Kularts 2015 Roundup! Donate & Empower Artists for 2016!

December 23, 2015 in 2015 Pinoy Arts Fest, Kodakan, Making Visible, Maseg, Maseg Typhoon, Other Work by Alleluia Panis, Performances, She Who Can See, Uncategorized, Works by Jay Loyola


It’s been an eventful, incredible year for Kularts!

Huge thank you for participating, attending & funding Kularts 2015 programming!!

Keep the momentum going!!

Make an end of the year tax-deductible donation via: Online PayPal Link OR send a check to Kularts 474 Faxon Avenue San Francisco, CA 94112

Check out some of Kularts 2015 Highlights:

56 Ma’ARTes Fest funders

FIRST ever Ma’ARTes Festival: Opening Reception, Kodakan Exhibition, World Premiere of She, Who Can See and There’s The Moon & Then There’s You, the return of Maség Typhoon, Barrio Fiesta and SoMa Pilipinas Arts Fair

– Back by popular demand, the return of She, Who Can See

Kodakan Exhibit at the I-Hotel Manilatown Center, ACT’s Strand Theater and Bayanihan Community Center

FIRST ever Parol Lantern Commissions, currently at the Philippine Consulate General, San Francisco

Super Salamat Ma’ARTES Festival Supporters!

June 6, 2015 in 2015 Pinoy Arts Fest, Kodakan, Kwentohan, Making Visible, Maseg Typhoon, Other Work by Alleluia Panis, She Who Can See, Uncategorized, Works by Jay Loyola


 A huge thanks to all of YOU who participated in the first ever Ma’ARTES Festival!

Visit our Facebook page and let us know what you thought of the festivities, and share your pictures from the events: 

Ma’ARTES Opening Reception | Kodakan: Pilipinos in the City exhibit | She, Who Can See | Maség Typhoon | Barrio Fiesta | There’s the Moon & Then There’s You | SOMA Pilipinas Arts Fair

This summer, check out the Kodakan: Pilipinos in the City exhibit at the I-Hotel! 

SOMA Pilipinas Arts Fair featuring FREE youth-friendly activities!

May 28, 2015 in 2015 Pinoy Arts Fest, Uncategorized



Bring your family to the SOMA Pilipinas Arts Fair! 

We have a spectacular line-up for the whole family, including entertainment for the kids! 

12 – 4 PM
Gene Friend Recreation Center
270 6th St. SF, CA, 94103 

Check out our featured kid-centric activities & performances: 


12 – 2 PM: 

 -Learn to Ride a Bike (All Ages) | Bring your bike & helmet and join Jason Serafino-Agar’s workshop where he’ll teach you how to ride your bike!

-ACPA Rondalla & Youth Dance Program | Enjoy performances by the talented
American Center of Philippine Arts (ACPA) Rondalla & Youth Dance Program.

-Mahalaya Tintiango-Cubales | Catch a performance from award-winning youth dancer, Mahalaya

-Eskabo Daan  | Live demo by Eskabo Daan – Pilipino Martial Arts named Best in the Bay 2013 & 2014.  

& we’re excited to have Bessie Carmichael Elementary School Alum, Jodel Cabebe co-hosting on stage throughout the day! 

SHOW & TELL with Alleluia Panis by Oliver Saria – courtesy of Bindlestiff Studio

May 15, 2015 in 2015 Pinoy Arts Fest, Other Work by Alleluia Panis, Uncategorized

APSince co-founding Kulintang Arts, Inc. (popularly known as Kularts) in 1985, Alleluia Panis has been a driving force in Pilipino-American performing arts. She brings her unique, vibrant choreography to the Bindlestiff stage with the premiere of her latest work: She, Who Can See – a multi-media performance piece featuring music by Florante Aguilar, video installments by Wilfred Galila, and costumes by June Arellano. (Three performances: May 15-16, Friday-Saturday, 8pm and May 17, Sunday, 3pm. A featured presentation of the Ma’ARTES Pinoy Arts Festival 2015.)

Drawing upon traditional Philippine dance and contemporary forms, Alleluia’s style blends cultural influences to embody, not just a dancer’s movements, but the movement of a people across oceans and time. In She, Who Can See, the dichotomy of traditional versus contemporary plays itself out as the lead character, Salima, struggles with her shamanistic inheritance. For her, the spirit world and modern world intersect – past and present collide – causing great tension, but also sublime insights.

