In this study, I explored the computer-mediated performances of faith and the emergence of cyberfaith through the online mass participation of Filipino Catholic devotees. I specifically analyzed how anti-structure reconfigures cyberfaith among Filipino Catholic devotees, the transformation of embodied practices from traditional to online mass, and the negotiation of Catholic devotees of their cyberfaith through the mediated liveness of online mass.

I integrated Victor Turner’s notion of anti-structure and Philip Auslander’s concept of liveness to examine the emergence of cyberfaith among Catholic devotees and their negotiation of mediated contemporary expressions of faith. Anchored in the phenomenological tradition, specifically Interpretative Phenomenological Analysis (IPA), data were collected through semi-structured interviews, modified participant observation, and co-performance.

Findings indicate that online worship reconfigures faith expression by reframing sacred spaces, managing attention and distractions, and transforming ritual aesthetics. Cyberfaith emerges as a valid form of devotion, reflecting continuity, adaptation, and transformation of symbolic practices, particularly in gestures, clothing, routines, Eucharistic participation, offerings, community-building, and embodied sound. Participants emphasized that online masses possess a distinct liveness that enables agency among Catholic devotees in their expression of faith, despite the disembodied nature of digital worship. This highlights how Catholic devotees consciously modify and transgress embodied practices to align with contemporary religious landscapes. Ultimately, cyberfaith is shaped by broader socioeconomic and cultural conditions, redefining how devotion is performed, negotiated, and lived in the digital age.

This study investigated the question, How can adapting Bontoc textile motifs operate in the scenic design for a new production of “Habi?" This came about the personal need as a half-Bontok migrant from Baguio City for more representation of indigenous narratives in Metro Manila, compounded by my dismay of past productions within the department’s treatment of materials that speak about Igorot culture. Further intentions were the promotion of Bontok culture and knowledge systems manifested in textile weaving. A scenic design was created for Habi, an adaptation of Ilang-Ilang Quijano's documentary Daughters of Cordillera (2014) following activist Piya Malayao and her revisiting of a difficult conversation with her grandmother, Petra Macliing, a Bontok woman who led the Bontok struggles against so-called development projects in the 1970's. I found design solutions using ethnographic and practice as research methodologies, pinning three main objectives to
accomplish in answering the said question: (1) to identify Bontoc textile motifs, their meanings, significance; (2) to provide drawings and iterations, and execute the scenic design, and; (3) to evaluate the resulting scenic design concept and execution through its presentation to an audience. The question was answered essentially as: Bontoc textile motifs can retain their
iconographic representations at the same time transforming their meanings that complement the logic of the narrative and the directorial concept. The audience reception was generally positive with some constructive criticism. Recommendations not only with the treatment of motifs but also on the staging were discussed. Most certainly, other scenic designers will read Habi differently from mine, which makes theatre thrilling as designers push possibilities and conventions in technical theatre further while continuing the conversation on the dramatic and performative text.

Horror abounds in monstrous girls. Whatever form they may take, these figures are united in that their “scariness,” as the existing literature suggests, is rooted in the patriarchal fear of the unstructured, ungovernable, and “incomplete” feminine body. There is a need, then, to critically evaluate how re/presentations of monstrous girlhood in Filipino horror films re/produce discourses surrounding gender, girlhood, and patriarchal power relations. Using Fairclough’s (1989) critical discourse analysis model, the study integrates Turner’s (1981, 1991) concept of liminality, Butler’s (1988, 1999) theory of gender performativity, and Morison and Macleod’s (2013) performative-performance framework to analyze the narrative performances of five characters: Anghela (Seklusyon), Wena (The Debutantes), Erika (Eerie), Manuela (Kuwaresma), and Nerisa (Sunod).

The description stage uncovered a recurring pattern: the monstrous girls’ transformations were triggered by encounters with patriarchal subjugation. It also revealed that the girls’ monstrousness invariably ended in defeat. The interpretation stage revealed that the narrative performances of monstrous girlhood in the selected Filipino horror films drew heavily from genre conventions and existing discourses on femininity, adolescence, and monstrosity, reflecting anxieties about the volatile nature of feminine adolescence through themes of adolescent turmoil, punitive violence, deceit, and a general sense of strangeness. Finally, the explanation stage exposed the films’ complicity in upholding patriarchal-capitalist norms by equating aberrant girlhood with monstrosity and reinforcing women’s domestic and reproductive functions. Despite this, these narrative performances also hinted at their troubling potential to disrupt societal expectations and re/constitute girlhood and gender relations.

The quantitative-correlational study examines the relationship between attachment styles and online stalking behaviors among young Filipino heterosexual adults aged 18-25 after a romantic breakup. The study aimed (1) to determine the attachment style of young Filipino heterosexual adults while they were in their previous romantic relationship, (2) to determine their stalking behavior towards their former romantic partners after breakup, and (3) to investigate the correlation between their attachment style and the level of their stalking behavior. 100 participants were surveyed, with the data analyzed using Spearman’s rank-order correlation. Supplementary qualitative data was also collected through structured interviews with five participants. Results revealed that 43% of participants had a fearful attachment style, 37% were preoccupied, 13% were dismissive, and 7% were secure, indicating significant anxiety and avoidance within the sample. Fearful and preoccupied individuals demonstrated moderate levels, while secure and dismissive individuals exhibited low stalking behavior. Although statistical analysis revealed no significant correlations between attachment styles and stalking behaviors, qualitative findings highlighted themes such as the fluidity of attachment styles, lingering emotional bonds, curiosity-driven behaviors, the role of social media in triggering stalking, and the decline of online stalking behavior overtime.

This study explores the rhetorical strategies employed by Bongbong Marcos during his 2022 Presidential Campaign in the Philippines, framed within Kenneth Burke's Guilt-Redemption Cycle. Through a qualitative case study, semi-structured interviews with three national campaign managers—representing Luzon, Visayas, and Mindanao—were conducted to uncover how activations, information operations, and political narratives were crafted and executed to reshape public perception and influence voter behavior. Findings reveal a nuanced approach where Marcos leveraged historical revisionism, grassroots engagement, and digital platforms to rebrand his controversial legacy. The analysis demonstrates how the campaign navigated societal guilt and resistance through strategic mortification and scapegoating, ultimately achieving redemption in the form of electoral victory. This research contributes to understanding modern political communication, the dynamics of narrative construction, and their implications for democratic processes.