FEU inks partnership with Kandama


Far Eastern University and Kandama social enterprise officially launched their partnership on August 9, 2017 at FEU Manila.

The partnership aims to promote social entrepreneurship and corporate social responsibility both in the academe and fashion industry. It seeks to organize workshops, conduct joint research projects, exchange research materials, and engage in sustainable activities that would positively impact on struggling communities.

Kandama as a social enterprise brings together indigenous artisans, cosmopolitan designers, and master weavers to create pieces that reflect the elegance of cultural heritage and the flair of modernity while providing economic opportunities to indigenous women. It aims to preserve the tradition of handloom weaving by expanding the market for hand woven products.

FEU, known for its culture and the arts programs, supports this heritage conservation initiative. FEU student leaders will be exposed to the leadership prototype of Kandama’s founder, Victor Baguilat, Jr., as part of their training to do meaningful community projects. The partnership will also benefit FEU’s Fine Arts students enrolled in the course textile and fashion as they get to understand the process of handloom weaving and do internship with the Kandama designers.


“The partnership reminds us that innovation and collaboration are crucial to worthy causes such as cultural preservation. This is our moral obligation as concerned Filipinos and academics,” said Joeven Castro, FEU’s assistant vice president for academic services.

During the launch, the Kandama founder talked about his passion and the story of the social enterprise. On August 19, the second part of the launch will showcase the creations of the collaboration between indigenous women from Julongan village in Kiangan, Ifugao and cosmopolitan designers and fashion brands such as John Rufo, Jeff Tonog, Joco Calimlim, Ranroe, LA Sevilla, Mark Escay, Airaz, Ibarra and Nomad.

IARFA prof wins Artist in Residency Program of Alliance Francaise


Far Eastern University Special Lecturer Dexter Sy was recently named the winner of Alliance française de Manille’s Philippine Artist Residency Program 2017. Sy will be in France from August 1 to September 8, 2017 and will have a solo exhibition on September 7.

Sy shared he is excited to collaborate with other residency artists and his presentation will likely be similar to his recent Form of the Formless one-man show at the Ayala Museum.

The award-winning artist is already an established name in the international art scene as he has already conducted exhibitions in China, Italy, Japan, Germany, Korea, the Philippines, Singapore, and the United States since graduating from FEU with a degree in Fine Arts, Major in Advertising in 2005.

“My works evolve more on concept and its more mature now and simple.”

Sy offered an advice for young artists who dream of thriving in the local art scene.

“You need to be very sensitive, ready to fail, work hard and do your best, and lastly what ever you do put God first.


Remembering Our Nick: Friend and Artist


Related articles:
Remembering Nick Joaquin
National Artist Nick Joaquin: He lives!
Ties that bind: FEU and Nick Joaquin
Remembering Our Nick: Friend and Artist

Remembering our Nick: friend and artist, FEU celebrates the 100th birth anniversary of Nick Joaquin
FEU pays tribute to national artist Nick Joaquin


Far Eastern University (FEU) commemorates the birth centenary of National Artist Nick Joaquin in a series of activities that presents the renowned writer in an intimate and personal light. The year-long celebration kicks-off with a public memorial lecture, featuring the reopening of his memorabilia room, book relaunch, and an art exhibit.

“For FEU, Nick is more than just a Philippine treasure. His works are part of our identity and his legacy remains in the values and culture of the university,” explains Dr. Michael Alba, FEU president. “He wrote our hymn and authored books about our alma Mater; he even wrote the biography of our founder Nicanor Reyes, Sr. It is but natural for us to celebrate his life and his contributions not only to our community, but to all Filipinos.”

Family and industry friends of the great writer join the extensive program in honoring this milestone. Guests recall Nick as a poet through a lecture conducted by Professor Emeritus Dr. Gemino Abad. He shares his knowledge and view on the literary works of the award-winning journalist.

A Special Collections Exhibit, which gives a glimpse of Nick’s life history, is revealed to the public. The display includes rare memorabilia donated by Czech Ambassador Jaroslav Olsa Jr. and Ramon Magsaysay Awardee Ligaya Amilbangsa. Here, the Czech version of The Woman Who Had Two Navels and Nick Joaquin’s Pop Stories for Groovy Kids will be displayed to the public for the first time. A bust of Nick Joaquin by Julie Lluch was also unveiled. The exhibition is curated by FEU Literature and Humanities assistant professor, Timothy Sanchez with the guidance of literary scholar Jonathan Chua.

