#mc2027

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LITERARY: Balang Araw Sisinag Sisina

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Tunog ng kabataan: Banda rito, banda roon!

Musika ang maituturing na pandaigdigang wika na taglay ang kapangyarihang pag-ugnayin ang mga taong may iba't ibang pinagmulan. Partikular sa UPIS, nagsasama-sama ang mga estudyante dahil sa pagmamahal sa sining ng musika at pagtatanghal. Madalas na napapanood ang mga estudyanteng ito sa entablado ng Battle of the Bands—ngunit, naisip mo na ba kung ano ang nagaganap sa likod ng mga ilaw at hiyawan ng madla? Halina't kilalanin natin ang student bands ng UPIS!

Banda Trenta

BANDA TRENTA. Litrato ng bandang Banda Trenta. Kuha ng Banda Trenta.

Mula sa Batch 2030 ang Banda Trenta na binubuo nina Allyssa Sarenas sa main vocals, Niño Sumayo sa back-up vocals at rhythm guitar, Renson Villareal sa lead guitar, Enzo Padilla sa bass, Aaron Dela Cerna sa keyboard, at Sean Eting sa drums. Bilang kauna-unahan at nag-iisang banda sa kanilang batch, napagdesisyunan nila ang pangalang “Banda Trenta” mula sa mungkahi ng magulang ni Niño.

Isa sa mga miyembro nila, si Niño, ang ilang beses nang nakapagtanghal nang solo. Nais niyang ibahagi ang karanasan sa kanyang mga kaibigan, kaya inimbitahan niya sila na magtanghal bilang isang banda. Naging Banda Trenta ang kanilang grupo nang sumali si Allyssa bilang main vocalist. Nagkaroon din sila ng pagsasaayos ng roles ng bawat miyembro upang maihanda ang kanilang banda sa LAGABLAB: Battle of the Bands 2025.

Nakahiligan nilang tugtugin ang mga kantang Original Pilipino Music o OPM. “Bagay ito sa vibe na gusto naming iparating—‘yung chill lang, pero may angas,” ika ni Niño. Bukod dito, isinasaisip din nila ang pagpili ng tutugtugin upang magkaroon ng spotlight ang bawat miyembro sa isang kanta. Hindi nila pinalalampas ang bawat pagkakataon na tumugtog at makapagtanghal; patunay rito ang mga events na kanilang nilahukan tulad ng LAGABLAB: Battle of the Bands 2025, MCLive 2025, HIMIG: Battle of the Bands 2025, at AKWE 2026. 

“Ang hindi namin malilimutan na karanasan ay [sa] tuwing nasisira ang drumsticks ni Sean, tuwing may performance,” banggit ni Niño. Sa kabila ng mga problema, nagagawa pa rin nilang idaan ang mga ito sa pagtawa. Higit pa rito, mas pinapahalagahan nila ang bawat minuto na nagtatanghal sila sa entablado.

“You don’t have to wait until you’re good. Start while you’re bad. Start while you’re shy. Start while you’re still learning what a G chord is. Most people think bands begin when everyone is skilled. Hindi. Bands begin when people decide ‘let’s do it,’ even if sablay pa. You will sound messy at first—and that’s okay. You’ll forget lyrics. You’ll mess up timing. You’ll lose competitions. A band isn’t just about music, it’s about commitment. [Mag-]practice kahit walang upcoming performance.”

°Fahrenheit

°FAHRENHEIT. Litrato ng bandang °Fahrenheit. Kuha ng UPIS Media Center.

Kabilang sa bandang °Fahrenheit ang mga vocalist na sina Ashley Abella at Daniel Cobico, rhythm guitarist na si Elijah Aggasid, lead guitarist na si Brianca Sumayo, bassist na si Yumi Adaya, at drummer na si Jacob Maramag.

Matapos ang kanilang unang pagsabak sa LAGABLAB: Battle of the Bands 2025 noong nakaraang akademikong taon, nakaranas ang °Fahrenheit ng ilang pagbabago sa pagitan ng una at huling pakikilahok nila sa BOTB. Ibinahagi ng banda na kilala sila dati bilang FOURTH° (Fourth Degree) na binuo lamang ng apat na miyembro na sina Brianca, Ashley, Yumi, at Jacob. 

Taong 2025 nang mapagdesisyunan nila na magdagdag ng dalawang bagong miyembro bilang paghahanda para sa BOTB ng BULONG: UPIS Fair 2025-2026. “FOURTH° opened its door for two new members—a male singer and a rhythm guitarist, namely Daniel Cobico and Elijah Aggasid—thus completing our music,” ayon kay Brianca.

Kasabay ng panibagong lineup ng banda, tuluyan nang pinalitan ng FOURTH° ang kanilang pangalan at ginawa itong °Fahrenheit. “While FOURTH° was limited to a single temperature point, °Fahrenheit embodies a full scale, offering us greater flexibility and a broader range of possibilities to achieve our goals,” paliwanag ni Brianca.

Naging malaking tulong naman ang iba't ibang kinabibilangang banda at musical backgrounds ng mga miyembro sa pagbuo at paghubog ng kanilang banda sa kung ano ito ngayon. 

Bagaman magkakaiba ang pinagmulan ng mga miyembro, madali silang nagkakasundo sa kung anuman ang gusto nilang tugtugin—na kadalasang OPM at pop music. Malimit nilang piliing tugtugin ang mga kantang humahamon sa kanilang kakayahan sa musika, upang pag-igihin ang kanilang pagiging musikero. “We make sure to add something new and unheard of—sort of like our own special twist to the songs,” dagdag ni Brianca.

Noong HIMIG: Battle of the Bands 2025 ang kanilang unang pagkakataon na makapagtanghal bilang isang buong banda na may anim na miyembro. Kaugnay nito, nakapag-uwi sila ng kanilang unang podium placement at itinanghal bilang 2nd Runner-Up. “This latest BOTB was unlike any other because we embraced the challenge of bringing in new members and taking the risks that come with it. Fortunately, our efforts paid off, and we managed to make it onto the podium for the first time,” ika ni Brianca.

“Music isn't just sound; it serves as the language of the soul. When we look at sheets of music, we don't simply see notes on paper. We see a vision […] and when different people come together with their different styles, stories, and emotions, this vision comes together. But none of that happens without passion. If you're starting a band, don't overthink the perfect moment to put yourself out there. Music grows when it's heard. It's about inviting the audience into the vision that we saw in the music that we play, to convey and let others feel it for themselves.”

