By Ted Aldwin Ong
Last year, amidst a political carnival between two warring dynasties—the Marcoses and the Dutertes—highlighted by the Quadcom hearings, and the normalized economic hardship reflected in exorbitant food costs at the local level, plus debates on the increase in real property tax and expressed discontent by local artists over the organizing of the arts festival, a small group of creatives quietly built bridges through international work.
They worked quietly with community members in Thailand, Taiwan, and Indonesia, and, by the end of the year, Australia. I followed their Facebook posts for this article, viewing photos of conversations with local hosts sharing culinary moments, teach-ins and art mentoring with children, public mural painting, and communing with nature in rural settings.
It was a breath of fresh air, so to speak. They appreciated flora and fauna, brown leaves scattered on the ground, the dry and wet soil, dust and mud on their feet, the wind blowing on their faces, and mountains hugged by clouds shifting hues over the horizon. I wondered if there were malls in the area or if they had allowances for shopping—like many Filipino travelers who splurge on luxury goods after growing up in deprivation. But for this group, happiness did not come from shopping sprees; it came from cultural exchange and diplomacy.
This was Kikik Kollektive in 2024. Largely unknown to the public, they mobilized to share experiences, foster understanding beyond the shores of the archipelago, and celebrate human uniqueness through art. They rendered visual stories on hard and sometimes tattered walls that stood as silent witnesses to despotism, community struggles, regime downfalls, stagnation, and changes under late capitalism.
In February, the vibrant city of Chiang Mai, Thailand, became the backdrop for their participation in an innovative project called The Good Lab, spearheaded by Micro Galleries. The two-week guerrilla artist residency was awarded a spot under the Museum for the United Nations—UN Live Culture for Impact 2024 List, which assembled 21 international and local artists.
Three delegates from Kikik Kollektive—Marrz Capanang, Noel Epalan Jr., and Kristine Buenavista—focused on pressing global issues that resonated with their communities: climate change, public space, and displaced people. These were relatable concerns for the group, considering Iloilo’s 43° heat index last year, 13 typhoons that hit the Philippines, the city’s facelifted public spaces, and ongoing land disputes fueled by real estate expansion.
While cultural diplomacy cannot solve all these challenges, it creates spaces for shared experiences and collaboration. Public art and mural-making provoke thought, foster cooperation, and encourage dialogue. Participants revitalized an empty alley outside a local temple in Chiang Mai with the help of local organizations and creative spaces. They also brought attention to human displacement using projected visuals across key locations in the city.
These activities demonstrated the effectiveness of cultural diplomacy, a subtle approach that touches on the broader, more complex truths requiring sensitivity, attention, and understanding.
In June, Buenavista and Capanang traveled to the mountainous region of Wanda, Nantou, Taiwan, to work with the community and students at Chin-Ai Elementary School, an aboriginal school by the hill.
Blending art with English as a Second Language (ESL), they used creative expression as a non-traditional communication method. Community singing and simple storytelling became tools to connect with the students. These methods were easy to learn yet highly effective, fostering understanding and engagement.
Students from Grades 1 to 6 explored their creativity through ephemeral art, using materials that naturally degraded over time. This provided a valuable lesson on the impermanence of things and the importance of living in the moment—away from tablets, smartphones, and other gadgets.
The engagement culminated in the mural Wild Wanda in My Mind, painted by Capanang with local artist Lala Chen. The mural, inspired by the students’ artwork, depicted wild landscapes, animals, and sceneries of the natural environment. It emphasized the interconnectedness of individuals forming communities and showcased local narratives that resonate globally.
The success of Kikik Kollektive’s efforts continued in July in Bantul, Yogyakarta, Indonesia. They collaborated with graffiti and street artists in the local neighborhood for Year 3 of the Paseduluran Sakampung public art festival. Their contributions included the group exhibit Listening to Our Neighboring Shores.
Their yearlong international journey reached its high point in Brisbane, Australia. Four members, joined by Marge Chavez, presented a community-focused lens to international audiences and artists from 30 countries at the 11th Asia Pacific Triennial of Contemporary Art, hosted by the Queensland Art Gallery/Gallery of Modern Art.
Their mural, Bones of Our Elders, became a centerpiece of the event, telling the powerful Panayanon story and showcasing their unique heritage.
By focusing on people-to-people exchanges rather than government-led initiatives, Kikik Kollektive demonstrated that understanding and empathy could achieve what mere policy agreements often cannot. Their work celebrates diversity, mutual respect, human rights, peacebuilding, and harmony among nations.
In a polarized world where traditional statecraft often falls short, cultural diplomacy offers a refreshing approach. Kikik Kollektive has set an example, showing that art and culture can build bridges where politics cannot.
Empowerment lies in this form of “soft power,” and Kikik Kollektive is proving that creatives can be agents of change, fostering understanding, respect, and cooperation across nations.
