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I have a cabinet in my home office where I keep shelves of my most valued books — first editions, signed copies, antiquarian volumes, and such. One shelf is occupied by a special mini-collection of books from the turn of the 20th century, from the late 1800s to the early 1900s, most of them having to do with what we’ve come to call the Philippine-American War.

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A significant part of the celebration of the Association of Southeast Asian Nations’ 50th anniversary is the publication of a literary anthology featuring the poetry and fiction of the original ASEAN members.

Gia Macuja Atchison, a West End actress and sister of Lisa Macuja, lends her soulful voice as the singing Ibong Adarna to showcase the wonderful music by Diwa de Leon.

‘Our form of entertainment is telling stories with our bodies,’ says Lisa Macuja-Elizalde, ‘and moving the audience with the live performance and the physicality of our art.’

Forgive me if in my waning years a chunk of my continuing chronicles is taken up by homages to contemporaries or much younger friends who have gone on ahead.

Pens, after all, are both technological and cultural tools without which civilization and knowledge could not have advanced over the past millennium. Just imagine Shakespeare or Einstein without pen and ink.

Designers from ASEAN member countries share their works, experiences and success stories for a new generation of artists to emulate.

In line with President Rodrigo Duterte’s mandate to make the Malacanang Palace accessible to the people, Filipinos who want to have a glimpse of the Presidential Museum and Library (PML) at Malacanang Palace now have the opportunity to visit it virtually via the Internet through Google Arts & Culture.

Antonio Enriquez orchestrates the discordant music as if the brutish can also be blessed.

When Alex Niño was approached by DC to draw a comic, he came up with a carefully drawn work, only for DC to balk at his price. ‘I tore the pages up,’ Alex said.

With fire in his eyes, his dark hair pulled back into the man bun favored by male flamenco dancers, Javier Martos launches into his escobilla, the part of a flamenco dance devoted to flashy footwork. But while his feet tap furious rhythms below, his upper body is still, retaining the grace of a ballet danseur, hands drawing the curlicue filigrees flamenco is famous for before he turns, strikes a dramatic pose, and stalks offstage.

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