SISID dives into its making. And makers.
Ultimately, it’s all about creating and curating dedicated spaces for independent artists and performers.
To kick off the community night, founder Gerald Manuel shared the organization’s heart and journey, giving everyone a glimpse into their past productions.
Specifically, he highlighted their core programs, starting with SISID.LIKHA. This initiative hosts collaborative art-making workshops like Theater of Togetherness and Tula Dula. In addition, they drive performance platforms through SISID.AKDA, featuring open mic sessions (ESPASHOW), live readings (SALU-SALO), and work-in-progress showcases (Sketches and Ladders).
Finally, their SISID.TALAKAYAN series brings in industry professionals and partner artists for creative talks. These alternative craft lectures cover their unique artistic processes and journeys.
Through these diverse programs, the platform functions as more than just an organization.
Instead, it acts as a vital ecosystem for independent performance-making, allowing creators to grow together as a creative community.
Naturally, this ties directly into the push forward for TANGHALxALTERNATIBO Creative Symphosium to happen.
TANGHALxALTERNATIBO
This special program brings together independent, community-made performance projects. Consequently, it blends live excerpts with post-show lectures that dive into the makers’ unique methodologies. These approaches range from devised and site-specific theater to autoethnographic solo pieces and musical theater.
First, the exciting line-up features WATASHI LA INSTITUCION: STATE OF THE ARTIST NG BAYAN-GEI by The JHE PROJECT. This piece brought together director/performer James Harvey Estrada, producer/performer Rhon Dave San Diego, production manager/performer Kurt Niel Jan Cortez, and media artist/performer Anne Vigilante.
Next, WITHIN AND WITHOUT END (WAWE) is presented by Langgam Performance Troupe. Performed brilliantly by Opaline Santos, the piece was directed by Jenny Logico Cruz, with dramaturgy by Blonski Cruz and production management by Justin Ayran.
Meanwhile, the vibrant team behind 1 GAY SHOW counts performer Johann Dale Reyes. It was written and directed by Gio Potes, PB Marana, and Jasper Villasis. The team also includes technical director Karlo Erfe, stage manager Clara Senga, dramaturg Emman Degocena, lights operator Odds Odds, and production manager/graphic designer Phoebe Lina.
And lastly, the line-up includes PAHAULIAN by Miel Marka. The production was created by actor, playwright, and co-director Miel Marka El, alongside co-director Julienne Depatillo and stage manager/technical director Ayce Gelilo.
A Night Of Contemp Making
First up was WATASHI LA INSTITUCION: STATE OF THE ARTIST NG BAYAN-GEI by The JHE PROJECT.
It was a raw performance with sparse dialogue, deeply inspired by James’ grandfather, a folk healer. During the session, James Harvey narrated his three-year documented performance research. His talk highlighted the artist’s intense struggle for economic survival while trying to keep their practice rooted locally and engaging in international collaborations.
Next was WITHIN AND WITHOUT END (WAWE) by Langgam Performance Troupe, a group long known for shaping experimental performances. Framed as an open rehearsal, this meta-devised performance explored an actor’s personal relationship with their craft through reflection, destruction, and imagination. It opened with Opaline reading from her journal, sharing her raw creative process for that specific role while allowing the audience to watch her work.
Then came the star of the night: 1 GAY SHOW, an incredible performance lecture.
Although it has already been staged thrice across four venues, this spectacular show is still a developing production. Nevertheless, it delivered exemplary monologues that perfectly captured the essence of its environment. For this iteration, the team cleverly reinterpreted the show against the backdrop of current global conflicts, showing how violence touches every part of our lives, even in seemingly distant lands.
Rounding out the lineup is PAHAULIAN. This solo auto-ethnographic performance foregrounds Miel’s Siquijor lineage, treating her own body as a living archive. She beautifully weaves personal memory, ancestral knowledge, and scholarly research into a concise excerpt. Ultimately, this snippet shows exactly where heritage, stigma, and migration meet. While PAHAULIAN couldn’t make it to the Community Night, it is absolutely a show to watch out for at the main festival.
From Locals, For Locals: The Symposium
After the showcases, everyone in attendance jumped in to share their insights on performance-making, sparking an open discussion on how to co-create as community producers.
A big part of the conversation centered on preserving narrative integrity. Specifically, there was a shared frustration that mainstream media often amplifies or capitalizes on local, community-centric stories without properly compensating the original writers or the communities involved.
James Harvey echoed this sentiment:
After ng outreach, pak pak pak, national tv, done.
Yung komunidad, wala na. Hindi na binalikan”
Following this, he emphasized that cultural workers have a responsibility to give back to the community after writing their stories, even through small, tangible gestures.
Soon after, a GMA Writer in the audience joined the panel discussion and posed a challenging question:
How do we meet halfway with the alternative artists?”
She noted that mainstream networks feel a need to filter their content, adding,
We need yung art na maiintindihan ni Ka-Marites”
Using “Ka-Marites” to describe the general public, her comment sparked diverse perspectives from the artists. Furthermore, it highlighted a reality that mainstream producers often choose to simplify content for everyday viewers.
Consequently, this opened up a deeper debate on the complicated relationship between mainstream and alternative media.
In response, Jasper Villasis from the 1 GAY SHOW team shared his experiences teaching young kids in Barangay Krus Na Ligas, Diliman.
He urged big institutions like GMA to step down from their pedestals and find a way to provide concrete support if they genuinely want to give back to the communities providing their stories.
Importantly, he noted that no matter how deep or intellectual a lesson is, a child’s mind can’t absorb it if they are hungry, stating plainly:
Mahirap magturo sa batang gutom”
Because of this, his team works hard to pool money to provide simple meals for their classes. Jasper noted that many kids in the area intentionally show up to the workshops just so they can eat.
Ultimately, alternative theater-making isn’t designed to be intentionally difficult or exclusive.
Instead, it serves as a creative tool that challenges both the audience and the artists to think critically and take action. It stands firmly on the belief that everyday audiences are completely capable of engaging with complex, thought-provoking art.
See The Alternative Performance of The Now
If these conversations sparked something in you, don’t miss the full-day celebration of contemporary performance!
Festival Date: July 11, 2026, 11:00 AM–8:00 PM
Venue: Nocturne Studio by Kohi, 63 Maginhawa, Diliman, Quezon City
Tickets (per performance-lecture): Regular/Walk-in: ₱600 | Student, Senior Citizen & PWD: ₱450
Come out and be part of a day filled with bold performances, thoughtful conversations, and community-driven art.
Reserve your tickets by using this link: TANGHAL x ALTERNATIBO
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