On the eve of the show’s premiere, Alleluia’s vision and vitality shine through in this enlivening Q&A, where she talks about her inspiration for the piece, her creative process, and her artistic longevity.

What was the inspiration behind She, Who Can See?

I’m actually doing a series of Filipino-American stories and I was really interested in talking about issues or experiences that people don’t usually want to talk about, about the Pilipino diasporic experience. The first one was in 2009, so this is the second piece of this project. It’s about Pilipino Americans that can see beyond this world, more like spirits and entities, energies, the practice, the shamanistic practice that indigenous cultures have.

I wanted to explore what we remember, what do our bodies, our selves, our DNA remember from our indigenous past or present, and how do we navigate that. It’s a metaphor for balancing your indigenous self with the contemporary world.

Can you describe your creative process?

I do get my collaborators together fairly early on and then we have some really intense creative sessions of just hashing out the structure of the piece. And then it’s kind of like a give and take. And usually I think, for the most part, the music has to be finished first. The other element is the video. I think video has been an important tool for my work, because I can videotape it and I can take a look at it later and see it in detail. I’m not the kind of choreographer that necessarily remembers every step, but I really approach it from a character point-of-view. I have choreography that I bring to rehearsal, once a piece is ready for actual dancers, and then each dancer actually embodies a movement and I’m most interested in how the dancer speaks through the character and embodies the movement the way an actor would. There are also some chances for the dancers throughout the process to show me something, like, “Now that you know the character, show me something your character may do.”

Your work has always blended traditional and contemporary influences. How do you strike a balance between the two? What are your guiding principles to honor both?

For me, I base it on my life and how I live, as an American of Pilipino descent, and having that culture, that experience, that knowledge, and knowing that’s how I represent myself in real life. I can’t take away my Filipino-ness and I can’t take away my American-ness. It becomes this hybrid-kind-of thing, but it’s a wonderful way to live for me. And so that’s how I approach my creation.

And also respect for the form. I am quite aware of both forms. I trained in both Western dance from ballet to modern dance, jazz. And then I’ve trained in Philippine dance from Luzon, Visayas, Mindanao, maybe even more so in the indigenous traditions of the Southern Philippines. But I don’t claim to do those dances.

Is that out of respect for the tradition?

Absolutely! I wouldn’t even dare.

I’m more interested in how do we then – as our personalities as Pilipino-Americans – how do we speak that in the artform that we choose? To me content is not enough. But it’s informing the form itself, the language that we use in creating these artworks. I’m very much interested in that. I’m fascinated with that!

What advice would you give to a young artist who may be inspired by your work?

My advice would be, just do it. For a lot of people that are into the arts, I think a lot of times we are sold by what we see in the media of who’s made it, who has made money off of the work that they do. Most artists that I know, they straddle creating artwork and working a straight gig. And that’s okay. Just do it. It’s about getting our stories out, getting our narratives out, whatever that might take. And if it takes for someone to have a regular job to support that, so be it. Because it’ll just make that person happier. You have to support your habit, right?

And studying form and discipline are really important in that it shows the respect that’s required to tell a story, to tell our story. Study the form so you can break the form! Is that a Bruce Lee quote? Be like water. You can’t break the form if you don’t know the form.

You been such a creative force in the Asian American Arts community. How have you managed to stay in the game for so long when so many others have burned out?

I’ve been through the ringer myself. So with every iteration of that, I’ve learned from it. For me, I say if the door is just slightly open, if there’s a small part of it that’s open, and if I can slip through, I’m the one that needs to slip through. I’m not gonna bemoan, “Oh, the door isn’t wide enough.” It’s open, it’s not locked. Can I get through it? So that’s my metaphor for that. It has to be me. It’s plain and simple.

The only that I can say that rings true is that I don’t have a choice. Believe me, I’ve tried to leave the arts. But it just made me really unhappy. And also this particular kind of work that I’m doing. I mean, it’s not just the work that I create, but also the opportunity to mentor other people or to create other opportunities for other people to create their work, really is amazing to me and brings me a lot of joy.

%d bloggers like this: