For everyone

Orilleza pointed out that legal recognition is not a privilege but a right: “Lahat nang LGBTQIA+ [members] ay may karapatan na ma-recognize, and sana maipasa na talaga ‘yung SOGIESC bill, para maprotektahan din ‘yung mga tulad namin.”

Said Santos: “SOGIE makes sure that everyone will be included. Walang iwanan. Lahat kasama.”

Akbayan party list Rep. Perci Cendaña and incoming Rep. Chel Diokno called on lawmakers to stop delaying and produce legislation that would ensure equality and protection for the LGBTQIA+ community.

Cendaña expressed sadness that this year marks “the 25th anniversary” of the bill and that it continues to be ignored by lawmakers. He lamented the difficulty of coming out: “Hindi alam ng marami, napakakomplikado ng proseso ng coming out. Napakahirap para sa ating LGBTQIA+ people na lumabas at magpakilala dahil nga unsafe pa ang mundo. Marami pang stigma at discrimination.”

He challenged the other lawmakers to bring the issue forward: “Come out, dalhin sa liwanag at pagbotohan. Because all this beauty was never meant to be hidden. All this pride was never meant to be carried with shame. And all this love was never meant to be bound or broken.”

Diokno said he hoped that the progressive ordinances in Quezon City, such as the fair ordinance, QC Pride Council, and right to care card, will be made accessible nationwide.

Act of resistance

Ysang Barrera, who chairs the nonprofit Tinig ng Silangan (TNS) Inc. that helps marginalized communities, said Pride goes beyond the pageant of colorful outfits and is an act of resistance: “Lov3Laban—pure love, pure fight, genuine care, concern. It is a Pride March worth fighting for…It’s not just a statement. It’s not just costume. Parang, out, lahat ng mga gustong mag-out. But it’s
beyond that; it’s a protest that’s being fought by generations.”

Barrera cited “the beauty of the continuing fight” and the necessity of being loud and heard: “Sobrang ganda na pinagpapatuloy natin ‘yung laban. We will not be silenced by people trying to silence us. Ito ’yung opportunity natin na maging loud and mapakinggan din.”

The TNS booth theme followed “Multo” by Cup of Joe, their freedom wall serving as a platform for unheard voices and silent experiences of the LGBTQIA+ community.

Although he was not among the performers, Vice Ganda showed up as a surprise guest. The movie-TV star stressed the importance of each one’s presence and the power of numbers: “Yung presensya ng bawat isa sa atin ay napakahalaga. Kaya ang aking panalangin sa bawat isa, sa lahat natin na bahagi ng komunidad na ito, let’s all make sure that we are seen. Please be seen. We have to be heard, so please be heard. Kailangan natin lumabas, makita, at mabilang dahil ang bilang natin ay kapangyarihan.”

The gay couple Santos and Orilleza were happy to see the growing support for their community. They recalled the very first Pride event they attended in 2013, when they saw fewer than 100 people. 

A “beautiful milestone” is how Orilleza described the steady growth of awareness of the community, as well as of the rights that its members are fighting for.

Jeremy Ballesteros, Hannah Tabunda and Orlaine Antonio, third year journalism students at the University of the Philippines’ College of Media and Communication, are interns at CoverStory.ph.

The post Celebrity-powered show caps LGBTQIA+ community festivities calling for equality appeared first on CoverStory.

Lakrini and Valencia advanced to the final round of the competition held in Nowy Sącz, Malopolska, Poland, on Friday night (early Saturday, June 28, in Manila), but were edged out by Eduarda Braum, who won the title for Brazil for the first time.

Valencia represented the Philippines in the international pageant, while Lakrini carried her father’s home country, Germany. And just to further show the extent of the Philippine diaspora, another Filipino woman, part-Kiwi Rovelyn Milford, represented New Zealand.

In the final round of the competition, Valencia was asked what advice she would give young people struggling with confidence and self-worth to help them embrace who they are.

She responded: “A lot of individuals would always bring you down. But I say this because I experienced this. But I was able to battle this by giving myself positive affirmations, such as ‘I am worthy,’ ‘I am capable,’ ‘I can do anything through my power and through my own voice.’ And this is what every individual should do to have their own self-worth.”

Valencia had to wait more than a year before she could compete in the Miss Supranational pageant. She was appointed to represent the Philippines in the Poland-based contest after finishing as third runner-up in the 2024 Miss Universe Philippines pageant held in May last year.

Lakrini is a Binibining Pilipinas titleholder who represented the Philippines in The Miss Globe pageant in 2023. She finished as second runner-up in the competition held in Albania.

The Filipino German Lakrini has a colorful pageant journey. She joined the Bb. Pilipinas pageant fresh out of university, packing her bags to visit her mother’s home country after earning a degree in nutrition in Vienna, Austria.

After finishing in the semifinals of the national pageant, she stayed in the country to take modeling jobs and to map out her course for her future. She decided to return to the Bb. Pilipinas pageant as a better and more confident woman.

Failing to snag the title at The Miss Globe pageant in Albania, Lakrini was encouraged by another delegate to try her luck in the Miss Supranational pageant, another contest based in Europe. She held on to that thought.

