To make AI morally good, tech companies are turning to religion. But some say it isn’t that simple

As tech companies race to build the most powerful artificial intelligence, some are also asking how to teach a chatbot right from wrong. Their answer? Religion.

‘These are not questions a lab can answer,’ Anthropic co-founder Chris Olah said earlier this year at the Vatican’s presentation of Pope Leo XIV’s encyclical on AI. ‘They are questions traditions like yours have carried for millennia.’

Amid this much-discussed turn to faith, there has been little public scrutiny surrounding what exactly these technology companies think religion is – and, perhaps more important, what they hope to get out of it.

As executives sound the alarm about AI’s destructive potential and debate the need to develop morally good models, they are increasingly seeking input from philosophers and faith leaders. The executives’ philosophy goes something like this: that religion can help inform AI to be morally good in an environment where fears about it – founded and unfounded – are hopscotching across the culture.

Because these companies are not bound to a particular religion, the goal is often quite broad – an aggregate of moral ideas that can inform their models. ‘What I think ChatGPT should do is reflect that weighted average, or whatever, of humanity’s moral view,’ OpenAI CEO Sam Altman said last year.

But experts and adherents alike warn that this idea fails to reckon with how different traditions and worldviews can often contradict one another. In short, they say, it’s not exactly how religion works.

For decades, scholars have pushed back against a widespread view of religion as a set of rules or principles that can be divorced from the ‘messy, practical, ad hoc’ ways adherents live, argues Webb Keane, an anthropologist at the University of Michigan.

The idea that religion can be separated from things like culture and politics remains entrenched, even though it suffuses both in many ways. Some worry that AI companies, as they ask various faith leaders to answer ethical questions, will further perpetuate a theory of religion that fails to recognize the importance of doctrine, ritual and relationships.

Here’s the issue, Keane argues: If you assume that religion overall can offer a distinct set of extractable moral principles, using it to train AI risks prioritizing certain traditions and distorting others – particularly when it comes to faiths that do not see themselves primarily as a system of ethics.

‘There’s a very conventional way of thinking of religion as a rule book,’ he said. ‘It is certainly very tied to scriptural religion, and the scriptural religions at the end of the day really turn out to be the Abrahamic religions.’

Believers say tech companies are making an effort

That’s not to say these meetings have lacked diverse representation. Nor does it suggest that their engagement with religion hasn’t been thoughtful from the perspective of those in attendance, like Meghan Sullivan, a philosopher of religion who leads an initiative on ethics and AI at the University of Notre Dame.

Though it doesn’t enumerate the traditions it has consulted, Anthropic said in a May blog post that they’d met with ‘scholars, clergy, philosophers and ethicists from more than 15 religious and cross-cultural groups’ – a pool they hope to broaden in the future.

Earlier this year, Sullivan went to Anthropic for one of their meetings, which included Christians from different denominations. In contrast to conversations she’d had with other tech companies, she was impressed by the rigorous engagement with religion at Anthropic, which is widely seen as the AI company taking ethics and safety most seriously.

‘The culture inside the company is similar to that on a good college campus in the sense that you’ve got a collection of very intellectually curious people,’ she said. ‘These meetings are pretty nerdy – I don’t know if that’s the best way to put it – in a good way.’

Their meeting was split into two parts. First, the company explained their models ‘in layman’s terms’ to those in attendance. Next, the faith leaders responded with feedback and discussions, Sullivan said. ‘Every kind of moral question that this technology raises – everything from, ‘Do humans have souls?’ to ‘Should third graders be able to access a chatbot for literacy education?”

Representatives from Meta, Google and Amazon have also met with the Vatican, while Microsoft has been vigorous about its religious outreach.

Religion is ancient. The study of it is not

Religion is generally considered both ancient and universal. And while experts like the late influential scholar of Jonathan Z. Smith concede that is true in some ways, they say it’s also not the full picture.

‘Man has had his entire history in which to imagine deities and modes of interaction with them. But man, more precisely Western man, has had only the last few centuries in which to imagine religion,’ Smith wrote in 1982.

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Many scholars of religion today share Smith’s view of their field. They call into question the idea that religions are a set of distinct, comparable systems, saying it’s a modern notion that can be traced to as late as the 19th century.

Buddhism and Hinduism, for example, were not recognized as clearly bounded traditions by the people who practiced them prior to the arrival of European scholars, says Tomoko Masuzawa, a religious studies scholar who wrote ‘The Invention of World Religions.’ Says Mazuzawa: ‘All these categories were not native.’

Western academics solidified those categories for years, only beginning to seriously reexamine them in the latter half of the 20th century.