DOGYOUTH

DOGYOUTH. Litrato ng bandang DOGYOUTH. Kuha ng DOGYOUTH.

Binubuo ang DOGYOUTH nina Hannah Pedrasa at Andre Baladad sa vocals, Luisa Figueroa sa rhythm guitar, Mika Dela Cruz sa lead guitar, Joaqx Morong sa bass, at Faith Mendoza sa drums. Sa orihinal naman na mga kanta, nagtutulungan sila sa pagsulat at pagbuo nito. “From the bare bones of the song, we each add ideas and give feedback to refine the dynamics and each of our parts, tulad ng mga hits nina Faith at Joaqx, [guitar] solos ni Mika, at harmonizations nina Hannah at Andre.” paliwanag ni Luisa.

Bago maging DOGYOUTH, biruan ng grupo na “Kalbong Agila” ang dapat na pangalan ng banda. Napagpasyahan nila ang pangalang DOGYOUTH, dahil mas catchy raw ito at konektado sa “Azkals”—ang pangalan ng isa pang banda ng kanilang bahista na si Joaqx. Nabuo ang kanilang banda dahil sa kagustuhang sumali nina Faith, Mika, at Joaqx sa TANGHAL: Battle of the Bands 2023. Mula rito, niyaya nilang sumali si Hannah bilang bokalista ng banda. Taong 2024, naimbitahan nila si Luisa bilang gitarista; sa sumunod na taon, sumali naman si Andre bilang isa pang bokalista. 

“Karaniwan ay tinutugtog namin ang mga OPM songs,” banggit ni Luisa. Isa ang OPM sa madalas nilang pinakikinggang genre at isa rin daw ito sa mga patok para sa karamihan. Bukod dito, bukas naman sila sa iba pang uri ng tugtugin at handang aralin ang mga kantang nagugustuhan ng bawat miyembro. Nakatugtog na rin sila sa maraming event katulad ng UPIS Battle of the Bands, Junior-Senior Promenade o JS Prom, debut, at iba pang okasyon na dinadaluhan ng mga miyembro. Para sa kanila, enerhiya ng BOTB ang pinakatumatak at hindi nila malilimutan. “The feel of being on stage and performing what we worked for is so rewarding,” ika ni Luisa.

“Keep trying and take every opportunity! Dalawang beses [na] hindi na-qualify ang DOGYOUTH sa BOTB, pero ngayon ay 2nd place [1st runner-up] kami. Kung gusto niyo[ng] magbanda, by all means, go for it. Malayo ang mararating ni[n]yo, lalo na if mag[ka]kaibigan kayong mga band members, dahil [n]ando’n na ang inyong chemistry! DOGYOUTH will be supporting you, guys. Get, get, awoo!”

Garaheadz

GARAHEADZ. Litrato ng bandang Garaheadz. Kuha ng Garaheadz.

“Kami ang Garaheadz!” karaniwang sinisigaw ng banda sa tuwing magpapakilala. Nanggaling ang pangalang ito sa salitang “Garahe,” kung saan nag-eensayo ang banda. Galing naman sa isang sikat na banda—ang Eraserheads o minsan’y kinikilala bilang E-headz, ang “headz” sa kanilang pangalan. Isa ito sa mga paboritong banda ng mga miyembro ng Garaheadz o G-Headz. 

Binubuo ito ng mga vocalist/rapper na sina Charlize Abundo at Lucas Lagunzad, drummer na si Reo Castro, guitarist na si Troy Dela Torre, at bassist na si Sara Lazaro.

Nabuo ang Garaheadz dahil sa nais nina Troy at Reo na bumuo ng bagong banda. Habang pinag-iisipan kung sino ang mga posibleng maging miyembro, naisip nilang kinakailangan nila ng ibang bahista, dahil nais namang masubukan ni Troy na maging gitarista ng kanilang banda. Nang malaman ito ni Sara, nagboluntaryo siyang maging bahista ng banda, kahit na wala pa siyang karanasan sa pagtugtog ng bass. Nang umatras ang orihinal na bokalista ng banda, pinalitan naman ito ni Charlize, at kamakailan ay sinamahan ni Lucas sa pagiging bokalista.

Bagaman iba-iba ang pinagmulang karanasan sa musika at banda ng mga miyembro, naging madali at maayos ang kanilang pakikipag-ugnayan sa isa’t isa. Sa mga dinaanang pagsubok sa musika, tulad na lamang ng hindi pagkakaroon ng pagkakataong makapag-podium sa mga nagdaan nilang mga banda, nais nilang makabawi mula rito. Isa sa mga rason ay ang kanilang passion at determinasyon upang tanghaling kampeon sa HIMIG: Battle of the Bands 2025.

Pinakapaboritong tugtugin ng Garaheadz ang rock/rap, kaya kabilang sa setlist nila noong LAGABLAB: Battle of the Bands 2025 ang “Upuan” ni Gloc-9, sa bersyong rock. Magmula noon, ito na ang naging main theme ng kanilang banda dahil sa mataas na enerhiyang natanggap nila mula sa madla.

Nakapagtanghal na sila sa iba’t ibang mga event tulad ng mga batch events, debut parties, MCLive, at BOTB. Sa lahat ng mga ganap na ito, hindi nila malilimutan ang mga oras na binalik ng madla ang enerhiya ng kanilang performances. “In those moments, the performers are not only just the 5 of us, but also the entire crowd filled with people just as passionate about music […] all brought together by the common love for music. In those moments, it always felt like UPIS was one,” ayon kay Lucas.

“Have fun over everything and keep your passion strong, because there will be a lot of external factors that will try and take it away from you, situations that will test your love for music. [...] So, enjoy it, go through it, learn from it, but most of all, cherish it. [...] I don't regret getting hurt, failing. ‘Yung mga times na pumiyok ako, na-bash, at napahiya sa stage, it all led to me growing not only as a performer, but as a person. Having a band taught me how to fail successfully and learning how to bounce back, and that is something that you will be able to apply to your life forever, and it can all start—with your band.”

