Second-year BS Philosophy major in Applied Ethics students of MSU-IIT transformed the University Library Theater into a space for reflection, critique, and artistic expression during Aesthetics Unbound: Building Social Consciousness Through Aesthetics, held on Friday, May 15, 2026.
Revived for its second installment, Aesthetics Unbound is a theatrical showcase by BS Philosophy sophomores under their PHL110 Contemporary Aesthetics course, which began last year as a means to bridge thought and the tangible.
Organized through the joint partnership of the Department of Philosophy and Humanities - Aesthetics Committee and the Junior Philosophers’ Guild, this year’s program featured four student productions that used theater, music, movement, and performance art to mirror the pressing social realities of Filipinos.
The panel of judges included Asst. Prof. Fitzgerald Torralba, artistic director of the resident pop band Echoes; Assoc. Prof. Renebel Labadisos, artistic director of the Kaalimulan Cultural Dance Troupe; and Asst. Prof. Ernesto Zaldua Jr., artistic director of the Octava Choral Society.
Among the performances, 143 Productions presented ILY-ILY: The Musical, a deeply emotional portrayal of overseas Filipino workers and the families they leave behind.
Centered on labor migration and economic hardship, the story followed a Filipino family separated by circumstance, where love persists across distance through memories, lullabies, and music. It highlighted the sacrifices of OFWs, harsh working conditions abroad, and the emotional toll of separation.
One of its most striking lines described OFWs as “hindi kriminal pero sila ay bilanggo,” underscoring how systemic conditions trap workers in cycles of sacrifice.
The production emphasized the emotional weight of portraying both OFWs and the families left behind, highlighting how migration reshapes relationships and survival itself.
MARITES Production staged Radyo, a politically charged and philosophical performance anchored on silenced voices and exploited laborers, including teachers, nurses, farmers, and other public-sector workers.
Incorporating academic discussions on capitalism, labor systems, and social inequality, the production critiqued empty governmental promises and the continuing struggles faced across sectors.
Through the use of radio static, silence, and sign language choreography, the performance emphasized how marginalized voices struggle to break through systems that often ignore them.
The production expressed this reality through the line, “maingay ang radyo, pero ang bayan tahimik lang,” highlighting the contrast between constant noise and social silence. Their work drew heavily from lived experiences and collective social conditions.
Meanwhile, KALOYS Production presented Kaloy, a story that explored media influence and constructed reality through an ordinary individual shaped by television narratives and celebrity-driven ideals.
As Kaloy crossed beyond the screen, he confronted the gap between curated images and the lived realities of ordinary people. The production engaged the idea of aesthetics as revelation, showing how art can expose hidden truths beneath spectacle, while also questioning the romanticization of resilience in the absence of institutional support.
Lastly, BAGLIS Production staged Balota, a performance that began with humor before shifting into a critical examination of electoral politics, vote-buying, and dependency on political “ayuda.”
Depicting divided families, political pressure during elections, and the consequences of resisting corrupt systems, the narrative reflected how temporary aid is often used to influence voters while deeper social issues remain unresolved.
Across all four productions, shared themes emerged: labor migration, poverty, unreliable governance, systemic inequality, and the difficult choices faced by working-class Filipinos. The performances collectively emphasized how individuals navigate survival within structures that often limit opportunity and voice.
Aesthetics Unbound concluded with reflections from participants emphasizing that the showcase was not only a performance but an attempt to use aesthetics as a tool for awareness, critique, and social reflection.
Best Creative Director awardee Arra Ruiz of ILY-ILY: The Musical described the process as both an honor and a privilege, emphasizing collaboration and fulfillment in the craft.
She shared that working with her group felt meaningful because of the experience of seeing their ideas realized on stage, noting that their main goal was to “build social consciousness through aesthetics.”
Ruiz also emphasized that awards were secondary to addressing social issues, stating that “all these awards, applause, and praise means nothing if we continue to be blind towards our societal issues.”
She added that the production process required extensive research and care because they were representing a lived reality of Overseas Filipino Workers and their families.
Special awards were given to the productions, highlighting their different strengths. KALOYS Production (Kaloy) received Best Poster, BAGLIS Production (Balota) earned Best Teaser, while 143 (ILY-ILY) Productions clinched the Aesthetics Committee Choice Award for Outstanding Creativity and Best Creative Director.
Ultimately, MARITES Production (Radyo) was named overall champion, followed by 143 Productions, KALOYS Production, and BAGLIS Production, respectively.
Written by Tresha De Villa
Proofread by Andrea Ross Sedero
Photos by Krizylle Louise Giltendez
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