Those entrenched ideas about religion – that it is easily comparable across cultures – help explain why Silicon Valley might not feel the need to define its own understanding of it. In an effort to represent various viewpoints, religion is often an obvious way to showcase diversity of thought.

‘Somehow, religion becomes a way of kind of mapping out the world,’ Masuzawa said. ‘It’s as if the whole world has kind of bought into it.’

By downloading distinct wisdom, some worry it will be lost in ‘accumulated thinking’

Some people want companies to further define terms and intentions to better understand what exactly they hope to gain from religion.

‘This work isn’t about aligning our models with any one tradition’s worldview. We want Claude to draw from a full range of viewpoints – religious, secular, political – with equal depth and rigor,’ Anthropic said in the blog post. ‘What we’re after in these conversations is careful, accumulated thinking on how good character actually forms.’

Large language models work by repeatedly guessing the next word in a sentence after having ‘learned’ the patterns of a huge trove of human-written works, including religious texts.

Paolo Carozza, a member of the independent Meta Oversight Board and a legal expert who studies Catholic social thought and technology, worries that in the quest for accumulation, there is potential for a given tradition’s defining characteristics to be lost – in effect, homogenized into something that pulls toward the middle or even favors Western religions.

‘Any living, sophisticated tradition over time is capable of interacting with others outside of it and absorbing some new knowledge and growing. But it does so in this organic way,’ he said. ‘What AI, I think, often does and potentially does, is not in an organic way, but in a way that just throws it all together, mixes it all up, and therefore makes sense of none of it.’

Plants, marine sources for art ‘biocolorants’? Mindanao researchers make it possible

DAVAO CITY-Local plants and marine organisms are offering new sources of color for art materials, as researchers in the southeasternmost side of Mindanao develop a process to turn natural pigments into powdered colorants for visual artists.

Under the project titled ‘Development of Dye as Art Medium Generated from Natural Assets’ (D-Dagta), project exhibitor Eliza Dave Bakiao said the initiative was developed to initially serve Mati City’s community of visual and aspiring artists, while providing an alternative to synthetic dyes that may contain hazardous chemicals, including lead, chromium, cadmium and mercury.

‘This serves as an alternative to synthetic dyes because of the reported volatile organic compounds and harmful chemicals that could pose health risks and even environmental risks,’ Bakiao told the BusinessMirror in a sideline interview during the 2026 Handa Pilipinas Mindanao Leg in this city.

The team calls the resulting materials ‘biocolorants’ because they come from natural sources.

These include annatto for orange, cuttlefish ink for black, sea hare for purple, coconut for white, butterfly pea flowers for blue, four o’clock flowers (Mirabilis jalapa) for red, and turmeric for yellow.

To produce the powdered colorants, the researchers suspend the extracts in distilled water and add maltodextrin, an encapsulating agent that protects the pigments from external conditions.

The mixture is then fed into a spray dryer, which converts the liquid formulation into powder by rapidly removing its moisture. Inside the machine, the liquid is dispersed into tiny droplets and exposed to a stream of hot air. The water evaporates quickly, leaving behind fine particles containing the colorant and maltodextrin.

‘One of the concerns with natural dyes is that they fade easily over time and are more prone to microbial growth. And so, our process uses spray drying,’ Bakiao said.

The Department of Science and Technology’s National Research Council of the Philippines (DOST-NRCP) funded the spray dryer used in the project, which began this year.

Although research is still ongoing, preliminary observations have shown no discoloration or microbial growth in the powdered colorants during an initial monitoring period of about one month, Bakiao said.

She cautioned, however, that the observation period remains limited.

The researchers still need to conduct dermal irritation tests to determine whether the colorants are safe for artists who may come into contact with them.

Bakiao said these assessments are necessary before the materials can be considered for commercial use.

The research team includes Wilanfranco C. Tayone, RCh, PhD; Janeth C. Tayone, RCh, PhD; Gorjel E. Llanita, PhD; Marvin L. Tiberio; and Hayma T. Usman, with Dr. Jonel P. Saludes serving as consultant.

Coloring art, supporting farmers

Local artist Marvin Tiberio, an advocate of natural pigments, said he was satisfied with the initial results of the colorants based on his own experience using them, although he acknowledged that further refinements are needed before they can be made commercially available.

Tiberio said the initiative could help address the limited access to commercially available art materials among artists in Mati City, where skilled practitioners may lack the resources to pursue their craft.

He also sees potential benefits for local farmers if demand for the plants used in producing the colorants increases.

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‘If there is a demand for these plants, they will plant more because there is a demand,’ he said, pointing to the possibility of creating additional market opportunities for farmers growing plants that produce yellow, red and other pigments.