She returned to her father’s home country in 2025 to join the Queens of Germany search. She was fortunate to receive the highest title in the competition: Miss Supranational Germany.

During the question round in the Poland pageant, Lakrini was asked about a time she felt “deeply grateful,” and how it changed her perspective on life.

She responded: “Just a couple of months ago I worked with Caritas Manila. And one thing that I remember was this little girl coming up to me and asking me to hug her. And I said, ‘yes.’ And so many other little kids came up to me, and came in for their hug. And it showed me the compassion, and showed me that my ‘From the Ground Up’ project is more than just love. It has compassion, it shows dignity. And I want to show the world that we’re all here to show respect, love, and dignity when we come in together in Supranational unity.”

Joining Valencia and Lakrini in Eduarda Braum’s court were second runner-up Quishantely Leito from Curacao and fourth runner-up Valerie Klepadlo from Puerto Rico.    

Mutya Datul remains the lone Filipino woman to bring home the Miss Supranational title. She won her crown in the pageant’s fifth edition held more than a decade ago in 2013.

The post Pageant powerhouse Philippines makes its mark in Miss Supranational tilt appeared first on CoverStory.

Motorists are advised to take alternative routes. City Hall has deployed personnel from the Traffic and Transport Management Department, Task Force Disiplina, and Department of Public Order and Safety to ease vehicular flow and ensure road safety.

There are six entry points on campus: University Avenue, Magsaysay Avenue, Shuster Street, Quirino Avenue, Jacinto Street and Velasquez Street, with marshals assisting pedestrians, public transportation and limited private vehicles. Jeepneys will also follow adjusted traffic plans.

The event promises a star-studded lineup, including singer Klarisse de Guzman, P-pop group BGYO, drag icons Precious Paula Nicole, Arizona Brandy, Captivating Katkat, Viñas Deluxe, Eva Le Queen, Bernie, Brigiding, and Shewarma, Emar de Guzman, Barbie Q, Maria Cristina, Playhouse Protégé, and Pura Luka Vega.

A Pride Expo, satellite Pride Villages in several city barangays, and a Pride Night concert and solidarity program are also scheduled.

Pride PH national convenor Vince Liban said the event aims to be “bigger, safer, bolder”—a reflection of the growing momentum for LGBTQIA+ rights in the country.

Elsewhere

In Baguio City, the inaugural Equality Expo at the Baguio Convention and Cultural Center has been presenting film screenings, drag shows, and panel discussions throughout the month. A city-wide Pride March will be held on June 28.

Cebu’s Pride Festival will conclude its monthlong celebration with a march at Plaza Independencia, followed by a “Big Pride Picnic,” a blend of community gathering and advocacy event.

The RUNRIO Pride Run will take place on June 29 in Davao City. Similar runs to promote LGBTQIA+ visibility through sport were scheduled earlier in Cebu and Metro Manila.

Metro Manila Pride will hold a community picnic at Rizal Park on June 28 for allies, families, and queer communities to gather in solidarity under open skies.

The Quezon City government has hosted monthlong Pride activities, including the QCinema Rainbow Film Festival and grassroots workshops on campuses and in barangays.

The nationwide events underscore how Pride in the Philippines has grown into a mass movement, blending visibility, resistance, and such urgent demands as the passage of the SOGIESC Equality Bill, stronger antidiscrimination protection, and enhanced safety for
LGBTQIA+ Filipinos in schools, workplaces, and public spaces.

Angel Sofia Nabong, a third year journalism student at the University of the Philippines’ College of Media and Communication, is an intern at CoverStory.ph.

The post Solidarity festivals push LGBTQIA+ rights for love, dignity, and freedom appeared first on CoverStory.

Katrina Anne Johnson from Davao and Annabelle Mae McDonnell from Iligan City were crowned Bb. Pilipinas International and Bb. Pilipinas Globe, respectively, at the culmination of the Grand Coronation Night held at the Smart Araneta Coliseum in Quezon City on June 15.

With Siargao’s Kathleen Enid Espenido proclaimed second runner-up, first runner-up Dalia Varde Khattab from Las Piñas City became the lone contender from outside Southern Philippines to cop a spot in the winners’ circle.

In last year’s competition, Abra’s Myrna Esguerra took home the Bb. Pilipinas International title, while Pampanga’s Jasmin Bungay was crowned Bb. Pilipinas Globe. Christal Dela Cruz from Zambales and Trisha Martinez from Pila, Laguna, finished as runners-up.

The 61st edition of the longest-running national beauty pageant in the Philippines chose 36 contenders for the two titles, both of which come with their respective international assignments.

Johnson will represent the Philippines in the 64th edition of the Miss International pageant next year, while McDonnell’s stint in The Miss Globe contest is scheduled this October.

Positive vibes

McDonnell was runner-up in the 2022 Miss Universe Philippines competition. But even before she became an official Bb. Pilipinas candidate, she already felt positive about her decision to try her luck in the pioneering national pageant.

On the day she signified to her mentor her intention to cross over to the pageant, she chanced upon three former Bb. Pilipinas queens who have carried the country in international competitions.

McDonnell said she had just met with Aces and Queens pageant camp head Gerry Diaz to confirm her desire to apply for Bb. Pilipinas when they bumped into 1984 Miss Universe runner-up Desiree Verdadero, 1991 Miss International finalist Patty Betita, and 1989 Bb. Pilipinas Universe Sarah Jane Paez.

