Elections and term limits are important features of any democracy as these signify a transfer of power, ensuring that there is no persistence of control under any individual, group, or entity apart from the sovereignty of the Filipino people. However, once the politician is term-limited, they typically endorse a family member to take their place. In their efforts to reproduce themselves across generations, political dynasties negotiate the dynastic dilemma of having to reconcile the need to project their dynastic ties to embody the special qualities of the original dynast with the need to downplay the same ties that leave them open to accusations of nepotism and illegitimate political capital and privilege. Using Michael Calvin McGee’s Ideograph— which views certain words, terms, and slogans as building blocks of ideology— I looked into the campaign rhetoric of three (3) dynastic successors during the 2022 Antipolo City local elections, as they sought to reproduce themselves using ideologies of change and continuity. Through a thematic analysis of their campaign materials (i.e., online content, interviews), results indicate that the use of four ideographs: (1) legacy, (2) taal, (3) born and raised, and (4) hihigitan ko pa, legitimized and sold the myth of change while ultimately being creatures of continuity. The interplay between the ideologies of continuity and change within the context of dynastic succession is a facade, as it is paradoxical. Power is not transferred when it is kept within the family. The main function of the elections— to give the Filipino people the power to choose their leaders— is bypassed when the people are not genuinely given options. The freedom and right to vote become an illusion.

This study dealt with the self-branding practices of Filipino fashion micro-influencers on Instagram, focusing on the rhetorical visual elements in their photos, the clusters that surrounded them, and the symbolic actions and human intervention present that contributed to their effective branding on the platform. By analyzing these elements, the research aimed to understand how micro-influencers crafted their online personas and established their presence within the digital fashion industry.

The study explored how different visual elements could convey meaning and build communication and connection with the audience. It aimed to achieve this by addressing three primary objectives: (1) To identify the key rhetorical visual elements and clusters in Filipino fashion micro-influencers’ photos on Instagram; (2) To examine the symbolic actions present in these influencers’ photos as reflected by the rhetorical clusters; (3) To analyze the human intervention present in the photos that established their self-branding on Instagram. This research relied on Sonja K. Foss' (2005) Visual Rhetoric Theory to determine how Instagram posts could serve as communicative artifacts, with visual symbols to communicate and create meaning. This study used cluster analysis based on the Cluster Criticism method by Kenneth Burke. The sources of the artifacts were from Filipino fashion micro-influencers on Instagram who had successfully established their names in the digital fashion industry, worked with several local and international brands, and amassed a follower count of 10,000 to 50,000.

The posts studied were chosen based on the highest engagement from the last quarter of 2023, and the results revealed that the chosen Filipino fashion micro-influencers shared similar patterns, strategically using key visual elements such as blank expressions, monochrome outfits, and neutral backgrounds to convey a professional and model-like image. This indicated that certain key rhetorical visual elements helped them establish and maintain their self-branding on Instagram.

A thesis production led by four female proponents tells the story of three women who embarked on their individual journeys before becoming significant figures in pioneering the liberation of our country. This story is particularly relevant, especially given that history often reflects male dominance influenced by Western perspectives. Written by Rene O. Villanueva and Malou Jacob, “Teodora, Gregoria, Teresa” not only bridges the gap in learning Philippine history in classrooms but also presents a fresh perspective on it. This creative project showcases the journey of a dramaturg and how their work evolves throughout the process. As Head Dramaturg, I undertook three roles in dramaturgical practice: literary management, context management, and script doctoring. Work in Literary Management ensures that the play’s relevance to contemporary issues and its purpose for the audience is well-displayed. Context Management incorporates research into the play, which is critical for our production as it is a work of historical fiction. In Script Doctoring, the text is edited according to the objectives laid out by literary and context management. In this production of “Teodora, Gregoria, Teresa,” it was through script doctoring that we were able to strengthen the narratives of our key figures. The study progresses with three objectives: (1) propose a Literary Management plan for the production of “Teodora, Gregoria, Teresa”; (2) provide a dramaturgical folder and assign tasks to the Dramaturgy Team; (3) edit the script to align with the plan developed by the Artistic team concerning Literary Management and the research conducted in Context Management.

Sound is commonly defined as vibrations and sound waves that are perceived by the ears. However, this study challenges this traditional definition by exploring how aural experiences extend beyond hearing through the multisensory integration of vibrational perception and visual cues. Deaf sound artists such as Christine Sun Kim and Evelyn Glennie share insights into their experiences of sound through different sensory modalities—visual cues for Kim and vibrational sensations for Glennie.

This study also further investigates how moving away from conventional sound design practices in theater can be possible through experimental compositional techniques, such as musique concrète, noise compositions, and sound collage, where snippets of sound come together to form a musical composition. The incorporation of vibrational design and experimental sound techniques is applied to the sound design of the post-dramatic play 4.48 Psychosis by Sarah Kane. The results are based on the design process, research immersion, audience feedback, and informal interviews.

In this study, I examine how masculinity is performed and negotiated by male
dancers, commonly referred to as macho dancers, within a male entertainment club in Metro Manila. Guided primarily by Messerschmidt’s Structured Action Theory (SAT) and supplemented by Goffman’s Dramaturgical Analysis (DA), I investigate the interplay between social structure, agency, embodiment, and reflexivity in the dancers’ performances across four interactional contexts: onstage performance, dancer–client interactions, dancer–peer relationships, and dancer–staff dynamics.

Using ethnographic fieldwork, participant observation, and semi-structured interviews with five heterosexual, cisgender male dancers, I explore how masculinity is enacted as a fluid and strategic practice shaped by institutional norms, interpersonal expectations, and individual choices. My findings reveal that dancers actively engage in impression management, set and negotiate boundaries, and employ embodied strategies to perform culturally legible masculinities based on audience types and situational demands. These performances are not fixed but are continuously adapted and reflexively managed within the club’s spatial and social configurations.

By centering the lived experiences of macho dancers, this research contributes to ongoing conversations in masculinity and performance studies. It positions the male entertainment club as a dynamic space where gender roles are simultaneously reinforced and contested, offering insight into the performative, contextual, and relational construction of masculinity in contemporary Philippine society.