this situation led to greater pressure on workers who were forced to work for longer hours to make fuller use of the scarce machines and often under unhealthy working conditions. Even more tragic was the use of child labor and even pregnant mothers to supplement the working hours of the employed labor force.

Such abuses precipitated the revolt of the masses and the ascendance of the anti-capitalist doctrine of Karl Marx who predicted the demise of capitalism. These abuses also led to the articulation of the social doctrine of the Catholic Church by Pope Leo XIII who wrote the first social encyclical entitled Rerum Novarum which defined the human rights of workers to just wages and humane working conditions. On the part of civil authority, in 1833, the Factory Act was put in place in the United Kingdom to ensure that high standards were followed in all workplaces, guaranteeing the safety, health, and protection of all employees and prohibiting, among other malpractices, child labor.

The second industrial revolution (IR 2.0) began in the 19th century, around the 1870s. The main engine of this industrial revolution was the development of machines running on electric energy, especially in Britain, America, and Germany. Electric energy was already being used as a primary source of power. Electric machines were more efficient to operate and maintain, both in terms of cost and effort, compared to water and steam. Those using water and steam were comparatively inefficient and resource hungry. The first assembly line was also built during this era, further streamlining the process of mass production which became a standard practice.

Another notable feature of IR 2.0 was the improvement in the industry culture. Even today when factories are moved to the countryside in the Philippines, managers face the hard challenge of changing century-old habits nurtured in a rural setting such as lack of punctuality, the so-called mañana habit of postponing things for tomorrow, the lack of attention to exactness in the smallest details of work (medyo tama, medyo mali, puede na — a little right, a little wrong, that will do) and too much socializing in the work place.

During IR 1.0, management programs were introduced through the Factory Act of 1833 in England. These programs not only ensured that manufacturing facilities were highly efficient but also ensured that employees worked for reasonable hours and were protected from abuse.

The Philippines experienced IR 1.0 and IR 2.0 without having completed the necessary stage of the agricultural or green revolution that England and other large nations went through.  This happened at the beginning of our industrialization efforts in the 1950s and 1960s during which time manufacturing grew at an average of 12% annually, stimulated by import restrictions. The problem was that we lingered too long at the import-substitution and protectionist stage of industrialization. Our East Asian neighbors also had their stage of import-substitution industrialization. But in less than a decade, they knew how to transition to the more profitable export-oriented industries that were encouraged by their respective governments through the appropriate market-oriented policies. As we shall see in the subsequent articles, our inability to take advantage of our demographic dividend by transitioning to an export-oriented industrialization strategy led to a significant slowdown in Philippine manufacturing from which we are still trying to recover.

When and how can Philippine manufacturing recover its former growth?

(To be continued.)

 

Bernardo M. Villegas has a Ph.D. in Economics from Harvard, is professor emeritus at the University of Asia and the Pacific, and a visiting professor at the IESE Business School in Barcelona, Spain. He was a member of the 1986 Constitutional Commission.

bernardo.villegas@uap.asia

Razon’s MORE Power energizes substation in Iloilo

MORE Electric and Power Corp. (MORE Power) has energized its rehabilitated substation in Iloilo City, the Razon-led power distributor said on Tuesday.

“The Molo Substation had been in operation for 23 years without proper maintenance, leading to frequent equipment malfunctions,” MORE President and Chief Executive Officer Roel Z. Castro said in a statement.

“This upgrade is essential not only to meet the increasing demand for electricity due to population growth and commercial expansion in the area but also to extend the life of the transformer and improve its performance using advanced technology to ensure stable and efficient power distribution,” he added.

The rehabilitation of the 25/30-megavolt ampere substation, which has an estimated cost of P60.6 million, started on July 5, 2023, with EEI Power Corp. as the contractor.

It involved replacing outdated and unreliable equipment, including the control system, switchyard, and other important devices.

The Molo Substation’s upgrade also includes a reconfigured in-out system, which reduces the risk of outages, especially during peak demand, the company said.

The system allows for flexibility, enabling power to be easily rerouted through the SCADA (supervisory control and data acquisition) system if a transmission line segment encounters a fault.

“The integration of this modern substation into Iloilo City’s power system also allows for smarter load management, ensuring that MORE Power can swiftly respond to fluctuations in demand,” said Armil Logarta, MORE Power’s project manager and development head. — Sheldeen Joy Talavera