“As we were going into the restaurant, Tita Patty was like, ‘Hi, it’s so nice to see you.’ Then they had an inkling that I was joining because of the company I was with,” McDonnell told CoverStory.

She hesitated to confirm that she was indeed joining the pageant, but the former Binibinis knew what was cooking and said they would not post their photos together just yet. Then they delivered the pageant mantra, “Once a Binibini, always a Binibini,” with her.

“It was a really great surprise, and it was a really good omen,” McDonnell said. “I took it as a really good omen that I made the right decision to join Binibini this year.”

Feeling seen

Johnson, for her part, was able to meet the three most recent Miss International winners in person. She first got to see 2022 queen Jasmine Selberg from Germany, who flew to the country for the 2023 Bb. Pilipinas pageant.

The Davaoeña first joined Bb. Pilipinas that year, and finished as first runner-up. As part of the reigning winners in 2024, she had the privilege of meeting 2023 Miss International Andrea Rubio from Venezuela.

And this year, when she finally won the national crown, 2024 Miss International Thanh Thủy from Vietnam paid a visit, and joined the judging panel like her two predecessors.

“They really make you feel seen,” Johnson told CoverStory. “I think that’s a really special talent that someone can have, you know, to make you feel seen and heard. That is something that I do aspire to do with my own reign.”

She said she is also relieved to have more than a year to prepare for the Miss International pageant. Esguerra, her predecessor, is still set to compete in this year’s global tilt that will take place in Tokyo in November.

“I really am a planner. So, this is the best-case scenario for me. Like, I love the fact that I’ve a lot of time to really reflect and bask, and do all of these things to make sure that I am as well-rounded as an individual,” Johnson said, adding: “I love it!”

McDonnell does not enjoy the same luxury of time, with her competition slated in four months. ”In a week, I think, I’ll have an outline of what I wanna do at The Miss Globe. But definitely I will do my best,” she declared.

She has also taken notes from the Philippines’ most recent The Miss Globe winner, Maureen Montagne, who hosted the coronation show, and the reigning queen, Diana Moreno from Colombia, who was a judge. She said there were “styling tips” that she picked up “just by looking at them.”

McDonnell also shared that Montagne has invited her to lunch. “She’s really supportive and encourages me to ask as many questions as possible. If I need any help, I can count on her,” she said.

The Philippines is the best-performing Asian country in the Miss International pageant, with six winners. Meanwhile, two Bb. Pilipinas queens posted victories in the current iteration of The Miss Globe pageant.

Read more: Beauty and destiny on one stage at Binibining Pilipinas 60th-year bash

The post Mindanao aces the Philippines’ longest running beauty pageant appeared first on CoverStory.

The pageant veteran from the province of Zambales continued: “There are different versions and meanings of winning in life. But this is my golden moment. And this is a historic win for the Philippines.”

Before Opiaza, no other Filipino woman has brought home the “golden crown” since the Miss Grand International pageant’s inception in 2013. Nicole Cordoves and Samantha Bernardo came close by finishing second in 2016 and 2020, respectively.

Many consider the Philippines as an international pageant powerhouse, with an impressive record of four Miss Universe winners, one Miss World queen, six Miss International titleholders, and four Miss Earth winners.

The country has also posted one win in Miss Supranational, five in Miss Asia Pacific International, six in Miss Tourism International, two in Miss Intercontinental, two in Reina Hispanoamericana, and two in the current iteration of The Miss Globe.

“I know the best things happen for a reason. You just have to wait for the very specific moment,” Opiaza said. “But you have to hold on and do whatever it takes.”

Offering her crown to her motherland, the new queen ended her emotional address by announcing: “I am Christine Julian Hinkle Opiaza, from the Philippines, your Miss Grand International 2024!”

The post The Philippines’ first Miss Grand International finds her ‘very specific moment’ appeared first on CoverStory.

Dr. Macario Jusayan, the chief gender and development specialist of the Philippine Commission on Women’s sectoral coordination division, spoke on care work at the online forum “Family or Career: Why not both?” that was hosted by Oxfam Pilipinas last April 24. He discussed ways by which, as the forum put it, one can succeed at home and in life (“Pag-usapan natin paano sumakses sa bahay at buhay”) and titled his presentation “Shared care, shared success: Why unpaid care matters for everyone.” 

Care work is “invisible work” or work that “is not given value,” Jusayan said, adding: “But it is important because it lets other family members go to work. Without care work, nothing in the home will function. Unpaid care and domestic work are barriers to gender equality.”

The other speaker at the online forum was Prof. Rowena Laguilles-Timog, associate professor at the University of the Philippines Diliman and deputy director of the UP Center for Women’s and Gender Studies-Research and Publication. She presented her research, “The Weight of Care: Insights from Mothers’ Unpaid Care Work during the Covid-19 Pandemic in the Philippines.”

The forum is part of Oxfam Pilipinas’ campaign “EmpowerHer: Embedding Gender Equality in Micro, Small, and Medium Enterprises (MSME) Business Practices in the Philippines.” The campaign is aimed at addressing care work at home and its limiting effect on women’s work opportunities, and advocating for equal distribution of care work among household members. “EmpowerHer” is supported by Investing in Women, an initiative of the Australian government.