Different students from FEU’s Institute of Architecture and Fine Arts make an interpretation of Nick’s mind and translate his Palanca-award-winning Doña Jeronima. To complete the tribute to the man behind the pen, FEU Publications launches the centennial edition of The Complete Poems and Plays of Jose Rizal. This is a first edition book translated by Nick himself.

The event is hosted by the FEU Academic Affairs Office, Department of Literature, University Library Publications Office, President’s Committee on Culture, and Institute of Architecture and Fine Arts.





FEU student’s “Light of Hope” wins in 31st DPC-PLDT Visual Arts

Congratulations to Bachelor of Fine Arts (BFA) Major in Advertising Arts student Maria Teresa Ramos for winning 3rd Prize Winner in the 31st PLDT Visual Arts Competition this year.

Maria Teresa Ramos (PLDT Visual Arts 2017 3rd Prize)


“Light of Hope”

We have so many struggles in our life but we still face them with a little hope living inside us, believing after all the pain and sacrifices we have gone though it will bear beautiful things in our life. Even if we are in the hardest part of our life or feeling a great depression there is still a little hope that help us to lighten up our mind. Remember there will be someone who will be there to comfort and lessen your sadnes. To tel you to keep on going because they know that you have a future waiting for you, to motivate you to keep on correct things, to have an inspiration to achieve your dreams and tell you that you must not give up.




Why Art Matters in the Educational Curriculum


by FEU President Michael M. Alba

I write this essay with trepidation. I am not schooled in the arts; art was not a significant part of the curriculum in my formal schooling. The little that I know I have picked up hither and thither, mostly from a lifetime habit of reading for fun (including, as my mom used to say in Ilonggo, the putus sang ginamos [loose newspaper or magazine pages used in wet markets as bago-ong or shrimp-paste wrappers]). So at best I can claim only to be a dilettante, a dabbler, a saling pusa in arts appreciation.

Be that as it may, I believe I have some understanding of what art brings to human living, and therefore of the importance of its inclusion in the educational curriculum. Art whether in words, images, sounds, actions, or a combination thereof is about the artist(s) communicating in a way that is meant to evoke an affective response from the audience – an emotional reaction that can be inchoate (or, to expropriate the words of St Paul, a groaning of the spirit), ineffable, and “awe-full.” So much so that the best art edifies and uplifts the human condition, and hints at a transcendent dimension to human existence.

Mark Rothko

Black, Red and Black (1968) © Mark Rothko

This may all appear abstract, so let me give an example. Consider the painting “Black, Red and Black” (1968) by Mark Rothko. The viewer’s eye is drawn at once to what looks like a burning slab that seems to be ethereally afloat in a shallow inky haze. The haze itself shrouds … is that more blazing fire in the background? The edges of both slab and smoke are ill-defined, giving the sense of something dynamic captured in an ephemeral moment. Inevitably, the viewer’s gaze is transfixed on the slab, a red-orange plane, luminous and incandescent. The effect is hypnotic and trance-like. The bar seems to whoosh in flames fed by some gas sweeping through it from within. At some point one wonders, “Is the rectangular plane an opening to some other dimension? Do I dare insert my hand into that tear in the fabric of reality? What is on the other side?” The viewer becomes a jumble of emotions – haunted, fascinated, sadly longing to be completed in some way. Coming away from the painting, unhinged, confused, profoundly moved, the painting still etched in his mind’s eye, the viewer somehow knows something in him has changed.



The point is this: Art in its various forms has the power, first, to capture the heights, depths, and breadths of human experience – on the one hand, the glorious, sublime, and exquisite; on the other, the vile, sordid, and despicable; and even the everyday, mundane, and banal – and, second, to challenge our perceptions, perspectives, and presumptions of being and as beings in the world. This power, in turn, makes art a powerful medium for exploring and coming to a deeper sense of what it means to be human, a branch of inquiry with its own magisterium of knowledge and pursuing the truth altogether different from those of religion and science. Indeed, when art successfully conveys the essences and meanings of being in the world that are not readily sensed, expressible, or understood, it enlightens and ennobles us who are its raison d’être (because art cannot exist without an audience to appreciate it).