Ngayong laganap ang teknolohiya, malayo na ang naaabot ng musika, lalo na para sa mga kabataan—mula sa pakikinig hanggang sa pagbuo nito. Hindi naging hadlang ang kanilang edad upang tumayo sa isang entablado at makapagtanghal sa harap ng madla. Para sa mga bandang katulad nila, hindi lamang ito basta-basta—isa itong pagbabahagi ng kanilang talento at pag-ambag sa sining ng musika. Higit pa rito, naging daan ang musika para mahanap ang kanilang tunog, makabuo ng pagkakaibigan, at matuklasan ang sariling pagkakakilanlan. Para sa inyo, ano ang musika?

Ito ang #MusiCalye, tinig ng kabataan.

// nina Kimberly Celso, Lyra Interno, at Andrea Rebaldo

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LITERARY: Paano Ba Sabihin Na Gusto Kita?

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LITERARY: BET niya kaya Ako?

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HAPPY INDEPENDENCE DAY, UPIS! 🇵🇭

On this day, in 1898, the people of the Philippines rejoiced in their hard-earned independence from Spain after over three centuries of fighting for freedom. The colors of our nation's flag were unfurled, and the anthem of our motherland was sung for all to hear. 

Today, 128 years later, we come as a nation to celebrate the lives we live now—the lives bestowed upon us by our ancestors, who had gone through trials and tribulations for the country we now call our home.

We remember those who defied all odds in the name of our people’s independence. Let us continue to embody the fire with which all who came before us sought freedom of their own, just as we now seek ours.

So once more, as friends, family, and fellow Filipinos, let us take pride in the flag of blue, red, white, the golden sun and stars, and sing the song of our Inang Bayan!

Written by: Kei Bona Pubmat by: Bea Oyzon

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Filipino dubbing: Uplifting Filipinos one voiceover at a time

You open Netflix and a new film catches your eye. As you hit play, the audio options appear: English, Korean, Japanese, and Filipino. You skip Filipino. 

For many, this has been an involuntary reflex, a habit born from years of associating local dubbing with awkward translations and the stinging labels of being "baduy" or "cringe." But is this instinct now outdated?

ABS-CBN’s recent Filipino dub of Conclave flipped the narrative of Filipino dubbing being cringe after it went viral on social media platforms, igniting buzz nationwide. Suddenly, people are paying attention. They are starting to praise Filipino dubbing, proving that the field deserves more support and less stigmatization.

Filipino dubbing uplifts Filipinos and the overall Filipino identity. It is a vital industry that increases the accessibility of global media to the masses, provides a platform for our local talents, and emphasizes the beauty of the Filipino language and artistry. Knowing Filipino dubbing’s recent development from disliked to celebrated begs the question: does Filipino dubbing still deserve its bad reputation, or is it time for us to take it seriously and give it the recognition it deserves?

Definition of dubbing

According to Pavesi (2019), dubbing is the process of changing the audio in media with audio recorded in a target language. In the context of translation, this means recording dialogue in another language to replace the original, so that it can be enjoyed by audiences from other countries.

History of Filipino dubbing and its stigmatization

For many Filipinos, Tagalog-dubbed anime was their first and often only exposure to Japanese anime on TV. Anime was often shown on networks like ABS-CBN and GMA 7 in the English dubbed form in order to reach a wider audience. As Japanese anime got more popular around the world, Filipino dubbing grew too. When English dubs were not available, local networks commissioned Filipino translators to translate the material either into English, then Filipino or directly from Japanese into Filipino. This affected translation accuracy, making it more likely for the meaning to become lost (Correa, 2017).

The Philippine dubbing industry also had fewer resources than Japan's well-funded voice acting scene, which had more training, talent, and time for production. Filipino dubs were made under tight schedules and with limited production resources, so the quality of Filipino dubs was not always ensured. Strict lip-sync rules also meant that timing was prioritized over translation accuracy. Because of this, lines could sound strange or not match the characters' feelings, which made performances seem over-the-top or misplaced (Manaloto, 2018). As a result, people started to think that foreign dubs were better than local ones (Correa, 2017). Online anime fan groups added to this stigma, often saying that Filipino dubs were less faithful to the original material due to these production errors, leading to the notion that they were cringe (Manaloto, 2018).

All of this is enhanced by the internal bias Filipinos learned from centuries of colonization—the colonial mindset. It increased the belief that anything Filipino is inherently of a lower quality than its foreign counterparts. This view is especially evident in language and pop culture—the fields dubbing falls under. Historically, language was used during the American colonial period as a form of influence over the local Filipinos, resulting in English being seen as superior (Parilla, 2025). In terms of pop culture, a recent survey revealed that a mere 7.7% of respondents preferred Philippine pop culture, while an equal number of respondents chose Western and Korean (34.6% each), tying for the top preference (Adame, 2023). Filipinos showing preference for foreign materials decades after the end of colonialism in the country makes it evident that the effects of the colonial mindset are long-lasting, seeping into our views on language and artistry.

Filipino dubbing during the pandemic

Even so, recent developments have proven that there is a demand, with Filipino dubs of popular films and series such as Trese, KPop Demon Hunters, and Conclave gaining recognition from Filipino audiences.

Filipino dubbing made a big comeback during the pandemic, when people were stuck at home and entertainment was a major source of comfort and connection. As a response to the lockdowns, content creators and producers were pushed to make their work available to as many people as possible. This made localization, including dubbing, more important than ever.

Trese gained popularity for having a Filipino dub as a show about Philippine culture, with many expressing pride in having such a series available in the local Filipino language. Boasting a star-studded cast playing characters inspired by Philippine mythology, Trese uplifted both Philippine culture and local talents (Alcasid, 2022). On the other hand, it is ironic that the Filipino dub came after the original English version, since Trese itself is a prime opportunity to highlight the local culture and language. After all, Trese was made in the Philippines, by a Filipino, about Filipino folklore (Simon & Schuster, n.d.).

After its release, the KPop Demon Hunters Filipino dub also enjoyed attention from audiences, particularly for its songs. The staff put extra care into the dialogue’s translation to ensure that it was accurate to the original, while being understandable to the Filipino audience (Moran, 2025). Meanwhile, the Tagalog versions of the songs reached millions of plays on YouTube, with the Tagalog version of Saja Boys’ Soda Pop achieving 5.2 million views and that of Golden reaching 1.7 million views (HUNTR/X - Topic, 2025; Netflix Philippines, 2025).

