Nightclubs and bars must create a supportive environment that cracks down on unwanted sexual attention and allows women to enjoy their nights out, according to a new study.

Increasing numbers of women are prepared to speak back to sexual harassment while enjoying a night out with female friends by confronting the men responsible and telling them clearly and robustly that their behavior is unacceptable.

But researchers say that such a response – which they dub ‘feisty femininity’ – is complex and can result in backlash. It, therefore, needs businesses within the Night Time Economy to take seriously unwanted encounters in order to foster safer venues and help to end gendered violence.

Researchers from the Universities of Birmingham and Liverpool worked with colleagues at Liverpool John Moores University to explore women’s navigation of unwanted sexual attention when in bars and nightclubs. “Unwanted Sexual Attention in the Night-Time Economy: Behaviors, Safety Strategies, and Conceptualizing ‘Feisty Femininity'” by Clare Gunby , Anna Carline, Stuart Taylor and Helena Gosling is published in Feminist Criminology.

They conducted focus groups with young women in Liverpool and discovered two broad forms for unwanted sexual attention when women went out: ‘the pick-up routine’, which men used to start sexual encounters; and ‘showing off for the lads’, where males engaged in undermining and abusive interactions with women for the purpose of impressing their male friends.

Encountering ‘the pick-up routine’ tended to prompt the use of ‘diplomatic’ rejection responses, which were carefully constructed in order to manage a potentially aggressive reaction. In contrast, ‘showing off for the lads’ approaches were more likely to spark a robust ‘feisty’ rebuttal from the targeted woman.

Article author Dr. Clare Gunby, from the University of Birmingham’s Institute of Applied Health Research, commented: “Young people, globally, are starting to demand accountability for sexist structures and norms, partly due to the re-emergence of feminism and activism on University campuses and beyond.

“Women practicing ‘feisty femininity’ overtly resist unwanted encounters and this approach can arguably play a role in ending gendered violence. However, such responses may expose women to risks and place the labour of managing unwanted incidents onto women directly.

“Indeed, our participants felt that staff in nightclubs and bars did not take their concerns around safety seriously. Hence, women’s informal strategies for dealing with unwanted attention become especially important because more formal lines of recourse often remain unavailable.

“Venues must, therefore, play a key role in creating a safe environment that makes it clear that unwanted sexual aggression will not be tolerated. There must be a multipronged approach across the Night Time Economy to addressing sexual violence.”

The study sheds light on women’s navigation of unwanted sexual attention when in bars and nightclubs – about which little is known, especially in the UK context. In addition to ‘feisty femininity’, the researchers found that women had developed three other risk management solutions:

• ‘Emotion management’ – offering a tactful and diplomatic explanation for their lack of interest (in order to mitigate negative reactions when rejecting men).
• ‘Men as protector’ – specifically going out with male friends or using a boyfriend (actual and mythical) to reduce the likelihood of an unwanted encounter.
• ‘From individualism to camaraderie among the girls’ – cutting an evening short, moving to another venue, laughing off unwanted attention or stepping in to stop men from exploiting drunken friends and strangers.

“There was a shared reticence to report unwanted incidents to venue staff or police as women felt that any report would be shrugged off and that no one would care due to the perceived normality of such practices when out in bars and nightclubs,” Dr. Gunby notes.

“The lack of formal sanction for such behaviors could arguably play a role in their maintenance, prompting women to fill this gap by taking it upon themselves to monitor friends and strangers.”

This November, the UP Repertory Company opens its 47th production season with DADA: The Chika Minutes¸ a performance of LGBTQIA stories. 

DADA: The Chika Minutes is a documentary theater performance of various narratives from the LGBTQIA community, exploring documentary merged with the company’s own art form, tula dula (a poem written in verse, acted out in mime). With 16 segments of a spectra of LGBTQIA narratives, DADA will be tackling the real life experiences of kids to OFWs to pageant queens to sex workers to community builders and activists. 

“In this period of intense hate crimes, controversies and fake news about SOGIE, we bring the stories of the LGBTQIA you might have missed,” UP Repertory Company stated. 

With the dramaturgy of Ligaya Sinfuego, additional choreography by Michelle Alde, and choreography and direction by Jasper Villasis and Malvin Ramos.

DADA: The Chika Minutes will be staged this coming November 28 and 29 (7pm) and November 30 (3pm and 7pm) in UP Diliman.

For details on tickets and show venue, contact Hillary Guevara at 0906 626 0900.

In the later part of 2012, PETA’s artistic director Maribel Legarda had a chat with Liza Magtoto about making a musical using the songs of Aegis (the group that gave Filipinos the can’t-be-escaped “Basang-basa sa Ulan”, among others). We know the approach re making of such a musical, of course; overseas, “Mamma Mia!” has been making waves (and lots of money) by using the songs of AbBBA; ditto “Across the Universe” that uses the songs of The Beatles.

Though that chat was – in a way – partly a joke, Magtoto said that the musical that “had a Pinoy soul in it” eventually came to life because: 1. if you’re a Filipino, there’s really no way to escape Aegis (Hello “Halik!”); and 2. if you listen closely to the lyrics of Aegis songs, you’d eventually understand why they “click” (e.g. “Basang-basa sa Ulan” has a line: “Ngunit hero, bumabangon pa rin”).

And so – eventually – “Rak of Aegis” came to life (the title a play at “Rock of Ages”).

That was around 2013, when the “rock comedy musical” was (first) rolled out. And now, for the Nth time, PETA is rolling it out again…

We take another look at “Rak of Aegis” to see what makes this iteration worth it…

1. Providing a “current” look at current issues…

“Rak of Aegis”, for me, remains relevant because it tells a story that’s valid on our times.
To start, there’s climate change, and how this particularly affects poorer places (say, a country like the Philippines).

“Rak of Aegis” tells the story of Aileen (and the people around her) who lives in Barangay Venizia, a place submerged in flood waters for two months already. The flood has already affected the livelihood of the locals (e.g. shoemaking); and is affecting other aspects in the lives of the locals (e.g. her mother has leptospirosis, a disease spread by contact with water contaminated by the urine of infected animals).

Though she works (as a saleslady, a contractual worker), Aileen falsely and blindly believes that their way out is for her to be famous (I’d say: “Welcome to this famewhoring generation”). So she kept trying to make a YouTube video to make some “noise”, hoping that the “likes” she gets will save her, her family, and the entire barangay.

Aileen eventually gets her wish, forcing the cause of the flooding (i.e. absence of a sewerage system in a nearby subdivision development) to surface; the enterprising spirit of people (e.g. holding a concert in a flooded area) to become apparent; and opportunism to be seen (e.g. surfacing of other wannabe celebs to follow Aileen’s footsteps)…

All these issues are “now” issues; and kudos for PETA for being able to roll them into a “rock comedy musical”…

2. A glimpse at intersectionality.

Yes, there are poor people. And poverty is NOT (only) because people are lazy. Their contexts need to be considered – e.g. access to education, access to opportunities, et cetera.

Yes, the Internet can help popularize issues; but keyboard activism – on its own – is NOT the solution. Being proactive in developing efforts offline/in the real/physical world is just as important.

Yes, opportunists abound (e.g. real estate developers that don’t give shit for the environment so long as they get ROI); but “kaput sa patalim” (that “opportunism” because people are left with no choice) is also existent (e.g. we put up with shitty proposals from those in power because… it’s not like we really have any choice).

All these – and more – are tackled (lightly or in-depth) by “Rak of Aegis”…

3. Worthy production…

PETA – being PETA – is expected to produce good shows; and this is no exemption.

Take the set design (by Mio Infante) that may look simplistic; but gives life to Barangay Venizia as a water-swallowed place (i.e. with an actual “flooded” canal in the middle).

The lighting (by Jonjon Villarreal) more than helps set the atmosphere of the scenes; it also – for me – highlighted specific moments/people worth highlighting. Think of the character Tolits (Pepe Herrera in the production watched for this review), who had more than one, two or even three breakout scenes; all of them emphasized by how well he was literally given the spotlight.

PETA’s facilities aren’t as big as, say, the Cultural Center of the Philippines (CCP). But that it was able to make the most of what it has is praiseworthy…

4. The cast, the cast…

When I first saw “Rak of Aegis”, somewhat-celeb Aicelle Santos was the lead (as Aileen), supported by the likes of Jon Santos (Fernan, the real estate developer); Kakai Bautista (Mercy, the mother); Isay Alvarez-Sena/Bayang Barrios/Jenine Desiderio (as Mary Jane, the barangay captain, and former GF of the father); and Robert Sean/Noel Cabangon (as Kiel, the father of Aileen). That this is a star-studded affair is… a given; so for stargazers, this is an opportunity to see these celebrated thespians performing.