Thus, given what art is and what it can do, the question in education ought to be how art can be effectively used to improve learning outcomes, not whether it even has a place in the curriculum. That art’s role in education continues to be asked – and the answer of a not insignificant number is that it need not have one, given cost and budget constraints – is a sad commentary on (a) the diminished stock of art in society in general and among stakeholders of education in particular and (b) the more timid societal goals that are now set for education (as exemplified, for instance, by the minimalist education-for-employment aspiration).


Why does art matter in the educational curriculum? First, because the lofty goal of education is, as articulated by Blessed John Henry Newman, no less than the perfection of the intellect, and art is a branch of knowledge unto itself as well as a potentially effective tool for helping to achieve this perfection. Recall the famous passage from Newman’s The Idea of a University (1852, pp 138–139):

The perfection of the Intellect, which is the result of Education, and its beau ideal, to be imparted to individuals in their respective measures, is the clear, calm, accurate vision and comprehension of all things, as far as the finite mind can embrace them, each in its place and with its own characteristics upon it. It is almost prophetic from its knowledge of history; it is almost heart-searching from its knowledge of human nature; it has almost supernatural charity from its freedom from littleness and prejudice; it has almost the repose of faith because nothing can startle it; it has almost the beauty and harmony of heavenly contemplation, so intimate is it with the eternal order of things and the music of the spheres.

In this exalted endeavor, art needs to be in the curriculum, first so that the intellect can comprehend it on its own terms “with its own characteristics upon it.” Then art can also help the intellect to achieve that “clear, calm, accurate vision and comprehension of all things” by being a vehicle for heart-searching and coming to a deeper understanding of human nature as well as by helping spur the intellect’s wonder and awe at the beauty and harmony of the heavens, “the eternal order of things,” and “the music of the spheres.”


Second, because art transforms those who engage it to be more open to possibilities. As mentioned above, art challenges our presumptions and beliefs – views that we take for granted as well as convictions that we hold dearly. Hopefully, a student of art then becomes less irrationally tied to dogma, is better able to do out-of-the-box ideation, and is more capable of adapting when life throws something from left field.

Openness to new things and adaptability to unforeseen developments are important life stances because, as pointed out in Designing Your Life: How to Build a Well-Lived, Joyful Life (2016) [a book written to support the most popular undergraduate course at Stanford University], three-fourths of all college graduates in the US (but should also be true elsewhere) end up in careers unrelated to their majors. (It is thus ironic that an indicator (supposedly) of educational quality that is foisted on colleges and universities in the Philippines is the percentage of graduates whose careers are aligned with their academic programs.)

Third, because engaging art brings a person (as audience) in close contact with creativity and fosters critical thinking. A student who seriously takes up art appreciation confronts questions such as: What message does the artist wish to convey? What problems does the artist face in this project? How does he or she solve these problems? Is the message relevant to me; does it resonate with me? How am I affected by the art that I behold? What does this reaction say about me?

Arguably, answering these questions is a steeping process that keenly develops an art student’s sense of the creative process and the thinking that powered it, the ideas that inspired it, the pain that went with it, etc, all of which can become part of the student’s template for creatively and critically thinking through problems that she herself encounters. Moreover, the exercises being reflective should foster greater self-knowledge and maturity.


Creative and critical thinking skills and self-knowledge and reflection are obviously valued attributes in today’s workforce, perhaps even more so than in the past. Globalization and rapid technological change are transforming the world of work in fundamental ways: New entrants to the labor force are more likely to face jobs that did not exist while they were still in school; the most lucrative opportunities may be for people with an entrepreneurial mindset who are able to create their own futures. If so, the value of a college graduate’s major may count for less; it may only be good enough to gain for her an entry-level position. To flourish in a career, she will need the aforementioned soft skills. (Thus, even in the limited education-for-employment framework, art in the curriculum arguably still matters.)