Most recently, the Filipino version of Conclave helped change how people think about local dubbing. It came out during ABS-CBN's Holy Week programming and quickly became popular online because of its genuine emotional delivery, which surprised people with how natural it sounded (Lirio, 2026). This went against the idea that Filipino dubbing is always cringe and showed that local voice actors can give great performances. The strong response to the Conclave dub shows that there is a clear demand for Filipino dubbing, now more than ever.

Increasing accessibility with Filipino dubbing

The main purpose of Filipino dubs is the same as subbing: to ensure that the audience can understand the piece of media they are consuming (Chaume, 2020). Dubbing promotes the accessibility of multilingual media, especially for those who only speak Filipino (Alcasid, 2022; Wissmath et al., 2009). It ensures their capability to understand media from all over the world, learn from it, and contribute their own thoughts in response. Thus, it serves as a form of informal education, enriching the minds of the Filipino audience.

A majority of Filipinos are more fluent in the Filipino language than they are in other languages, making dialogue in Filipino more easily understandable. According to the 2020 Census of Population and Housing, most Philippine households (39.9%) use Tagalog as their language at home (Mapa, 2023). Thus, having Filipino audio makes media easier to consume, because the Filipino audience simply have to watch as usual—without needing to read subtitles—in order to understand what they are viewing (Mailhac, 2000, as cited in Wissmath et al., 2009).

In general, Filipino dubs help bridge the gap between global media and the Filipino audience, allowing the media’s messages to reach more viewers and touch them more deeply than works in a foreign language could. As Nelson Mandela said, “If you talk to a man in a language he understands, that goes to his head. If you talk to him in his own language, that goes to his heart” (Correa, 2013). Watching the characters speak in one’s local language helps establish a connection between the viewer and the piece of media the characters are from. The use of a shared language helps viewers identify with the characters, making it seem as if they themselves are reflected on screen (Koolstra et al., 2002, as cited in Wissmath et al., 2009).

Filipino dubbing’s potential for economic growth

Aside from increased accessibility, investing into the local dubbing industry can also bring economic growth, since it makes foreign materials marketable locally while supporting the local artists and dubbing staff involved in this long process.

Filipino dubs have to go through translating, casting, recording, and editing before these are presented to the public (Alcasid, 2022). This process involves many people: translators, voice actors, editors, directors, and more. All these jobs become available through dubbing, increasing opportunities for Filipino employment (Alcasid, 2022). The Philippine animation industry also owes part of its 2024 profits to dubbing specifically, having earned 60 million dollars overall (ANC 24/7, 2026). This proves that it is possible for dubbing to be profitable when given the proper support.

Even though the voiceover industry may be losing its influence amidst the advent of artificial intelligence (AI) technologies, Pocholo Gonzales—a Filipino voice actor who started in 1996 and currently works at Creative Voices in the Philippines—claims that dubbing will not be as easily taken over, since human voice actors are better able to convey emotion and genuinity compared to AI (ANC 24/7, 2026). Dubbing continues to be relevant even amidst technological advancements. Supporting the local dubbing industry gives human voice actors, translators, and production teams the tools they need to carefully adapt global media so that Filipino audiences can clearly and accurately understand its ideas, emotions, and messages.

The recent Conclave Filipino dub was handled by a small team, translated and voice-acted by Raymond Firmo and Michelle Clarino Narag, yet it still managed to deliver a performance praised for its authentic delivery. If this level of success can happen with a small team, who knows what is possible with increased support? In a country where colonial mentality has long influenced people's tastes in media, more support for Filipino dubbing could lead to even better quality, creativity, success, and appreciation for Filipino media.

Filipino dubbing is meant for the masses—everyday viewers who have long been conditioned to believe that high-quality storytelling only comes from abroad and that the Filipino language is lacking as a medium. Showing them that their language is beautiful through its use in dubbing tells them that Filipino media and the Filipino language are not inferior to foreign media and languages. Filipino dubbing tells its viewers not to be ashamed, but to celebrate one’s heritage as a Filipino.

Filipino dubbing: The next steps

Despite historically being seen as “corny,” Filipino dubbing has many benefits that uplift the status of Filipinos by ensuring media accessibility in the country, supporting local talents, and utilizing the Filipino language as a means of storytelling.

To industry professionals, consider exploring more deeply the field of dubbing and putting more resources into producing dubs. With the right support, dubbing is bound to break free from its “cringe” reputation, flourish, and see success in our predominantly Filipino-speaking country.

To UPIS students interested in Filipino dubbing, you might want to check out the Social Sciences and Humanities (SSH) track. The Grade 12 SSH curriculum offers a subject on translating Filipino media, known as Pagsasalin. The class develops the same skills used in dubbing, showing that the field is far from dead and continues to evolve, even within UPIS. Through studying the concepts used in dubbing, Pagsasalin also develops appreciation for the artistry of Filipino dubs and translations, helping students challenge the widespread mindset of Filipino dub inferiority.

Whether you are still a student or already a working adult, why not give Filipino dubbing a chance on your next watch? Avoid dismissing it as cringe and corny, and instead find time to observe the creativity and skill at work in Filipino dubs. You may be pleasantly surprised by its ability to catch your attention, make you feel emotion, and present arguments in the language close to your heart—the language of home.

// by Josee De Vera, Kath Sison

References

Adame, K. T. (2023). Tangkilikin ang sariling atin: Presence of colonial mentality among Filipinos today [Research presentation]. De La Salle University Manila. https://animorepository.dlsu.edu.ph/conf_shsrescon/2023/arts_cai/2/ 

Alcasid, A. (2022, September 8). Demystifying dubs: A look at the localisation industry of the Philippines. Tatler Asia. https://www.tatlerasia.com/lifestyle/entertainment/localisation-industry-of-the-philippines

ANC 24/7. (2026, March 23). From booth to bot? Voice acting in PH in the age of AI | ANC [Video]. YouTube. https://www.youtube.com/watch?v=b7HOTq3smuQ 

Chaume, F. (2014). Audiovisual translation: Dubbing. Routledge. https://doi.org/10.4324/9781003161660 

Correa, R. B. (2007). Japanimation, Americanization, Globalization: Pagbuwag sa Wika ng Kapangyarihan sa Pamamagitan ng Dubbing ng Anime sa Wikang Filipino. MALAY, 20(1). https://doi.org/10.3860/MALAY.V20I1.396