Santos is still with the production, though Shaira Opsimar was the Aileen seen for the review. Adept in the role, Opsimar is unlike Santos; with Opsimar, she is easily “swallowed” by her bigger-named co-performers (e.g. Sweet Plantado-Tiongson, the Mary Jane in the production reviewed). This is not necessarily bad as it creates that sense of naïveté. But those wanting Aegis-like “birit” will remember more the co-stars Tolits (Pepe Herrera), Kiel (Renz Verano), and yes, Mary Jane (Sweet Plantado-Tiongson).

Others seen in the production reviewed were the somewhat tamed down Vince Lim (as Kenny, the former BF of Aileen); and eye candies/ensemble and scene-stealers Gio Gahol and Carlos Matobato.

As a unified whole, though, the cast of “Rak of Aegis” deserve to be seen.

From the comedic timing of Jewel (Ron Alfonso), to the agaw-eksena/secene-stealing singing of the likes of Mary Jane and Kiel, you have here a definite winner…

As FYI: The “older” cast members (e.g. Aicelle Santos, Kakai Bautista, Isay Alvarez-Sena, Bayang Barrios and Jenine Desiderio) are still performing; so if you’re extra picky, you may want to know beforehand who’d be going onstage…

5. Aegis songs – of course!

And then there are the songs of Aegis – e.g. “Halik”, “Luha”, “Basang-basa sa Ulan”, “Christmas Bonus”, “Munting Pangarap”, et cetera.

Ogie Alcasid – yes, the hubby of THE regime Velasquez – the president of the Organisasyon ng mga Pilipinong Mang-aawit (OPM), once said that “a show like ‘Rak of Aegis’ is an embodiment of what we have to do as Filipinos – suportahan, tangkilikin at ipagbunyi natin ang ating sariling musika.”

And he’s right.

Some may say that Aegis songs can be… baduy (slang for “in poor taste” or “unfashionable”). But that they tug at the hearts of those who listen to them is a fact. Though they may tackle of heartbreak, for instance, they also talk about getting back up; of resilience.

And this speaks so much of what makes us Filipinos.

In “Luha”, Aegis famously sang:
“Gulong ng buhay | Patuloy-tuloy sa pag-ikot | Noon ako ay nasa ilalim | Bakit ngayon nasa ilalim pa rin | Sana bukas nasa ibabaw naman.”

This is everyone’s hope, I suppose.

And with “Rak of Aegis”, well… you can get some sense of trying to be on top…

“Rak of Aegis” runs July 5 to September 29 at PETA Theater Center, No.5 Eymard Drive, New Manila, Quezon City, 1112 Metro Manila.

Austria stands together with the Philippines against gender-based discrimination and violence at its first-ever MNLxVIE Equality Fest, a five-day campaign championing the LGBTQIA+ community through creative activism.

“On this 50^th Anniversary of the Stonewall Riots, Austria continues to take a strong stance against isolation, hatred and discrimination, while honoring self-affirmation, dignity and equality: We are more than our borders. We are more than the languages we speak and the color of our skin. We are more than our gender and who we want to love. This was the mission statement and message that EuroPride 2019 hosted in Vienna this Pride Month successfully delivered. Today, we look back on a great deal of progress, but all along in the sober realization that there is still a way to go. And our ambitions are not restricted to just one country: because LGBTQIA+ rights are human rights – and as Austria we will always stand up for them all over the world,” said Austrian Ambassador Bita Rasoulian.  

Under the theme “LGBTQIA+ Greatness in Leadership and the Arts” the Austrian Embassy and its partners Frontrow Philippines and Love Is All We Need bring together Austrian and Filipino equality advocates from the disciplines of photography, visual arts, fashion and makeup, performance art, film and music in a celebration of diversity, unity and equality.

On June 25 the festival opens with a launch party at Tarzeer Pictures, Makati, by Amb. Rasoulian and equal rights advocates RS Francisco and Queenmelo Esguerra. The launch is accompanied by the photo exhibit “RECORD, RECORD” on Austria’s LGBTQIA+ history and excerpts from the book “Anong Pangalan Mo Sa Gabi?” by UP Babaylan, Babaylanes, Inc. and UP Center for Women’s and Gender Studies,  as well as works by renowned and upcoming local LGBTQIA+ photographers. Flying in straight from Austria to join the festival are Austrian intersex rights activist Noah Rieser, filmmaker Gregor Schmidinger and drag queen Tamara Mascara.

