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THE EXPANSION of the Modern and Contemporary Art Festival (MoCAF) into a bigger platform continues in its third year, with 47 galleries and 11 special exhibitions exemplifying its goal of art inclusivity and dynamism.

From July 5 to 7, MoCAF will present galleries, experiences, and dialogues at the Marquis Events Place in Bonifacio Global City (BGC), Taguig.

The festival will mix both young and established galleries, new and longtime artists — even unknown artisans and underground communities — all in one space, MoCAF’s organizers said at the media launch on June 18.

LARGER VENUE
To execute a more impactful festival, this year it will be held at the four-story Marquis Events Place.

“We have more galleries simply because Marquis has many ballrooms and a courtyard, allowing for more space,” said Coleen Wong, MoCAF’s festival director, during the program.

The Main Ballroom will house the spaces of 24 galleries, with seven being foreign galleries from Malaysia, Singapore, Japan, and France, while the Courtyard will house 13 galleries as part of the festival’s newest segment, MoCAF XTN. The 11 special exhibitions will showcase event-exclusive pieces by Katrina Cuenca and Michael Cacnio, among others, as well as curated shows by the Department of Tourism.

Fourteen artists from last year’s MoCAF Discoveries will return through the various galleries. This year, the program for new artists welcomes 28 members.

“Many have a focus on crafts and artisanal work. We wanted to offer a platform for other forms of art, not just visual arts like painting and sculpture, but also prints, merchandise, and fashion,” Ms. Wong added.

Food concessionaires, live art activations, and panel discussions through MoCAF Dialogues section aim to make the event more exciting. Topics to be discussed will include plagiarism, art conservation, and other relevant art issues.

MoCAF XTN
To extend the event’s reach, this year introduces MoCAF XTN, a format that supports young, potentially game changing galleries, artisanal shops, and artists’ groups.

“This new offering is something that allows younger players to join us so that no one is left behind. We wanted to do more, not just be an art fair, because there are many of those already,” MoCAF’s festival chairman Ricky Francisco told BusinessWorld after the launch.

“We wanted to ensure that we don’t just show established players, but also forms of art beyond high art,” he said.

Neophyte galleries like M Gallery and Nami Art Gallery will showcase both traditional artworks as well as art-inspired merchandise such as clothing, books, pottery, and other forms. The Artisans section of XTN includes the collection of Imao Studios, featuring stickers and tote bags that bring National Artist Abdulmari Imao’s works closer to the youth.

The local and international prints of Spruce Gallery and textile paintings courtesy of clothing brand RIOtaso will also expose festivalgoers to underrated forms of art. Meanwhile, Very Good Gallery, an artist-run space from Imus, showcases the authenticity of the lowbrow art movement, previously shown in their de lata underground shows in the heart of Cavite.

“We believe that art is not just for the rich; it should be for everyone. Vetting is one of the most important things that art festivals do, so we do our homework and bring them to the spotlight,” said Mr. Francisco.

MoCAF 2024 will run from July 5 to 7 at the Marquis Events Place in BGC, Taguig. Attendees can secure their tickets, priced at P300, at www.mocaf.net. Students, PWDs, and Senior Citizens are entitled to discounts on the ticket price. — Brontë H. Lacsamana

By Brontë H. Lacsamana, Reporter

Theater Review
I Love You, You’re Perfect, Now Change
By Joe DiPietro
Directed by Menchu Lauchengco-Yulo
Presented by Repertory Philippines

THERE are multiple facets of love and many stages in a romance, from dating and relationships to break-ups and marriage. An acclaimed off-Broadway musical comedy from 1996, known for being painfully honest and funny in its approach to this topic, is back to bring its witticisms to an online society.

Its impact is now changed, as one will find in this latest version by Repertory Philippines. The company first handled this material by Joe DiPietro and Jimmy Brooks in 2006, and this time, it made revisions to ensure the narratives apply to the Gen Z experience. Scenarios now include swiping left or right on dating apps, watching Netflix, a gay couple having a baby, and even rude guys sending dick pics.

“We actually had this show way back 18 years ago when we were still at Onstage Greenbelt. This will be different because it’s the first time we are having Menchu direct a play for Rep,” said Mindy Perez-Rubio, the company’s chief executive officer and president, at the preview night of I Love You, You’re Perfect, Now Change.

Under Menchu Lauchengco-Yulo’s watchful eye, the musical revue’s vignettes challenge its four actors to take on 40 characters, each serving fresh takes on modern dating and relationships. It is a challenge met very capably by Gian Magdangal, Krystal Kane, Gabby Padilla, and Marvin Ong, who all shift from one character to the next, complete with costume and body movement and accent changes, as if it were nothing.

“Find someone to love! Someone you think is perfect! And spend the rest of your life trying to change them,” is the funny yet achingly relatable message that the four act out over the course of the play.

Aided by Joey Mendoza’s set design, choreography by Stephen Viñas, projector graphics by GA Fallarme, and lighting by Meliton Roxas, Jr., the actors take us from a romantic dinner date to a busy roadside to a chaotic household to a funeral filled with old people. The actors’ movements and the minimalist set work together to tell an array of stories. Projections of strangers in a crowd amid the hustle and bustle of a metropolis convey the idea of love as simply a part of the ebb and flow of real life, an effective utilization of digital screens in a theater.