Correa, R. B. (2013). Ang Pagsasa-Filipino ng mga Panoorin sa Daigdig ng Telebisyon, Pagda-dub ng Anime, at Paglaganap ng Wikang Filipino sa Bawat Sulok ng Mundo: Mga Patunay na 'Moog' ng Pagka-Pilipino. MALAY, 25(2), 1–9. https://research.ebsco.com/c/tsnrxa/search/details/wyyf4tgxnv?db=asn 

Correa, R. B. (2017). Kasaysayan ng anime, ang pagpasok nito sa Pilipinas, at ilang tekstwal na pagsusuri sa proseso ng dubbing nito. De La Salle University–Manila. Kawíng, 1(1), 42–60. https://psllf.org/wp-content/uploads/2017/07/r-b-correa-kawing-1-1.pdf 

Díaz‐Cintas, J. (1999). Dubbing or subtitling: The eternal dilemma. Perspectives, 7(1), 31–40. https://doi.org/10.1080/0907676X.1999.9961346 

HUNTR/X - Topic. (2025, August 20). Golden (Tagalog version) [Video]. YouTube. https://www.youtube.com/watch?v=AaE6gJtMUC0 

Lirio, A. J. (2026, April 3). ‘Conclave’ premiere on free TV gains online buzz. ABS-CBN. https://www.abs-cbn.com/entertainment/showbiz/movies-series/2026/4/3/-conclave-premiere-on-free-tv-gains-online-buzz-2352

Manaloto, N. (2018, November 23). In Defense of Filipino-dubbed Anime. UnGeek. https://www.ungeek.ph/2018/11/in-defense-of-filipino-dubbed-anime/

Mapa, D. S. (2023, March 7). Tagalog is the most widely spoken language at home (2020 Census of Population and Housing). Philippine Statistics Authority. https://psa.gov.ph/content/tagalog-most-widely-spoken-language-home-2020-census-population-and-housing 

Merriam-Webster. (n.d.). Dub. In Merriam-Webster.com dictionary. Retrieved April 11, 2026, from https://www.merriam-webster.com/dictionary/dub

Moran, R. (2025, August 26). ‘KPop Demon Hunters’ Filipino dub showcases industry growth. Lifestyle.INQ. https://lifestyle.inquirer.net/548201/kpop-demon-hunters-filipino-dub-is-the-hallmark-of-the-local-industrys-modern-evolution/

Netflix Philippines. (2025, June 24). Saja Boys ‘Soda Pop’ Tagalog ver. (music video) | Kpop Demon Hunters | Netflix Philippines [Video]. YouTube. https://www.youtube.com/watch?v=2xyklKx--Fw 

Parilla, M. (2025). Language as a site of hegemonic negotiation, identity, and resistance in the Filipino diaspora. Social Work & Policy Studies: Social Justice, Practice and Theory, 8(2). https://openjournals.library.sydney.edu.au/SWPS/article/view/21275 

Pavesi, M. (2019). Routledge Encyclopedia of Translation Studies (3rd Ed.) [Abstract]. Routledge. https://www.taylorfrancis.com/chapters/edit/10.4324/9781315678627-34/dubbing-maria-pavesi

Simon & Schuster. (n.d.). Trese vol. 1. https://www.simonandschuster.com/books/TRESE-VOL-1/Budjette-Tan/Trese/9781950912193  Wissmath, B., Weibel, D., & Groner, R. (2009). Dubbing or subtitling?: Effects on spatial presence, transportation, flow, and enjoyment. Journal of Media Psychology: Theories, Methods, and Applications, 21(3), 114–125. https://doi.org/10.1027/1864-1105.21.3.114

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UPIS elects new student leaders for A.Y. 2026-2027

The UPIS Commission on Elections (COMELEC), composed of members of the Senior Council, held the Pamunuan ng Kamag-aral (PKA) and Year-Level Organization (YLO) elections for the Academic Year 2026-2027.

The student elections were conducted online, with the UPIS COMELEC overseeing the process alongside the candidates. Official online ballot forms were sent out to the students through Google Classrooms as part of the voting system implemented for this year’s elections.

To begin the preparation of the upcoming student elections, UPIS students and candidates participated in the Miting de Advance for grades 3-6 and 7-10 PKA and YLO elections which was held via Zoom on the 27th of April. Its aim was to allow students to view and engage in the candidates’ final campaign for their respective parties. It featured a question and answer portion where a party and independent candidates were given the opportunity to showcase and explain their platforms to the student body. Voting officially began on April 28 through a digital ballot form distributed via Google Classroom and closed on April 30. 

The Winning Parties 

Official Results were released on May 7, 2026. Seen in the following tables below are the elected parties for the Academic Year 2026-2027.

The KABAYANIHAN partylist, headed by Aufi Severos, promotes programs that make learning more engaging and participative for students. Their plans include activities such as an Escape Room challenge where students have to answer questions in order to escape, as well as Human Number Line, an activity where students arrange themselves in ascending order to encourage communication and cooperation skills among classmates. They also proposed The Marshmallow Architecture, which develops creativity, teamwork, and problem-solving skills through tower-building activities. With the full slate of KABAYANIHAN being elected, the party aims to push through with these projects, creating a more interactive and enjoyable learning environment for students

For the 7-10 elections, the full partylist of “LIKH” won the elections, introducing 4 major platforms under the acronym “LIKA”, which reflect the values and global they aim to promote within the student community. Led by Patrick Batigue, the party advocates for inclusivity, student service, community empowerment, and principled leadership. “L” stands for Lahat Kasama, which emphasizes inclusivity and involvement among students, while “I” represents Isko Paglingkuran, a platform focused on providing reliable student services and support for students facing academic and personal struggles. “K,” or Komunidad, I-angat, highlights unity and community empowerment in addressing challenges together, and “A,” or Aangkla sa Prinsipsyo, promotes honesty, transparency, and accountability in leadership. Through these initiatives, the party aims to create a more supportive, united, and student-centered environment within the UPIS community. 

The AETHER partylist, headed by Erin Monique Velasco, focuses on a platform that serves their fellow classmates academically, and a student body that creates connection. By promoting strong communication, they wish to encourage other students to feel safe in their school environment. Their party promises to conduct projects such as online reviewers, raffles, an interactive bulletin board, and a shop facilitated by them, that all offer a helping hand to not just their batchmates but to other students of the UPIS community as well. With their full party winning the elections, they wish to officially push through with these projects in the coming academic year. 