Gender gap

Jusayan said unpaid care work is a dire situation in the Philippines, preventing one in four women from taking on a paying job.

He said marriage worsens the situation, as many women don’t work at professions and become dependent on their spouses. Comparably, he said, women wearing the hats of a professional and a housewife/mother face the predicament of added stress and burnout, which, he pointed out, hampers a person’s overall growth.

Laguilles-Timog supplemented Jusayan’s statements, saying that marriage is the turning point in the assumption that women are always a family’s care worker. This belief is, in turn, interlaced with men’s sense of entitlement: Because they work at jobs outside the home, they’re considered free from doing care work and their leisure time is prioritized over it.

Studies on gender parity indicate the widening gender gap vis-á-vis care work in the Philippines. The 2024 Global Gender Gap index showed that the country had slid to 25th place from 6th. Women couldn’t join the workforce because they were performing more and longer hours of care work (oxfam.org.ph).

The 2024 study of the National Economic and Development Authority reflected similar findings—women were unable to join the labor force because of marriage and childbearing. Gender role assumptions were also prevalent in Filipino households, with women and men taking on the traditional roles of homemaker and provider, respectively. Statistically, only 0.8% (21.9 million) of women were in the labor force compared to 76% (30 million) of men (oxfam.org.ph).

And an Oxfam Pilipinas 2021 study indicated that women spent on average 6.5 hours daily on care work—three times more than men—and were exposed more to injury, illness, etc. Girls were reported to spend longer time on care work and total work than boys in the same age group. Alarmingly, the study revealed that the respondents (both men and women) found beating and yelling at women and shaming men doing housework acceptable (oxfam.org.ph).

Reinforced by pandemic

Laguilles-Timog’s research on care work in a better post-Covid 19 reality showed that the pandemic reinforced the gender inequality in care work. She said the chief contributing factor was the view that care work is a default role of women, with mothers doing all the hard work of caring with little to no help. Care work became oppressive for women when remote education was implemented.

“[Women] stepped up for the family, especially for the children’s [future] and community [because] the performance of care during the pandemic was a matter of survival,” Laguilles-Timog said. 

Women living with their in-laws faced the extra pressure of doing care work to avoid embarrassing the in-laws, she said.

Care work combined with isolation, or confinement, exacted a toll on the women’s mental health: They struggled and were overwhelmed, Laguilles-Timog said. She argued that it was unreasonable to expect mothers, or care workers, to sustain care work in private spaces alone because care work runs the gamut of physical, emotional, mental, social, and cultural factors.

To cope, mothers and carers engaged in active self-care (such as trips to the salon), searched for social support and networks, and reached out for help, Laguilles-Timog said.

The two forum speakers were unanimous in their stand that care work at home should be distributed. Laguilles-Timog advised parents to start teaching their children about it as early as possible; Jusayan suggested sensitivity to the carers’ condition and taking steps to alleviate their burden. 

Jusayan’s counsel is not just empty words. He said members of his family have care work duties beyond their office jobs, with the division of chores discussed over dinner. He mentioned volunteering to do the laundry and wash the dishes on weekends. (The arrangement is not new to him, having grown up in a household with 10 siblings doing care work.)

But care work is not merely a home issue, Jusayan asserted. He said it’s a national issue affecting the productivity of working parents. Simply put, if care work is not shared, carers would suffer from burnout and stress, and there would be less time for paid work or skill-building, which translates to fewer job opportunities and less income.

Laguilles–Timog said acknowledging care work regardless of gender is critical. Equally critical, she said, is challenging the belief about mothers being the sacrificial model, and accepting that men can do their part and not be ashamed of care work. She emphasized that “care work is learned [and] shouldn’t be taken for granted.”

Breaking gender norms

Jusayan underscored the importance of breaking gender norms. “Men can and should do care work at home,” he declared. “It’s an important contribution to have women pursue their careers and develop themselves. Women can thrive and contribute to economic prosperity if care work is distributed equally.”

If men do half of the work at home, women can participate in more economic activities, he said, adding that there would be better family communications and children could be taught early about gender equality. 

He also said redistributed care work would improve work-life balance and mental health, strengthen families and communities, sustain social systems, and spur economic growth.  

But many men are in fact engaged in care work, Jusayan pointed out. He cited men whose wives are working abroad and “have come to a realization about care work distribution because they’re facing it.”

Similarly, he cited a company that has shifted its mindset on care work, resulting in benefits for everyone. He quoted the human resources manager of a technology cooperative in Davao as writing: “We used to think care issues were personal. But once we adjusted our schedules for working parents, productivity went up. People were happier and more focused.”

Thinking that care work is solely unimportant women’s work is ideological atavism. But it’s a fact that care work is still dismissed as inconsequential, and women are burdened with more care work than men. Oxfam Pilipinas’ “EmpowerHer” campaign is an opportune step in correcting the misconception and serves as an invitation to men to share care work with their partners. 

Standing with Oxfam Pilipinas in this mission, Jusayan recommended that Philippine MSMEs implement shared care responsibilities, practice workplace flexibility, provide public care services, encourage a culture of equality and respect by valuing care work, support carers to prevent burnout, and institute care work policies.