Most notably, director Lauchengco-Yulo placed the four actors in roles and songs (given a fresh spin by musical director Ejay Yatco) that brought out the best of them.

Mr. Magdangal, with his towering height, alternates between being a gentle giant and an intimidating hulk. He is hilarious as a man trying his best not to cry at a tearjerker movie while on a date with his girlfriend, and as a gay man speaking to his child in baby talk. The best of his roles is definitely the jailed convict performing “Scared Straight,” a ridiculous matchmaking monologue from hell.

Ms. Padilla’s take on “The Very First Dating Video of Rose Ritz” comes face to face with a divorcee falling apart during her attempt at online dating. It is literal too, with her selfie camera projected on the massive screen onstage allowing us to see her emotions close-up, perfect for the seasoned actress.

Ms. Kane gives a remarkable performance in “Always a Bridesmaid.” The powerful country-style track highlights her strong vocals, cloaked in a believable Southern drawl, as she embodies the mixture of contempt and yearning the character feels.

Mr. Ong shines in the more lowkey yet heartfelt song “Shouldn’t I be Less in Love with You,” a man’s ode to three decades of marriage with his wife. It’s a beautiful piece that gives longtime couples something to connect with, a rare moment of calm on the chaotic highway of love.

The lighthearted ensemble pieces give all four actors the opportunity to interact, with “Single Man Drought” lamenting the poor quality of first dates and “Marriage Tango” echoing the frightening realities of the impending lifelong ball and chain.

Younger millennials and older Gen Zs in the crowd related most to “Hey There, Single Guy/Gal,” sung by Magdangal and Kane as two frustrated parents bemoaning their son and his girlfriend’s decision to split and reenter the single life. But perhaps the most endearing, especially to introverts in the crowd, is “A Stud and A Babe,” performed by Padilla and Ong as a couple on a first date discovering that their insecurities are a bedrock for them to connect with each other.

A poignant note to end on is the vignette of an elderly couple who meet at a wake and find a comfortable sort of love. Magdangal and Kane’s rendition of “I Can Live With That” is melancholy and cute, a rare picture of dating at the sunset of one’s lifetime.

While I Love You, You’re Perfect, Now Change first premiered off-Broadway 28 years ago, newer versions like Rep’s allow the revue to morph into something newer generations can enjoy. Perceptive youths may sense that the gay couple and the online dating elements were merely insertions to material that is outdated by today’s standards, with conceptions of love that are not new at all, but the core of the play remains true. Those willing to look past the cringe-inducing sweetness and painful relatabilities will find that it is hilarious and tender, at times ridiculous but also deeply earnest, ultimately a cute and pleasant theater experience.

ALIWAN Fiesta, an event that showcases festive traditions from all over the Philippines, is returning to the streets of Pasay City from June 27 to 29, amid the alternating summer heat and sudden rains.

The annual competition is known for bringing together champions from major dance and pageantry circuits in various regions’ festivals, such as the Dinagyang from Iloilo, the Sinulog from Cebu, and Panagbenga from Baguio.

This year, it kicks off with a first-time event, with homegrown musicians from the various dance contingents vying to win the festival song competition.

“We brought back this component because, aside from the streetdance, we realized the musicians of the contingents play a very important role. We are showcasing the musicians by holding a separate competition on day one, called ‘Tugog ng Aliwan’,” said Ruperto S. Nicdao, president of the MBC Media Group at a June 24 press conference at the Aliw Theater in Pasay City.

“Over the years, we’ve found that the contingents have improved their performances. The existence of this national competition has pushed them to do better, to showcase more artistic choreography,” he added.

The event was conceived in 2003 by the MBC Media Group (then the Manila Broadcasting Company), in cooperation with the Cultural Center of the Philippines (CCP) and the cities of Manila and Pasay.

It brings together the winning performance groups from the multitude of fiestas held throughout the country. The parades held during Aliwan Fiesta are competitions that yield a large cash prize for the winners.

Last year, the parade route was limited to the CCP Complex due to road repairs along Roxas Blvd. in the City of Manila. This year, it will be the same.

“We have to do this so that we don’t add to the city’s traffic problem. Hopefully, next year we can go back to the original parade route, all the way from Quirino Grandstand to here. Many are clamoring for this because that venue and that route can accommodate larger crowds,” said Mr. Nicdao.

Aside from the street dancing parades, there are flea markets featuring products from the different regions, and entertainment care of local musicians. The Pasakalye Concert on June 27, 7 p.m., will feature a star-studded lineup of artists including Dilaw, Ryssi Avila, Arthur Miguel, Yes My Love, and Auxbeat.

There is also a beauty pageant, called Reyna ng Aliwan, on June 28, and a competition in float design joining the streetdance festivities for the Grand Parade on June 29.

Eric Zerrudo, the executive director of the National Commission for Culture and the Arts, told the press that the Aliwan Fiesta has “set a strong standard.”

“They have increased in number and in fervor to study, improve, and train. We’ve noticed that they really look into choreography, narrative, music, lights, and props. There is a strong consciousness now of how festivals make up a huge part of the Filipino culture,” he said.

More information on the parade route and schedule of the competitions and performances can be found on Aliwan Fiesta’s Facebook page. — Brontë H. Lacsamana