Baguio artists, critics raise concerns over Ibagiw festival production
Baguio artists and critics raise concerns over the theatrical production “Rikus” at the 9th Ibagiw Creative Festival, questioning its artistic quality and use of AI-generated music.
BAGUIO CITY — Local film and theater director Ferdinand Balanag Jr., along with several artists and critics, has raised concerns over the theatrical production featured at the “Ibagiw” Creative Festival, citing perceived shortcomings in its execution and artistic quality.
The 9th Ibagiw Creative Festival officially kicked off on 6 November 2026 at the Baguio Convention and Cultural Center (BCCC), bringing together local artists, artisans, and cultural advocates.
As Baguio City's premier annual celebration of its designation as a UNESCO Creative City of Crafts and Folk Art, this year's festival carries the theme “RIKUS: A Creative Circular Baguio.” The event highlights the city's rich artistic heritage while promoting discussions and showcases centered on sustainability and the circular economy.
“Rikus” is an Ilocano word meaning to go around, revolve, or move in circles. Meanwhile, “Ibag-iw” refers to the people of Baguio. The word “Bag-iw” is an Ibaloi term for moss, which once covered vast areas of the city.
Balanag, however, took aim at the production titled “Rikus,” describing it as a major theatrical fiasco that fell drastically short of the standards expected of Baguio as a UNESCO Creative City of Crafts and Folk Art.
He expressed frustration over what he perceived as widespread denial and exaggerated praise from audiences and organizers, arguing that a performance of such quality should not be celebrated as an artistic triumph or considered ready for the international stage.
“The most appalling part of this theater fiasco is how people seem determined to cover up its ugliness by turning a blind eye to the obvious and drowning it in exaggerated praise,” Balanag stressed.
Balanag also raised concerns over the use of artificial intelligence in composing the production's music, questioning its implications for originality and genuine artistic craftsmanship.
He concluded by saying that he no longer wished to be associated with a local theater culture that mistakes mediocrity for excellence.
Other critics, many of whom are artists themselves, also shared their frustrations and offered deeper reflections on the state of local arts administration. They echoed Balanag's sentiments, thanking him for voicing uncomfortable truths and lamenting what they perceived as a decline in the quality of the city's major cultural showcases.
Some stressed that constructive criticism is vital if Baguio hopes to maintain its prestige as an international creative hub, noting that complacency and unearned praise ultimately hinder artistic growth.
They also questioned the use of artificial intelligence in creative works, viewing it as a troubling shortcut that could undermine the contributions of local musicians and traditional creators.
Balanag called for greater accountability, transparency, and a renewed commitment to authentic artistic excellence in Cordillera theater.