He said individuals can do their part by discussing care responsibilities at home, supporting women coworkers juggling care and work, encouraging care-aware workplace practices, and joining conversations on care.

The bottom line: Women shouldn’t be forced to sacrifice their careers and dreams for their families. Having a family doesn’t preclude a career, and vice versa. Jusayan summed it up well: Care work is all about sharing because shared care is shared growth.

The post A national issue: Men can and should do care work, expert says in Oxfam Pilipinas forum appeared first on CoverStory.

Representation

“What’s really important there is representation,” the new queen told CoverStory. “When I was joining, I thought it would be a disadvantage [because] I was different. But I made sure that I was real to my self, I was authentic to my skin. And I made sure that I’m genuine.”

Brooks arrived back in the country on Monday evening, April 21, just a little over a day after claiming her victory in Egypt. She was welcomed by Miss Universe Philippines executive vice president Voltaire Tayag at the airport, where she also spoke with some members of the media.

“When people see that you’re genuine, then you will realize that skin really doesn’t matter when winning a competition, or the texture of your hair, or the places where you came from. It’s from the heart talaga (really),” she said.

When she went live on social media hours before the final competition, Brooks confirmed that she would not wear a wig, and would showcase her natural buzz-cut afro curls, explaining to her fans that the people in Egypt appreciate her authentic self.

“I’m really happy that I won. I represented my people well. I represented the kids who are scared of joining because they thought they’re not the pageant stereotype,” she said.

“It’s not about the stereotype, at the end of the day,” she continued. “It’s just about who you are and what you want. And if it’s bigger than your self, then you will achieve bigger things.”

Sisterhood

Brooks also appealed to warring pageant fans from different countries to foster a healthy atmosphere. “We have different perceptions of beauty. We have a different understanding of things. But at the end of the day, a pageant is really a sisterhood. It’s a celebration of women, and empowerment of women,” she said, adding:

“My beauty is different. Other girls’ beauty is different. But it doesn’t mean that they’re better than someone else, or they’re lesser than someone else.”  

The Philippines not only has the most winners in the Egypt-based international competition. The country’s impressive record also includes three women who finished second in their respective contests—Maureen Montagne in 2019, Kelley Day in 2021, and Chantal Schmidt in 2024.

As Miss Eco International, Brooks will serve as an ambassador of sustainability by promoting the United Nations’ SDGs (Sustainable Development Goals) for 2030.

The post For the Philippines’ Alexie Brooks, Miss Eco International 2025, victory is ‘from the heart’  appeared first on CoverStory.

“During my first term, I was subjected to catcalling during a photoshoot, and I heard my male colleagues placing bets on me. I heard them say ‘1,500’ or ‘2,000,’” she said.

Valdez was only 28 years old when she entered politics. As a young woman, unlike a man, she has had to exert double, if not triple, the effort to be heard in official meetings. 

“You have to stand your ground in dealing with these challenges,” she said. “You deal with the situation by not turning your back on what you’re fighting for, but you have to be creative and innovative in championing [your causes].” 

Valdez is one of three female public servants in Candon, the other two being the vice mayor and another councilor. In the provincial government of Ilocos Sur, all elected officials are male but for two female board members. 

The Philippine Commission for Women concluded in 2020 that at the national level, women’s participation and representation in politics are at best a paltry 26% of elected posts. 

Angat Bayi

The need for the greater number and power of women in Philippine politics prompted the ideation of the Angat Bayi Women’s Political Empowerment and Fellowship program, also known as Angat Bayi, which is dedicated to elected female leaders in the Philippines like Valdez.

“Angat Bayi started with the general purpose of having women elected leaders fully and meaningfully participate in the political space,” said Aya Tamayo, Bayi Inc. co-executive director for operations.

The program started in 2018 under the University of the Philippines’ Center for Women’s Studies Foundation Inc. It was first envisioned by Maya Tamayo, its co-founder and program manager, who was then pursuing a master’s degree in women and development. 

It has since provided a safe space for elected women leaders through the support of various partners such as the Canadian Embassy, Angat Buhay Foundation and other advocacy-oriented entities.

Angat Bayi grew into an independent nongovernment organization, Bayi Inc. (The word “bayi” directly translates to “woman” in Bisaya, Tamayo pointed out.) It should not be confused with former vice president Leni Robredo’s Angat Buhay Foundation, with which it partnered in its early years of implementation. 

The program employs the transformative feminist leadership framework in advancing gender equality amid the patriarchal structure and power imbalance in Philippine politics. It is also aimed at doing away with the “bench warming phenomenon” in which “women are used by their husband, father, or other men family members to reserve positions until the male relative can run.”

Said Tamayo: “When we talk about gender equality or women empowerment, we often forget the power dynamics between men and women. How do women politicians fare with the discrimination and subordination in politics?” 

3-course program

Since 2018, Angat Bayi has empowered more than 120 elected women leaders, covering more than 47 local government units in the country. 

Under the program, each Angat Bayi batch begins with a call for nomination of potential fellows. Nominees are screened down to 20 participants per batch; they will undergo three courses, each taking five days and four nights with at least a month in between. 