The TELEPONO partylist, headed by Amanda Beatrice Evasco, won with their full slate, advocating for creating meaningful connections between every student to provide their batchmates with a memorable 8th Grade experience. Each member expressed their support for quality education, organization, integrity, and upholding the core values of UPIS. The party also endorsed future projects to be held named ‘What’s UP There?’ that provides their batchmates with materials for academic and emotional support, ‘Benta31’ that is helpful for student-owned businesses, ‘DecBoard’ where they design bulletin boards with recycled materials, and other meaningful projects to lend a hand to their fellow students. 

BIDLISIW means “rays of the rising sun”, with this winning partylist led by their president Josel Angeleen Apdian. For them, this holds a profound meaning which makes them stand with their slogan which states “sa bawat tanong at pag-aalinlangan, BIDLISIW ang pag-asa na lagi mong maasahan”. Due to their batch having some detachment, their partylist aims to build a stronger sense of communication by building a community that aims to help and uplift one another. With this, their main goal is to improve the unity within their batch. They promote unity, open-mindedness, and respect while upholding the proper decorum with the help of their leadership. 

The elected partylist SCinta led by their president Elin Danielle Lim, aims to prioritize students’ well-being and promotes low stress and balanced approach to school requirements. For them to create a memorable year, they support personal wellness and lasting experiences. With this, they have a Reviewer Distribution Services which emphasizes on helping their batchmates academically by providing interactive reviewers through online documents.

The Purpose of the Election Process COMELEC Chairperson and President of the outgoing Senior Council, Angela Masangkay, shared that the election process follows a strict set of guidelines based on the student handbook, which are implemented annually to ensure fairness. The screening procedures that all winning candidates went through are also considered vital and are conducted to verify that all aspiring student-leaders meet the required qualifications before being officially recognized. She explained that all requirements are equally important, and failure to comply with even one may result in disqualification. 

Chairperson Masangkay shared that one of the main challenges this year was the shift from a planned face-to-face set up to an online election, which required adjustments in schedules— aside from other challenges such as delays in document submissions, errors in candidacy forms, and difficulty contacting some candidates due to the online set up. Despite these challenges, the COMELEC continues to emphasize the importance of participating and encouraging students to keep voting wisely in the coming academic years.

//by Zoe Garalde & Caily Destajo

[upismediacenter]

Sa Likod ng Telon: Diwa ng Tanghalan sa Bayan

“Sa ilang sandali, magsisimula na ang ating pagtatanghal,” iyan ang kadalasang naririnig natin bago magsimula ang dula. Malugod nating inaabangan ang mga aktor, eksena, musika, at iba pang elemento ng teatro na inihanda ng produksiyon para sa ating mga manonood. Ngunit, ating buklatin ang mga pahina ng teatrong Filipino. Matagal nang nakatatak sa ating bansa ang teatro bilang isa sa makulay at makabuluhang sining—ngunit, hindi lamang ito libangan. 

Halina’t buksan natin ang telon ng tanghalan at itapat ang ilaw sa diwa na hatid ng teatro!  

Ano ang Teatro? 

Isa sa mga sangay ng sining ang teatro, kung saan ito ay itinatanghal. Inilarawan ito bilang mimesis, sinaunang salita mula sa Greece na nangangahulugang isang kilos na kumakatawan o paggagaya sa realidad ng mundo sa pamamagitan ng sining. May iba’t ibang gampanin ang mga miyembro ng teatro: direktor, aktor, stage manager, set designer, technical designer, at iba pa. Nakapaloob din dito ang iba pang mga anyo ng sining gaya ng pagsulat, musika, sining biswal, at higit sa lahat, ang performance. 

Masasabi natin na sumasalamin sa kulturang Filipino ang teatro. Itinatanghal dito ang karanasan, kaugalian, at mga isyu ng bansa. Halimbawa, ginagamit ang dula bilang kasangkapan upang matugunan ang mga kontemporaneong isyu sa lipunan at punahin ang sistema ng pamahalaan. Tinutugunan nito ang tiyak na pangangailangan ng mga Filipino. Hindi lamang pag-salamin sa kultura ang hatid ng teatrong Pinoy, kundi pinapalawak nito ang ating pagkamalikhain sa musika, pagsusulat, pag-arte, at iba pa. Naging daan ito upang umunlad ang panitikan ng Pilipinas.  

Kasaysayan

Kung imitasyon ng mga kilos na halaw sa totoong karanasan—'yan ang Katutubong Tula.

Likas sa ating mga ninuno na magkaroon ng mga ritwal, sayaw, tradisyon at awitin. Naging paraan ito sa paggaya nila ng mga bahagi ng kalikasan, paglago ng ani, pagkakaroon ng anak, kuwentong bayan, at iba pa. Inilarawan ito bilang mimesis. Ginamit din ito bilang pagsamba sa mga Diyos noon.   

Makikita ang bakas ng dula sa mga tradisyunal na epiko, tulad ng Biag ni Lam-ang ng mga Ilokano at Hudhud ng mga Ifugao. Bagaman ang mga ito ay tulang pasalaysay, ang pag-awit at pagganap sa mga tauhan nito ay nagsisilbing pagtatanghal sa lokal na lente na naglalarawan sa mga karanasan, paniniwala, at hamon na kinakaharap ng mga katutubong Pilipino na patuloy na ipinapasa hanggang sa kasalukuyang henerasyon. 

Mula sa panahon ng oral na tradisyon hanggang sa kolonisasyon, malaki ang naging pagbabago ng teatro sa Pilipinas. Kung noon ay nakatuon ito sa mga ritwal, komunidad, at ugnayan sa kalikasan na karaniwang pinamumunuan ng isang Babaylan gamit ang katutubong wika; sa panahon ng mga Espanyol, teatro ang naging instrumento ng Kristiyanismo at pagpapalaganap ng dayuhang pananampalataya.

Nakatuon sa kwento ni Kristo Hesus ang karamihan sa ipinapalabas na dula noong panahon ng pananakop ng Espanyol. Naging daan ito sa pag-angat sa imahen ng mga Espanyol at pagpapatibay ng kanilang dominasyon. Nagkaroon ng ‘di magandang imahen ang mga katutubo dulot ng layunin ng Espanya na Kristiyanisasyon, itinuring nilang walang galang ang mga ito. Sa kabila ng paggamit ng mga mananakop sa teatro, patuloy rin ang pag-iral ng mga dula na mas malapit sa danas at interes ng mga Pilipino. Sa panahong ito, mayroong sekular na teatro (komedya at hindi relihiyoso) at relihiyosong pagtatanghal (senakulo, pasyon, siete palabras, atbp.) 

