The Ba-e Makiling Audience has spoken…

September 27, 2016 in Bae Makiling, Works by Jay Loyola


Such amazing feedback from all of our Ba-e Makiling attendees – we just HAVE to share some of favorites:

“Best Pin@y Production I’ve ever seen in my 34 years of life!”

“Lovely! We teared up at the end, especially my 5-yr-old daughter.”

“Thank you for your artistry, storytelling, and craft. I hope to see the greater community get a chance to experience this.”

“That was such a beautiful and powerful performances! It’s a good thing I brought tissues!”

“It speaks to my culture and heart.”

“So engaging with beautiful choreography + soundtrack.”

“A first class performance deserving NY Broadway!”

“The whole experience brought me back home.”


Show your support for the talented team of artists & designers who made this production possible by donating to our Indiegogo Campaign, now til Oct 10!


Support the artists & designers of Ba-e Makiling! Become a funder!

September 20, 2016 in Bae Makiling, Works by Jay Loyola


THANK YOU 400+ who filled Bindlestiff Studio’s theater and joined us in the lush bamboo grove to embark on the journey of Ba-e Makiling & Lakai!

We have LOVED reading your comments & messages about the production!

You can show more love for the artists & crew by becoming a Ba-e Makiling Funder: 


By donating as a little as $25 you’ll help increase artists & designers fees AND for the new $50+ funders you’ll receive Ba-e Makiling t-shirts featuring the Ba-e Makiling baybayin logo!!

Q&A | Ba-e Makiling Edition: Jonathan Mercado (Lakai)

September 15, 2016 in Bae Makiling, Uncategorized, Works by Jay Loyola


Over the years dancer Jonathan Mercado has taken on a range of roles in Kularts’ Jay Loyola commissions, from Tandikan, an ill stricken deity; Kisig, son of a Sultan who finds himself caught in a vengeful typhoon; and currently in “Ba-e Makiling” he plays Lakai, a hunter who falls in love with the diwata of Mount Makiling.

Get to know more about him in today’s Q&A:

There’s three ways you can show your support for Jonathan & Ba-e Makiling:

  1. Become a Ba-e Makiling Funder (Campaign Page)

  1. Buy tickets to the closing weekend of Ba-e Makiling, Sept 16-18, 2016 at Bindlestiff Studio, 185 6th Street, SF, CA (Tickets Page).

  1. Spread the word!


1) What kind of dance styles have you been a practitioner of and how do you integrate these styles into this piece?

I was a practitioner of hip-hop and urban choreography for about 4 years and have been a practitioner of Filipino folk dance since 2010. So, for the past few years my body mechanics has developed a fusion of both styles, kinda “fast and funky” from hip hop yet “earthy and indigenous” from my experiences with Filipino folk dance.

My style is still definitely something I’m working on developing.


2) This is going to be your third production of Jay Loyola’s pieces. How do you think this piece differs from his other ones?

Each of his pieces has always immersed the audience into the realm of Philippine culture, and I don’t think this one does any different in accomplishing that beautiful feat. He has facilitated the construction of a world out of imagination and folklore; as a result, this piece has generated a unique identity all on its own. 


3) How have you learned as a dancer by being a part of Ba-e Makiling?

For me, the key word within this production has been “growth”.

As a dancer, I was continuously challenged by Jay Loyola and Alleluia Panis to tap into my own style and integrate it within the choreography or sometimes to just “feel it out with the music.” With as much I’ve grown as a dancer because of them, I have also become a more confident person.

Q&A | Ba-e Makiling Edition: Florante Aguilar

September 14, 2016 in Bae Makiling, Uncategorized, Works by Jay Loyola


This week we sit down with the man behind the music, Florante Aguilar.

Maybe you know him from his original score for Jay Loyola’s 2014 dance theater work Maség Typhoon, or his music for Alleluia Panis’ 2015 production of She, Who Can See, or even as the partner of the amazing Fides Enriquez of New Art Media Studio….or possibly as the subject of the award-winning documentary, Harana: The Search for the Lost Art of Serenade. 

Check out Florante’s Q&A below and enjoy his newest original score for the world premiere of Ba-e Makiling!

Listen to the original score by:

  1. Becoming a Ba-e Makiling Funder for $25+ and get a digital download to the original score! (Campaign Page

  1. Hear it live when you purchase tickets to the world premiere Sept 9-18, 2016 at Bindlestiff Studio, 185 6th Street, SF, CA (Tickets Page).



1) When did your first musical experience begin and what inspires you to continue with your musical background?


I see myself more as a composer whose instrument happens to be the guitar. I don’t need inspiration to continue doing music. It is part of my DNA so I can’t help it. I will be doing music regardless whether somebody is listening or not.

2) Having worked with Jay Loyola in his previous production, Maseg, you had an understanding of what he was looking for in terms of musical accompaniment. What became your inspiration in creating the soundtrack to Ba-e Makiling? How was the process different from creating the music for Maseg?

Well, the way I see it, Jay’s dance is the accompaniment to my music. Just don’t tell Jay I said that ha-ha 🙂

But seriously, I don’t see my compositions for Ba-e Makiling and Maség necessarily as musical accompaniment to dance.


Alleluia and Jay are actually hands off on the direction of the music. They give me 100% freedom on the musical choices I make. That’s how much we trust each other. All I need from them is the narrative script and time stamp and I just run with that.

3) What was the most challenging part for you in composing the soundtrack for Ba-e Makiling? Did you learn any lessons in creating this piece?


Alleluia and Jay didn’t want to just buy some pre-recorded CD to dance to as is commonly done. So, it’s really a wonderful collaborative process. Just like in food, it tastes better when all the ingredients are made from scratch.

And that is where the challenge lies. Building from scratch. I write, play, and record all the instruments and that is always labor intensive. You wouldn’t believe the time and energy necessary to compose and record a 5-minute piece. And the Ba-e production clocks in at more than 60 minutes of music.

But you know what? I wouldn’t have it any other way.

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