In the first course, the participants reflect on their experiences as public servants and delve into the theoretical knowledge of transformative feminist leadership. In the second course, they are tasked to develop a “Likang Bayi” project that they can implement in their respective government units. 

The third course is where each participant implements her capstone project, applying the knowledge gained from the program. 

At the end of each course comes an interview in which the participants share their learnings and expectations. Under such a system, the program is curated to the participants’ needs, so that they are guided in transitioning from theoretical learning to practical application. This ensures that each Angat Bayi batch births local programs forwarding women’s rights in their respective communities. 

Valdez, who was among the first-batch fellows, implemented Candon’s own Angat Bayi Young Women’s Political Empowerment Fellowship Program (or Young Bayi) alongside Bayi Inc., Candon Youth for Empowerment Movement, and other partners. Patterned from the original program, Young Bayi caters to young women interested in taking up a government role in the future. 

The first batch of Young Bayi graduated in 2019; the second batch is still undergoing the courses this year. “Our ultimate goal is for them to take up space and run for public office,” Valdez said, remarking on the importance of “pacing” and of “starting them young, especially those with potential to lead.”

This year, the program involving school-based leaders is taking place in partnership with Barangay Banayoyo in Ilocos Sur.

“This second batch is just supposed to be a ‘barangay Bayi,’ but others have expressed interest. So we opened it up to include other people in Ilocos Sur,” Valdez said.

Solo parents

Lanao del Sur public information officer Salma Jayne Tamano joined Angat Bayi in 2023. She lobbied for the local implementation of the recently passed Republic Act No. 11861, or the Expanded Solo Parent Welfare Act. 

“I know for a fact that in Lanao del Sur, there is no institutionalized program for solo parents,” Tamano said. 

Through the local implementation of RA 11861, government units up to the barangay level are mandated to provide benefits to solo parents, such as 10% discount and value-added tax exemption on selected goods, a monthly allowance, seven-day solo parent leave, quarterly welfare packages, and prioritization in livelihood opportunities.

About 14,000 solo parents will be qualified for such benefits beginning in 2026, Tamano said.  

Tamano was a divorced solo parent before she remarried this year. She is thankful for having a well-paying job that supported her family, but pointed out that others do not enjoy such a privilege. “The government must do something,” she said.

According to Tamano, It is fortunate that Lanao del Sur Gov. Mamintal Alonto Adiong Jr. was once a solo parent. She thinks this factor contributed heavily to the local implementation of the law, even if discussing experiences involving divorce is considered taboo in Maranao society. 

Tamano said the governor had initially feared that the law would be for naught if divorcees refused to come forward, yet pursued it for their rights. “They should know that there is a law for them,” she said. “Why should you be ashamed when you need the services of the government? It is a reality that there are solo parents.”

Sisterhood

For Valdez, Angat Bayi is not just a program but a haven for women to embrace their womanhood and empower one another.  

“It became a family,” she said. “It created meaningful bonds and relationships among the people behind it and, of course, us sisters. The sisterhood that we formed during the fellowship is, for me, one of its most cherished parts.” 

Valdez and her sisters are organizing a network of women leaders not exclusive to Angat Bayi graduates, to serve as a strong ground of support for women in terms of transformative feminist leadership. 

“I know how it feels to be marginalized and to not be supported in a lot of areas. When there’s a woman who is struggling to claim space, you empower her when you offer your support and guidance to her,” she said, adding: 

“This will not end with Angat Bayi. We will always reach out to more communities, not just our localities, to be able to advance the agenda of strengthening women’s political participation in the Philippines.”

Read more: Cordillera’s cultural norms push back against political dynasties

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They passionately wanted to present the beauty and history of Cordilleran culture and traditions through music shows in the urban centers but they had insufficient resources and musical instruments, even members, to begin with.

Pagta, a sociocultural student organization based in Baguio City, holds performances and events to promote the Cordillera’s rich heritage. Although originally composed of students from indigenous communities, it welcomed non-indigenous members in 2007. “Until now, Pagta still has a stronghold in Baguio,” Gazmin says.

When the group set up its chapter in UP Diliman, it was immediately swamped with invitations to public performances, including an event attended by National Artist for Cinema Eric de Guia aka Kidlat Tahimik.

But Pagta-UPD struggled to keep its footing. With little resources, it had to borrow musical instruments from certain facilities until it found a significant ally in the UP Center for Ethnomusicology (UPCE) at the university’s College of Music.

Bridging the past and the present, the UPCE is a research institution devoted to the music of indigenous communities in the Philippines. It was established in June 1997 under the UP Diliman Office of the Vice Chancellor for Research and Development from its former appellation UP Ethnomusicology Archives.

Cultural purity

The center holds a wealth of books, studies, instruments, archives, and everything else related to music and ethnolinguistic groups in the Philippines. It is where music and history are celebrated, their cultural purity recognized beyond any foreign occupation.

Before Pagta-UPD acquired its own “gangsa,” it borrowed the set of small flat gongs from the UPCE. “The center is the only one with a complete set. The set in the College of Music was broken,” Gazmin says.

The group also took the “patangguk,” or the quill-shaped bamboo tubes native to Kalinga, from the center.