Sa panahon ng kolonisasyon ng Amerikano, ipinatupad ang Sedition Act kung saan ipinagbabawal ang pagbanggit ng kahit anong tungkol sa kalayaan ng Pilipinas at anomang laban sa Amerika. Ang teatro ang isa sa mga pangunahing ginamit ng mga Pilipino para idaan sa sining ang paghihimagsik. Kaugnay nito, lumaganap ang mga sarswela at drama, kasabay ang muling pag-usbong ng nasyonalismo. Nagsimulang gamitin ang teatro bilang rebolusyon upang ipaglaban ang kalayaan ng bansa mula sa mananakop. Sa huling yugto ng kolonisasyon, umusbong naman ang bodabil. 

Sa panahon ng Kontemporaneong Teatro (1966–Kasalukuyan), muling nagkaroon ng pambansang kamalayan. Mas binigyang-diin ang tunay na kulturang Pilipino sa pamamagitan ng pagsalamin sa mga panlipunan at makasaysayang isyu. Nag-explore din ng iba’t ibang estilo sa pagbuo ng pagtatanghal.

Mga Makabuluhang Teatro 

Tinalakay ng tatlong dulang ito ang ating kasaysayan, mga isyung panlipunan, at paglago bilang tao.

Bilang Makapangyarihang Sining

Sa bawat pagtatanghal, hindi lamang kuwento ang ibinabahagi sa entablado, kundi bahagi rin ang kasaysayan at kultura ng mga Filipino. Sumasalamin ang teatro sa mga karanasan ng mga manunulat, nagtatanghal, at sa kolektibong karanasan ng bayan. Natatangi ang teatro sa ibang sining biswal tulad ng mga pelikula dahil isinasagawa ito nang live at interaktibo—kaya mas dama ang bawat tagpo at emosyon sa mismong pagtatanghal.

Higit pa rito, hindi lamang sa tanghalan nagaganap ang mga dula. Sa anyo ng street theatre, kadalasan nagiging daan ang teatro upang magpahayag at pumuna sa mga isyu na kinakaharap ng bansa. Makikita ito sa mga kilos-protesta at pampublikong pagtitipon kung saan tinatalakay ang mga suliraning panlipunan at binibigyang-boses ang mga mamamayan. Sa ganitong pagkakataon, malinaw na ang teatro ay hindi hiwalay sa lipunan, kundi aktibong nakikilahok dito.

Ayon sa artikulo mula sa University of the Philippines, paalala ni Professor Glecy Atienza, na naging bahagi ng drama club ng UP High School at parte ng Philippine Educational Theater Association (PETA), na para sa mga mayroong angking dedikasyon sa teatro, mahalaga ang pagiging malikhain upang manatiling buhay ang kamalayan sa sariling nasyon. Dagdag pa niya, kapag nauunawaan natin ang halaga ng mga bagay sa paligid natin, nagkakaroon tayo ng mas malalim na pagtingin sa nasyonalismo.

Sa panayam naman ng SBS Filipino kay Norbs Portales, senior artist-member ng PETA, nilalayon ng mga pagtatanghal na pukawin at hikayatin ang mga manonood upang pag-isipan ang mga bagay na dapat at hindi na dapat ulitin mula sa nakaraan. Upang mula rito ay sama-samang makabuo ng mas malaya na bayan. Gaya ng bisyon ng PETA, itinuturing ang teatro bilang isang sining na mayroong kakayahang baguhin ang lipunan tungo sa mas maayos na kinabukasan.

Next Act!: Pagsigla ng Teatro

Matinding dagok ang dinanas ng teatro noong pandemya nang tumigil ang mga pisikal na pagtatanghal. Upang makasabay sa sitwasyon, sinubukan ng ilang teatro na ilipat ang pagtatanghal sa birtwal na plataporma sa pamamagitan ng annual festival na The Virgin Labfest—na binubuo ng mga one-act na dula na bago, hindi pa natatanghal, at hindi pa nasusubok. Subalit tumigil din ang pagsasagawa nito nang birtwal noong 2021. Hindi pa rin naging madali ang pananatiling buhay ng produksyon, lalo na’t bago pa man ang pandemya, maituturing na limitado ang madla at kulang sa malawak na promosyon ang teatro sa bansa. Dahil dito, maraming produksiyon ang nahihirapan magpatuloy dahil sa kakulangan sa pondo.

Sa kabila nito, itinuturing na “Golden Age” ang kasalukuyang panahon para sa teatrong Filipino. Matapos ang lockdown, mas dumami ang tumangkilik sa mga pagtatanghal. Naging mahalaga ang papel ng social media sa pagpapalaganap ng impormasyon, dahilan upang mas maraming manonood ang maabot. Ayon kay PETA President Melvin Lee sa Lifestyle Inquirer, matapos masanay ang publiko sa online na libangan dulot ng ilang taong pandemya, naghahanap ang marami ng mas totoo at mas interaktibong karanasan—na naibibigay ng live theatre.

Malaki rin ang ambag ng Original Pilipino Music (OPM) sa mga dulang musikal at mga kuwentong hango sa pelikula o tradisyonal na kuwentong Filipino, dahil mas madaling nakakabuo ang mga ito ng koneksyon sa manonood. Sa kasalukuyan, patuloy ang pagdami ng mga pagtatanghal sa iba’t ibang parte ng Metro Manila. Sa pamamagitan ng mga programang inilulunsad ng mga kumpanyang tulad ng PETA, Tanghalang Pilipino, at Repertory Philippines, mas nagiging posible ang pagtatanghal sa iba’t ibang panig ng bansa. Limitado man, mayroon ding mga aktibong grupong panteatro sa mga unibersidad at lokal na komunidad; ilang patunay na muling nabubuhay at lumalakas ang diwa ng teatrong Filipino.

Mga Mukha ng Entablado

Sa bawat pagtatanghal, hindi lamang isang tao ang dapat kilalanin. Mayroon mga mukha sa harap ng entablado na nakikita ng mga manonood, at mga mukha sa likod ng entablado na tahimik ngunit napakahalaga ang ambag sa pagbuo ng mga dula. Narito ang ilang mga matagumpay na personalidad sa larangan ng teatro.