Given the foregoing, it is a source of immense pride for me that art is such a significant part of university life in FEU – a hallmark of FEU’s stance to remain steadfast in offering a holistic, full-service (if you will) college experience, including an extensive extracurricular program in culture and the arts. The Manila campus is a living art museum with its UNESCO-Heritage buildings and auditorium done in the Art Deco style and the many works of art by national artists (Fernando Amorsolo, Vicente Manansala, Carlos “Botong” Francisco, and Napoleon Abueva) permanently exhibited in the grounds, hallways, offices, as well as the chapel and the library. In fact, a coffeetable book that compiles these great works has been commissioned to art critic Cid Reyes and will soon be published. Moreover, FEU’s President’s Committee on Culture prepares a calendar of art and cultural events for the university every year, both to showcase the artistic talents of the university’s cultural groups (the Bamboo Band, Chorale, Dance Company, Drum and Bugle Corps, and Theater Guild) and to expose students to world-renowned artists.

That we have heritage-conservation architect Lorelei de Viana as dean of the Institute of Architecture and Fine Arts, portraitist Candido Manarpiiz as a member of the Fine Arts faculty, and Ramon Magsaysay awardee Ligaya Fernando-Amilbangsa as an alumna is an added bonus. They are the lodestars that point students to how fulfilling art can be in their future lives.


Burnett, Bill, and Dave Evans. 2016. Designing Your Life: How to Build a Well-Lived,
Joyful Life. New York: Alfred A Knopf.

Newman, John Henry. 1852. The Idea of a University Defined and Illustrated in Nine
Discourses Delivered to the Catholics of Dublin. [A Public Domain Book]


On Thursday, March 9, 2017, Filipino artists representing all media and led by National Artist Ben Cabrera (BenCab) will come together in an unprecedented exhibit that will put the spotlight on human dignity amid the spate of extrajudicial killings in the country.

HUDYAT! will run from March 9 to 24, 2017 at the Far Eastern University (FEU) main campus at Nicanor Reyes St, Sampaloc, Manila. It will showcase all forms of art – painting, sculpture, installation, narrative, photography, documentary, poetry, and music.

The exhibit’s opening ceremony will be held on Thursday, March 9, at 5:30 pm, FEU-Manila. PETA Chorale will perform at the event.

Aside from BenCab, the participating artists are the following (in alphabetical order):

Pandy Aviado
Xyza Bacani
Melvyn Calderon
Sheila Coronel
Antipas Delotavo
William Elvin Manzano
Patricia Evangelista
Carlo Gabuco
Toym Imao
Marne Kilates
Jose F. Lacaba
Raffy Lerma
Julie Lluch
Nikki Luna


Rick Rocamora
Jose Tence Ruiz
Ea Torrado
Mark Valenzuela
Veejay Villafranca


Curated by Ricky Franciso, HUDYAT! aims to highlight human dignity, which is lost in the current anti-drug campaign of the government.

It is the first of a series of exhibits to be held in major campuses in and outside Metro Manila.

“Without human dignity at the center, the purported gains of the anti-drug war will be short-term instead of resulting in a real and lasting significance in society,” said human rights advocate Edna Aquino, one of the organizers. “In the drug war and the problem it seeks to eradicate, human dignity pays the price.”

Romeo Bernardo, president of the FEU Central Student Organization, lauded the project. “To battle for the right’ is in FEU’s hymn and one of our core values is uprightness,” he said. “The ‘Hudyat sa FEU’ is a discourse platform that will guide us in making a more informed decision to uphold and protect human dignity.”

On Friday, March 10, a student forum on human dignity and extrajudicial killings will be held at 2 pm at the FEU campus in Manila. Speakers include artists, advocates as well as victims and survivors of extrajudicial killings.

Another forum on the same topic will be held on Saturday, March 18, also at FEU Manila.

For more information, please check or post your query on Hudyat’s Facebook page (https://www.facebook.com/HUDYATSAFEU) or call 09176302924 or (02)7364897.

Another win for FEU DBC

Far Eastern University’s Drum and Bugle Corps continues to lead the charge among college marching bands after winning two major awards from international and local competitions.