Instruments kept in the UPCE are conditioned to be displayed and played, unlike in the college’s Museum of Instruments, says Gazmin, who serves as the junior library aide assigned to the center’s instrumentarium.

At the core is the collection of Dr. Jose Maceda, ethnomusicologist, educator, and the CE’s founding director. His trove, designated as the “Ethnomusicological Survey of the Philippines,” consists of more than 2,500 hours of field recordings, hundreds of instruments, books, field notes, and published and unpublished scores.

The collection was inscribed in Unesco’s “Memory of the World” in 2007 as items of “documentary heritage of exceptional value.”

Also found at the UPCE are the “Hinilawod Epic Chant Recordings,” a collection of epics in the Visayas by Filipino anthropologist Felipe Landa Jocano, which was cited in Unesco’s “Memory of the World Committee for Asia and the Pacific” in 2024, and the ethnomusicological collection of National Artist Ramon Santos, the country’s foremost exponent of contemporary Filipino music.

The UPCE is “very important because it is the only center in the country that is heavily focused on ethnomusicological research,” Gazmin says, adding:

“The center promotes traditional music and dance. It raises public awareness about the collections that promote the culture and identity of Filipinos.”

Simple goal

The UPCE’s goal is simple: to make Filipinos appreciate indigenous traditions, according to LaVerne de la Peña, a professor and former executive director of the center. It is for everyone’s use, he said, although most of its clients are scholars at UP, specifically at the College of Music.

As a research institution, the center produces music-focused studies accessible to readers from all walks of life, both in writing and distribution. “We made sure that [studies] were written so that ordinary readers can understand and appreciate them. Mainly, the focus is on schools and school teachers,” says De la Peña.

The UPCE frequently conducts tours for students from kindergarten to high school, providing an overview of its four facilities—the library, archives, instrumentarium, and audio conservation laboratory.

In the library are music scores, books, audiovisual materials, theses and dissertations written in Filipino, English, French, German, Dutch, Spanish and other languages. The massive collection of resources on musicology comes from the global research of its founding director Maceda.

The instrumentarium is a haven for more than 3,700 assorted indigenous instruments from the Philippines, Thailand, China, Japan, Korea, and Indonesia, as well as parts of Latin America and Africa.

Most of the instruments are part of Maceda’s collection, including gifts received during his travels. Others are donated from the center’s workshops, field work, and conferences and forums.

One of the oldest on display is the Nose flute recorded in 1957. Gazmin says other instruments could be older than when they were recorded.

Like the library, most instruments may be borrowed, with permission from the center’s director.

The archive is the powerhouse of never-before-seen-or-heard audio recordings, audiovisual materials, texts, images, and scores of great ethnomusicologists’ documentation of ethnolinguistic groups globally. These are stored in the audio conservation laboratory that uses state-of-the-art equipment for maintenance.

Preservation

UPCE media archivist David Dino Guadalupe says the center began digitizing its archives in 2008. “The usefulness of the collection diminishes if it cannot be heard, so we preserve it by digitizing,” he says.

Guadalupe shares with CoverStory.ph a recording of children playfully singing a song in their native language, little knowing that it would become a treasure in the country’s sole ethnomusicology institution.

The recordings hold a different meaning for the communities where culture is very much alive, according to collections manager Roan Mae Opiso. More than the preservation of culture, the recordings represent the voice of revered family members and ancestors.

Some staff members recall that Bukidnon culture bearer Datu Rodelio “Waway” Saway once checked the recordings of his community for accuracy, and heard his father’s voice from a recording that dates back to when he was a toddler.

The recordings are also seen as a revival of an aspect of culture absent from the consciousness of this generation. Guadalupe narrates an incident when, during a UPCE seminar in Baguio, one recording captured a song almost forgotten by the older generation and never passed on to the new one.

“One old teacher remembered the song they learned decades ago,” says Guadalupe. “The whole group learned the song again and came back to the community. That’s Dr. Maceda’s goal—to keep things from being lost.”

The UPCE strives to bring back research and archive materials to their origin community and to train local archivists. “We realized that it’s about time communities were trained so … they will ultimately collect their own data and decide what will be included in the archives,” says De la Peña.

Guadalupe adds: “They are more knowledgeable in what should be collected or archived because it’s their culture—not only the rituals but also the members’ interaction. It’s like a family picture: You know what’s important. They will decide what [to do]; we will just provide training.”

The community training will create a new perspective—from a researcher’s to an insider’s—on materials. For De la Peña, a genuine cultural and heritage conservation program should involve the community.

The initiative started in Sagada, Mountain Province, where students and faculty members in schools near the indigenous communities were taught how to record and safeguard its music.

Lack of space and funding

Gazmin, the library aide for the instrumentarium, says the UPCE expects 400 to 600 more instruments this year.

But as it is, the facility is cramped with its current collection. Instead of being displayed aesthetically, the instruments are stacked one on top of the other due to lack of space. The situation is the same in the overflowing archives room.

Librarian-archivist Grace Buenaventura says the UPCE originally requested a whole building for its use, but the insufficient university budget brought it to a mere wing in the new Jose Maceda Hall. The center receives an annual budget from the Office of the Vice Chancellor for Research and Development in UP Diliman for maintenance.