Si Antonio “Tony” Mabesa (1935–2019) ay isang gradweyt mula sa UP Rural High School, nakapagtapos ng Bachelor of Science in Agriculture sa UP Los Baños, at founder ng Dulaang UP, ang pangunahin at opisyal na organisasyon sa teatro at performing group ng UP Diliman. Kilala siya bilang direktor, aktor, at tagapagturo na nagdirekta ng higit 170 mga produksyon na itinanghal sa lokal at internasyonal—kaya, tinagurian siyang “Lion of the Theater” at isa sa mga founding father ng teatrong Pilipino.

Dating Art Director ng Media Center 2014 sa UP Integrated School (UPIS), ngayon isa sa mga matagumpay na aktres sa teatro at pelikula si Lance Reblando (aktres). Nagsimula siyang umarte noong walong taong  gulang pa lamang siya sa Dulaang UP, at mula noon, nagkaroon siya ng iba’t ibang roles, kabilang ang mga children’s parts at gay characters. Binasag niya ang pamantayan bilang unang babaeng trans na gumanap bilang leading lady na si ‘Julia’ sa ‘Walang Aray’ (2025) ng PETA. 

“Father of Philippine Stage Design,” ayan ang tawag kay Salvador F. Bernal (artist). Ipinakita niya ang kanyang pagkamalikhain sa pagdisensyo at paglikha ng mga kasuotan, set sa entablado, at disenyong pamproduksyon. Mahigit 300 na orihinal na disenyo ang kanyang nagawa. Ang kanyang mga obra ay nagpahusay sa mga pagtatanghal ng Dulaang UP, Tanghalang Ateneo, Tanghalang Pilipino, atbp. 

Diwa ng Dula

Tunay na makapangyarihang sining ang teatro dahil sa pagsasalamin nito sa lipunan sa pamamagitan ng pagpapakita ng social at political issues sa anyo ng dula at musika. Nagsisilbi itong plataporma para maipahayag ang sarili o identidad, mapabuti ang lipunan, at magsilbing simbolo ng pagpapalaya sa masang Filipino. Isa rin itong paraan ng cultural preservation dahil sa pagpapanatiling buhay ng mga tradisyonal na kwentong Pinoy. Bilang mga mag-aaral, dapat pahalagahan natin ang papel ng teatrong Filipino dahil ito ay nagtataguyod ng edukasyon, nagpapalalim sa ating panitikan, nakapupukaw ng emosyon, at tinutulungan tayong maging mulat sa iba’t ibang isyu.  

Sa UPIS, isa ang Filipino Drama sa mga inaalok na interest course sa Grado 12. Sa klaseng ito, itinuturo ang iba’t ibang aspeto ng teatro. Kung mayroon kang interes sa pag-arte, pagdirek o anuman na pasok sa larangan ng teatro, baka it’s a sign na para sa’yo ang Filipino Drama! Ngunit, kung curious ka lamang, walang mawawala kung susubukan! 

// nina Fate Florentino at Thrizah Ramilo

Mga Sanggunian:

Bernal, Salvador F.. (2015). In V. Almario (Ed.), Sagisag Kultura (Vol 1). Manila: National Commission for Culture and the Arts. Retrieved from https://philippineculturaleducation.com.ph/bernal-salvador-f/

Cambridge Dictionary. (n. d.). mimesis. https://dictionary.cambridge.org/us/dictionary/english/mimesis 

Da Silva, S. (2019). WATCH: 7 types of theatre in the Philippines. The Theatre Fans Manila. https://theaterfansmanila.com/7-types-of-theater-in-the-philippines/

De La Cruz, C. I. (2025, July 29). More shows, new audiences: How Philippine theater is experiencing a renaissance. Esquire Philippines. https://www.esquiremag.ph/culture/arts-and-entertainment/philippine-theater-renaissance-a3690-20250729-lfrm2 

Diliman Information Office. (2019, October 8). Mabesa, 84. University of the Philippines. https://upd.edu.ph/mabesa-84/

Gallaga, W. (2025, November 27). Dissecting the much-hyped local theater boom. 

Lifestyle.INQ. https://lifestyle.inquirer.net/556177/dissecting-the-much-hyped-local-theater-boom/

Gill, M. (2024, December 19). 5 distinct types of theatre in the Philippines. StageLync. https://stagelync.com/news/5-distinct-types-of-theatre-in-the-philippines

Policarpio, A. (2026, January 29). For Lance Reblando, rest isn’t complacency. Lifestyle.INQ. https://lifestyle.inquirer.net/562518/for-lance-reblando-rest-isnt-complacency/

Solitario, J. M. (2018, June 19). Theatre for community and nation. University of the Philippines. https://up.edu.ph/theater-for-community-and-nation/

The Virgin Labfest returns to the stage. (2022, May 11). BusinessWorld.  https://www.bworldonline.com/arts-and-leisure/2022/05/11/447456/the-virgin-labfest-returns-to-the-stage/#:~:text=May%2011%2C%202022%20%7C%2012:,Marco%20Via%C3%B1a%20and%20Tess%20Jamias

Tiatco, A. P. (2011). Situating Philippine theatricality in Asia: A critique on the Asian-ness/Philippine-ness of Philippine theatre (s). JATI-Journal of Southeast Asian Studies, 16, 131-150. https://peradaban.um.edu.my/index.php/jati/article/download/6032/3744

Tiatco, S. (2020, July 23). A simplified history of traditional theatres in the Philippines (Part 3). Tanghal Kultura. https://tanghal-kultura.org/2020/07/23/a-simplified-history-of-traditional-theatres-in-the-philippines-part-3/ 

Timbol, E. S. (2025, January 2). 2024 was the year Philippine theater bounced back. The POST. https://thepost.ph/arts-culture/2024-theater-philippines-roundup/

Villaraza, L. A. B. (2017). Yesterday, today, and tomorrow: a study of Aurelio Tolentino's articulation of nationalism and identity through theatre in the Philippines during the American colonial period. Graduate Research Theses & Dissertations. 6759. https://huskiecommons.lib.niu.edu/allgraduate-thesesdissertations/6759

Violata, A. (2019). Pagpapanatili ng kuwento ng Pilipinas sa pamamagitan ng teatro: PETA. SBS Filipino. https://www.sbs.com.au/language/filipino/fil/podcast-episode/preserving-the-philippines-history-through-theatre-peta/p2rmsbcil