On June 26, the Intramuros Administration unveils a Pride-themed public mural. Situated across Museo de Intramuros, the art work is a collaborative project of the Austrian Embassy, Austrian artist Katharina Kapsamer and Salzburg Global Forum fellow Ralph Eya.

On June 26, drag queen Tamara Mascara, heading cosmetics giant MAC’s Viva Glam online campaign for Pride month in the Philippines, performs at Tomatito, BGC with Filipino queens MC Black, Precious Paula Nicole and Queen Viña! Don’t miss Tamara on June 28 as DJane at XX:XX’s Elephant Night closing party.

On June 27, intersex activist Noah Rieser leads the panel “LGBTQIA+ Greatness in Leadership: An Equality Talk” on Austria’s recent legislation allowing for a third gender option in legal documents. Joining him at the De la Salle-College of Saint Benilde are Myla Escultura of Intersex Philippines, 2018 bar topnotcher Sean Borja and Filipino artist fellows of the Salzburg Global Forum Reymart Cerin, Mark Salvatus, Andrei Venal and filmmaker Cha Roque.

On June 27, Austrian filmmaker Gregor Schmidinger in cooperation with the FDCP premieres his film “NEVRLAND” in Manila at the Cinematheque Centre.

On June 28, Schmidinger and renowned Filipino filmmakers Joel Lamangan, Moira Lang and Samantha Lee discuss LGBTQIA+ films in a Q&A at the UP Film Institute.

On June 29, the MNL-VIE Equality Fest culminates with the Metro Manila Pride March, where Amb. Rasoulian and all festival participants and partners march with The Red Whistle campaign #FuelTheLove and #ExtinguishTheStigma.

MNLxVIE Equality Fest 2019 is supported by the UP Center for Women’s and Gender Studies, UP Babaylan, Babaylanes, Inc., Benilde Hive and The Red Whistle; with the support of EuroPride Vienna 2019, MAC Cosmetics Philippines, Intramuros Administration, Film Development Council of the Philippines (FDCP), Digi Ads and Think Big Events; and venue partners Tarzeer Pictures, Tomatito Manila, UPFI Film Center – Cine Adarna, Cinematheque Centre Manila, SoFA Design Institute and XX XX.

To “elevate the discussion about LGBTQIA Pride”, QZN Bahaghari and Guni-Guri Collective are hosting the 2018 iteration of “Kasarisarian” a cultural event, from July 21 to 26 at the ESPASYO ART GALLERY, Quezon Avenue corner Trinidad Street, Lucena City in the Quezon Province.

Particularly for this year’s event, “we’re trying to elevate the discussion and the perspective on the current situation of the LGBTQIA people in the country,” said Aaron Bonette, co-organizer of the event. “We want to make Kasarisarian 2 a non-hierarchal exhibition invested in grassroots community organizing, and focused on radical queer narratives, visioning and politics. This means that the curated works will tackle and represent queer lives and struggles based on the current and past experiences of LGBTQIA people that are skeptic – from the looming commercialized cooptation of Pride to the glitter industrial complex to the failed political myth of equality through law, violence against LGBTQIA people and class hierarchy.”

The event will feature 15 artists based in the Quezon Province and two artists based in the Netherlands, including: Lans Lans, Elvira Bvlgari, Aaron Bonette, Syeril Powsa, Catsoup, John Van Vallesterol, Annita Remoroza, Aann Reynales, Jaymar Valdoria, Alliza Beth, Joma Importante, Skimmi Shimmi, Beatriz Rogas, France dela Paz, and Brian van Niehoff. Documentaries from Outrage Magazine’s #KaraniwangLGBT series will also be shown; as will Sunugin ang Aparador by Gio Potes, and Mark & Lenny by Gio Potes.

Outrage Magazine launches #KaraniwangLGBT

Bonette added that the annual Pride month celebration has just ended, and yet – over 20 years since the first such gathering in Metro Manila “the LGBTQIA movement does and spends more on branding rather than coalition building, with the mainstream LGBTQIA movement focusing on soliciting funds from corporation to run our cause; it’s almost like our rights have been bought, paid for and sold to the highest bidder no matter how anti-worker or neoliberal policy upholder that corporation is.”