With the new building, Buenaventura says, the UPCE was hoping for bigger space for its current collection alone. “The archive should be at the core with a vault for the physical materials. Performance, conference or exhibit venues are also needed. We also need bigger space for the instruments,” she says.

Collections manager Opiso and archivist Guadalupe say the archives require consistent maintenance 24/7, including weekends. But per university policy, they have had to turn off the air-conditioning units beyond work hours—certainly not ideal for the archives’ condition.

“We plan to send a request for exemption to [limited air conditioning],” says Buenaventura. “But we still need to figure out how to maintain it. The maintenance and electrical budget will double, but it’s one thing that needs to be done.”

De la Peña, however, has no plan to request bigger space.

The UPCE also receives regular funding for its projects from government offices like the National Commission for Culture and the Arts and international nongovernment organizations, but these, he says, are still not enough to maintain a whole building.

“I am content with this [current office]. There are bigger problems in other offices, other schools, and here at the College of Music. Most of our clientele are from the college, so I’m good with keeping the facilities here,” De la Pena says.

“Having a new facility is not simple,” he adds. “You have to look for funds for how that building will be maintained. We can explore that later but for me, it’s not a priority. If 600 instruments come, we’ll just find a way to reconfigure that space.”

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Now formally open to the public, the museum lies on the avenue named after “the mother of the Philippine Revolution”—a means to uphold the value of women and to perpetuate a culture where women hold significant roles in society, according to the visual artist Sandra Torrijos.

For some people, museums are simply repositories of the past to remind them of how our culture and society were curated from both abrupt and deliberate events. Others, however, see them as venues to display historical items as part of efforts to question the status quo and bring about social change.

For Torrijos, a museum should showcase the patriotic legacy of women heroes and leaders aside from Tandang Sora, formally known as Melchora Aquino (1812–1919).  

Since 1993, Torrijos has been gathering historical artifacts and contemporary pieces that would eventually transform an old house on Banlat Road in Quezon City into what is believed to be the first women’s museum in the country. 

“Women are leaders. Women can be leaders,” the artist said, speaking in Filipino. “This museum broadens and deepens the story of the entire Philippines.” 

The Tandang Sora Women’s Museum was inaugurated last Feb. 19, with Quezon City Mayor Joy Belmonte, Sen. Risa Hontiveros and other government officials and civic leaders in attendance.  

In the way that Tandang Sora tended to wounded revolutionaries in her home, the two-story museum designed by architect Gerard Lico is now a place for timeless narratives and visual arts. 

“Finally, the stories of our women now have a home,” Hontiveros said in her opening remarks. “Having this physical display and documentation of our women’s stories is an essential part of keeping our heritage alive…of protecting our collective memory as a people.” 

What the walls say

On display on the museum’s refurbished walls, corners and shelves are paintings, art pieces, literary works, figures of babaylan (priestesses), even anting-anting (amulets) and other remnants of the past.  

There is an art piece titled “Lola,” created by Kathleen Dagum and completed in 2024. It resembles an elderly figure made of cloth, wood, and acrylic, and is embellished with white entwined wires in the lower portion. 

Among the books are Jose Rizal’s “Women of Malolos” (1889) and “My Mother is More Than a Comfort Woman,” a collection of stories by different authors that trace the struggles of Filipino women forced into sexual servitude during the Japanese occupation in the early 1940s.

Some students were observed swarming over a rustic wooden chair, taking turns at sitting on it, and pretending to write on paper laid on the rugged antique oak table, as if reenacting a scene from a teleserye.

Ancient weapons and certain items used by Filipinos during the Spanish colonial era, such as the hand-woven Pis Yabit tapestry and a dark brown salakot (traditional rattan headwear) are also on display.

On the wall leading to the second floor is a painting of Tandang Sora, her face rendered in distinct yellow, green and red colors and backgrounds drawn in bold outlines and cubist-like shadows and highlights. 

A special section dedicated to her holds her memorabilia.

A corner is labelled “Isip at Gawa” (Thought and Deed) and displays stories of noted Filipino women in contemporary times, like the 2021 Nobel Peace Prize awardee Maria Ressa. 

In a sequestered section, four-foot wooden figures of women stand in the middle of tall partitions that annotate the accounts of those who championed women’s rights including the right to suffrage. 

Fighting prejudice

Mayor Belmonte pointed out in her own remarks that even to this day, gender prejudice sidelines women and prevents them from rising to the high positions of leadership that they deserve.

Hontiveros called on everyone to visit the museum and appreciate the freedoms that certain Filipino women had worked hard for. “Let us show to all Filipinos the richness of our arts and culture, and the beauty of our stories,” she said. “I am certain that with this museum, more women and Filipinos will be given guidance, knowledge and inspiration to stand up and fight for our beloved motherland.” 

Like those Filipino women who may not have set foot on the battleground but nonetheless pursued independence, the museum stands, not as a form of passive resistance, but as a determined effort to alter the image and circumstances of women today.

Raymond Aldo M. Mina, a fourth-year journalism student of Bicol University College of Arts and Letters, is an intern at CoverStory.ph.

The Tandang Sora Women’s Museum is open from 9 a.m. to 4 p.m., Tuesday to Sunday. Admission is free until the end of March.

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