The FEU DBC BrassLine was a crowd favorite in Indonesia

The FEU DBC’s Brass Line team won 2nd runner-up in the International Jember Open Marching Competition in Indonesia last September 26, 2016. The group competed against 16 Brass Line contenders from Indonesia, China, Thailand, and Malaysia. The FEU DBC Brass Line was the only non-Indonesian band on the winner’s podium. In 2015 , the FEU DBC Drum Line was the first Filipino Drum Line to have won an international competition after it garnered first place in the Drum Line Category.

Meanwhile, the FEU DBC Drumline won the top prize in the Drum Line category of the Philippine Association of Marching Bands Competition in Cavite, which was judged by international adjudicators during the same weekend.

The FEU DBC Brassline during the awarding ceremony - Copy

The FEU DBC is one of the most renowned groups in FEU and was organized in the 1930s by FEU founder Dr. Nicanor Reyes. Its purpose is to perform during UAAP season and participate in various festivals. Consistently recognized for its achievements as a performance group, it also trains other school bands.

“The FEU Drum & Bugle Corps has come a long way. May it soar to even greater heights, declares Martin Lopez, director of the President’s Committee on Culture.

The FEU DBC DrumLine in action

FEU Cultural APP trailblazes at FACP 2016

Cultural app

“Because of the techie nature of students, the Far Eastern University (FEU) Cultural App was created,” shared Martin Lopez, director of the FEU- President’s Committee on Culture (PCC) with the attendees of the 34th Annual Conference of the Federation for Asian Cultural Promotion (FACP).

Lopez, one of the two Filipino speakers, demonstrated the functions and features of the FEU App in a panel discussion on Arts Marketing and Audience Building at the above conference held recently at the Eastern and Oriental Hotel, George Town, Penang, Malaysia.

Lopez explained how arts and culture organizations can increase attendance to performances using the application. He cited the case of FEU, its millennial student body and the barriers that hinder their attendance at PCC events, these range from lack of time, conflicting schedules between classes and performances, lack of or late awareness, to distractions, in general, like cell phones and social media.

The FEU Cultural App’s functionalities addresses their perceived impediments to attendance and includes a campus virtual tour, an online art exhibit, a community chat, events notifications and check-in mechanism.

Lopez claims that this is perhaps the first of its kind with an innovative approach that fosters active participation and increased attendance at cultural events. The PCC Director expressed enthusiasm to share the digital platform and app developers of arts and cultural institutions are interested to adopt the same mobile application in their organizations.

FEU Theater Guild in CCP’s Virgin Lab Fest 12

Virgin Lab Fest 12

Cultural Center of the Philippines
Tanghalang Pilipino
Writer’s Bloc Inc.
The Idea First Company

In cooperation with the National Commission for Culture and the Arts (NCCA).

In partnership with
President’s Committee on Culture


Ang Bata Sa Drum
Ni Dominique La Victoria

Directed by
Dudz Teraña

Featuring FTG’s very own
Raven Therise Relavo
Ron Christian Alos

CCP Tanghalang Huseng Batute

June 30, 2016 3PM & 8PM
July 6, 2016 3PM
July 10, 2016 8PM
July 15, 2016 8PM
July 16, 2016 3PM

Tickets at Php 350.00/set
For ticket inquiries visit www.culturalcenter.gov.ph

Established in 2005, the Virgin Lab Fest is an annual laboratory festival of new plays by emerging and established Filipino playwrights and held at the Cultural Center of the Philippines (CCP). It aims to provide Filipino playwrights a venue to present their unpublished, un-staged, untested and untried works to theater going public. The theater festival which runs for 3 weeks is composed of 12 new featured works, 3 ‘revisited’ plays (audiences’ favorites from last year’s festival), 5 staged readings and ‘fragments’ from 3 new plays presented as site-specific performances. A new feature of this year’s Lab Fest is From Stage to Screen – films screenings of outstanding works that began as stage plays and were adapted into motion pictures. (www.culturalcenter.gov.ph)

The REGULAR FESTIVAL PASS is worth Php 1,400.00 and will give you a priority lane access to watch 5 sets of plays. On the other hand, the OVERLOAD FESTIVAL PASS will give you an access to watch 5 sets of plays and 3 movies, it is worth Php 1,600.00. Both Festival Passes have 3 types, Premiere Week (June 29 – July 5), Mid-week (July 6 – July 10), and Encore Week (July 13 – July 17).

See you there!