In this sense, “the metaphor of being ‘treated like a piece of meat’ is valid, as if our bodies and identities are there to be exploited in the free market of commodification and oppression.”

Bonette said that they are cognizant that “corporate money also do some good for the community”, but that awareness is needed so LGBTQIA people also recognize that “there is something antithetical about a movement for equality and justice funded by the forces in the world that is also most responsible for widespread economic and social inequality.”

In the end, “we’d like to use this event as a venue to ask LGBTQIA people: What’s the future ahead of us? When our community is not yet united as a social movement that addresses the issues facing the most marginalized LGBTQIA people, with those fighting against systemic poverty, are we really making any progress? Or has the LGBTQIA movement, our movement, already hijacked by power elites advocating for their own interests?”

“Kasarisarian” is a term coined from: “Kasarian” which means gender, and (2) “Sari-Sari” for variety and diversity. It aims to provide queer (and straight) artists a non-commercial and an uncompromising space to tackle and explore various queer narratives, identities and politics.

This is a free event (yes, there’s no admission fee); though it is open for donations (during the event). Door will open at 1:00PM on July 21 and the program will start at exactly 6:00PM with a welcome reception, followed by the Artist Talk, film screening and cultural performances. This will run until July 26.

For more information, head to Guni-Guri Collective; or contact Aaron Bonette at aarnmssbntt@gmail.com or 0995-085-3664.

When Ten to One Bar and Restaurant opened in February, it was clear on what it intended to achieve: “We wanted to establish a safe space for LGBTQI people in the south of Metro Manila,” said Eunice Roman, co-owner of the venue, who admitted that this is actually “ambitious”, but that it is still “what drives (the existence of venue).”

For Eunice, this is important. A non-scene bi-identifying woman herself, she said it is difficult to make her “come out of my comfort zone”. And she said she knows there are many like her out there. And so – for people like them – there aren’t that many venues to go to if one wants to let one’s hair down (perhaps except for cafés).

WHY GO THERE

1. Design-wise and ambiance-wise, Ten to One eyes to be “a cross between a café and a bar; a “chill” hang-out place. Methinks it’s really more a bar (as emphasized by the offerings); but that it’s a chill place in the middle of a still-largely residential location in BF Resorts in Las Piñas matters. Because there would be suburban LGBTQI people who won’t venture far just to have fun; and this place could – somehow – fill that craving to go out (though not wander to far-off locations).

2. Laid-back peeps. The bar, according to Eunice, wants to create a “community” – i.e. you could come here on your own, and end up finding new friends here. So the approach is pretty laid-back – e.g. Eunice insisted you can always approach her (and her biz partners) even if it’s just to chat.

3. Unli. LP is (in)famous for everything unlimited – e.g. right beside Ten to One is a rest that offers unli-BBQ. Well, Ten to One has unlimited BBQ, too (for P175, from 7PM to 10PM). The unli choices aren’t a lot; but if this is what tickles your fancy, check this out…

4. Peculiar offerings – e.g. the Chicken Skin Nachos comes to mind, which Eunice said (with a laugh) “could kill you, but you die happy”.

WHY HESITATE

1. Location. If you’re a “mainstream” partygoer, then the fact that this place has to be “sadyain (that is, to intentionally go to)“ may not make you want to go to it at all.

2. As a new bar, the foot traffic tends to be inconsistent – i.e. if you want to party, party, party with a big crowd, then (for now) it’s hard to tell when best to come here to be lost in that crowd.

3. Alone-ness – i.e. some bars work because, if they don’t work, you have that option to go to the bar next door. Ten to One is, currently, by itself here; so if you want to maybe move to a nearby bar, there’s none that’s immediately there. This point – of course – only stresses point #1 above…

IN THE END

LP is booming, yes. But it still doesn’t have a lot of LGBT places. For Ten to One to actually “own up” as such is refreshing.

The add-on benefit is that it’s right in the middle of a still-largely residential location in BF Resorts in LP matters. As stated, there would be suburban LGBTQI people who won’t venture far just to have fun. Now this place could – somehow – fill that craving to go out (though not wander to far-off locations).

Ten to One Bar is located at #64 Gloria Diaz St., BF Resort Village, Las Piñas City, Metro Manila. For more information, visit https://www.facebook.com/TenToOneBar/ or call
0915 707 3753.