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Great music, boat parties and a glowing head: Malasimbo 2014
First day of the Malasimbo Music and Arts Festival 2014: a bearded man who looked like he may have had one too many shiitakes or espresso shots aimlessly wandered around the venue, reciting unintelligible but happy-sounding phrases, one of which sounded like “See it! See it!”
Like a gray donkey in a fog, he disappeared. I did not get to find out what “it” was, but I kept walking.
Art
"Pol," by artist Iya Regalario
The way to the main stage of this annual festival in Oriental Mindoro was a trippy walk past works by artists like Niccolo Jóse, Dondi Katigbak, Wawi Navarroza, and Ling Quisimbing Ramilo. I found myself grinning like a fool because everything was beautiful, and I was starting to feel that the long journey (cab, bus, boat, and jeepney rides and a walk) and leaving behind work and other equally important matters for a weekend were worth it.
I was especially proud of the work of my good friend Iya Regalario, who created “Pol,” (derived from “poly,” meaning many sides), a 3-dimensional installation that she describes as “an attempt to merge postmodern geometric aesthetics with nature.”
“A tree sticks out Pol's head to signify an outburst of human subconsciousness,” she explained.
With my art fix instantly satisfied, I proceeded to the grassy steps that led to the stage. Australian soul musician Jordan Rakei and the Malasimbo Ensemble were performing. The weather was breezy, and the palm trees lining our paths were inviting us to sit.
Music
I was especially proud of the work of my good friend Iya Regalario, who created “Pol,” (derived from “poly,” meaning many sides), a 3-dimensional installation that she describes as “an attempt to merge postmodern geometric aesthetics with nature.”
“A tree sticks out Pol's head to signify an outburst of human subconsciousness,” she explained.
With my art fix instantly satisfied, I proceeded to the grassy steps that led to the stage. Australian soul musician Jordan Rakei and the Malasimbo Ensemble were performing. The weather was breezy, and the palm trees lining our paths were inviting us to sit.
Music
Swedish singer-songwriter José González on stage
The great thing about this festival is you don’t need a big name artist as reason to attend. You can take a boat to the island trusting that things will be good once you’re there.
And to me, they were. I went to the festival with friends who love jazz, and when it was time for the phenomenal performances by soul-jazz artist Omar and jazz legends in The Robert Glasper Experiment, priceless kilig faces emanated from our small, sarong-covered happy circle.
Malasimbo deviates from the usual model of using one or two big names as draw to ticket buyers. I also appreciate the fact that Filipino performers—such as Mishka Adams, DJs Liquid A and Badkiss; producer/experimental artist Similar Objects; June Marieezy and Low Leaf; and one of Sunday's highlights, Goodleaf—always get prime spots.
One of the artists who capped off Sunday night’s peformances was Swedish singer-songwriter and classical guitar extraordinaire José González, the man I came to see. Performing with just his one guitar, he sang tunes off 2010’s Veneer (“Crosses,” “Deadweight on Velveteen,”) and some from 2009’s “In Our Nature” (“Cycling Trivialities” and a cover of Massive Attack’s “Teardrop”).
A searing cover of The Knife’s “Heartbeats” (following a surprise cover of Lennon’s “Imagine”) concluded the no-frills but sophisticated performance. He did not perform my most favorite song of his (“Save Your Day”), but complaining would be ridiculous—I mean, it’s still quite baffling that he played in the country (in Mindoro!), considering he’s only had two albums, the last one released seven years ago.
Malasimvibes
And to me, they were. I went to the festival with friends who love jazz, and when it was time for the phenomenal performances by soul-jazz artist Omar and jazz legends in The Robert Glasper Experiment, priceless kilig faces emanated from our small, sarong-covered happy circle.
Malasimbo deviates from the usual model of using one or two big names as draw to ticket buyers. I also appreciate the fact that Filipino performers—such as Mishka Adams, DJs Liquid A and Badkiss; producer/experimental artist Similar Objects; June Marieezy and Low Leaf; and one of Sunday's highlights, Goodleaf—always get prime spots.
One of the artists who capped off Sunday night’s peformances was Swedish singer-songwriter and classical guitar extraordinaire José González, the man I came to see. Performing with just his one guitar, he sang tunes off 2010’s Veneer (“Crosses,” “Deadweight on Velveteen,”) and some from 2009’s “In Our Nature” (“Cycling Trivialities” and a cover of Massive Attack’s “Teardrop”).
A searing cover of The Knife’s “Heartbeats” (following a surprise cover of Lennon’s “Imagine”) concluded the no-frills but sophisticated performance. He did not perform my most favorite song of his (“Save Your Day”), but complaining would be ridiculous—I mean, it’s still quite baffling that he played in the country (in Mindoro!), considering he’s only had two albums, the last one released seven years ago.
Malasimvibes
The happy crowd at Malasimbo
The art and music were just part of a bigger event. Other activities included music parties on boats (dubbed "Malasimboats"), yoga, dance classes, and camping.
The high-tech Malasimbo band/wallet that everyone needs to wear upon entering the venue was efficient—areas for food and drinks were organized, and the wait was only heaviest in the well-maintained restrooms.
Overall, things were far more fun and magical than I would have imagined. I wanted to hug people. I wanted to put José González in my pocket, ride a boat home, and show him to my parents. I wanted to repeat what had just happened. I did not want to leave.
Malasimbo is only four years old, and if they continue bringing together all these great local and international artists things could only get better in the coming years. I don’t know how the venue would hold up to the increasing number of attendees, but I hope they find a way to keep the celebration as chill, intimate, and beautiful.
The bearded man’s advice to “see” was fairly useful. I saw the good (coming home to the ocean, adobo and kesong puti at the venue food booths), the bad (a naked man, hands on waist and eyes on the horizon, standing beside us on the steps), and the surreal (spotting José González among the audience on the grass like a regular person). I walked back to Puerto Galera’s White Beach smiling, glad that I’ve been a part of a wonderful celebration of art, music, love, and everything in-between. — BM, GMA News
The high-tech Malasimbo band/wallet that everyone needs to wear upon entering the venue was efficient—areas for food and drinks were organized, and the wait was only heaviest in the well-maintained restrooms.
Overall, things were far more fun and magical than I would have imagined. I wanted to hug people. I wanted to put José González in my pocket, ride a boat home, and show him to my parents. I wanted to repeat what had just happened. I did not want to leave.
Malasimbo is only four years old, and if they continue bringing together all these great local and international artists things could only get better in the coming years. I don’t know how the venue would hold up to the increasing number of attendees, but I hope they find a way to keep the celebration as chill, intimate, and beautiful.
The bearded man’s advice to “see” was fairly useful. I saw the good (coming home to the ocean, adobo and kesong puti at the venue food booths), the bad (a naked man, hands on waist and eyes on the horizon, standing beside us on the steps), and the surreal (spotting José González among the audience on the grass like a regular person). I walked back to Puerto Galera’s White Beach smiling, glad that I’ve been a part of a wonderful celebration of art, music, love, and everything in-between. — BM, GMA News