Dela Rosa, Calago power Ateneo past UE to end first round on high

ATENEO de Manila University cruised past the University of the East, 73-56, in a victory that could revive its Final Four bid in the UAAP Season 89 Collegiate Women’s Basketball Tournament on Wednesday at the Blue Eagle Gym.

The Blue Eagles snapped their two-game losing streak to cap off a challenging first-round campaign on a high note, improving to 3-4 and remaining in sixth place in the standings.

‘During the halftime, I discussed with girls their discipline on one-on-one defense, evidently which didn’t show in the first half,’ Ateneo head coach PJ Navarro said. ‘So in the second half, we just made it tough for them to blow by us.’

As the second round begins on Wednesday, Seng Calago remains optimistic about the Blue Eagles’ chances of extending their Final Four streak to five consecutive seasons.

‘We need to lock in and go 100 percent each time,’ Calago said.

Although UE got off to a strong start and built a seven-point lead in the second quarter, Ateneo regained control behind Kacey Dela Rosa to take a 37-34 advantage at halftime.

Dela Rosa continued her dominant performance after the break, building on her double-double to help the Blue Eagles establish a double-digit lead heading into the final quarter.

With the early scare behind them, Ateneo’s shooters heated up in the fourth quarter, allowing the Blue Eagles to stretch their lead to 20 points with less than four minutes remaining.

The Lady Warriors managed just 10 points in the final frame.

The dynamic duo of Dela Rosa and Calago led the charge, with both seniors recording double-doubles.

Dela Rosa finished with 23 points, 18 rebounds and five assists, while Calago tallied 22 points, 15 rebounds and five assists.

Hannah Lopez also made a significant contribution with 12 points and three rebounds.

UE, meanwhile, suffered its seventh loss of the season and 31st consecutive defeat dating back to Season 87.

Kezza Buscar paced the Lady Warriors with 18 points, while Moana Vacalares added 15 points, seven rebounds, and six assists.

Pete Lacaba’s night of song adaptations

My Brother’s Mustache-Hive Hotel along Scout Tuazon in Quezon City was jampacked last October 10.

Multimedia journalist, actor, and screenwriter Joel Saracho was the evening’s main stage host and performing guest artist.

The Salinawit Tribute drew poignant renditions of spoken word performances from Tatay’s screenplays.

Actress-singer Jackielou Blanco performed monologues from Tatay’s movie, Sister Stella L. Broadcast journalist Atom Araullo read passages from Tatay’s Days of Disquiet, Nights of Rage.

Bobette Bernadas and Ferdie Borja provided music accompaniment and backing.

As mentioned by Tita Joan Maglipon, this year’s Salinawit included ‘translations of English standards to Tagalog that go from heartwarming to elegant, from bawdy to tearful, and from simple to sublime. If you hear these Lacaba renderings, you are either anointed of just plain lucky.’

Artist friends that rendered choice performances included Mitch Valdez, That’s All (Yun Lang) and Try a Little Tenderness; Cooky Chua, La Vie En Rose and Yesterday (Kahapon Lang); Leah Navarro, Love Me Tender; Pat Castillo, Sangandaan; and Bayang Barrios, Imagine.

Capping the evening were composers and multi-instrumentalists Noel Cabangon, Joey Ayala, Chikoy Pura, Nathan Abella, Rey Abella, and Wacki Ignacio.

Tita Jo-Ann Maglipon led the informal group that spearheaded the event. She and Tatay go way back, being friends from before martial law. They last worked together at Yes! magazine, where Tita Jo-Ann was editor-in-chief and Tatay was executive editor.

In 1983, Tatay, Nanay (Marra PL Lanot), and Tita Jo-Ann were among those who joined in the formation of the Concerned Artists of the Philippines (CAP), led by Lino Brocka, National Artist for Film (1997); and National Artists for Literature Nick Joaquin (1976), Bienvenido Lumbera (2006), and Nicanor Tiongson (2026). During that year, Tatay served as secretary-general and later, chair of CAP.

Nanay and Tita Jo-Ann were also very close, being part of Women Writers in Media Now, along with Karina Bolasco, Marites Danguilan Vitug, Ma. Ceres P. Doyo, Leonor Aureus Briscoe, Arlene Babst Vokey, Sheila S. Coronel, Neni Sta. Romana Cruz, Fanny A. Garcia, Mila Astorga Garcia, Sol F. Juvida, Fe Panaligan Koons, Gemma Nemenzo, Sylvia L. Mayuga, Lilia Quindoza Santiago, Paulynn Paredes Sicam, Rochit I. Tañedo, and Criselda Yabes.

As screenwriter, Tatay has created valuable works in Philippine film, which focus on the lives of ordinary people, social injustice, and political and personal struggles, exemplified in such films as Jaguar (co-written with National Artist for Literature Ricardo Lee), Bayan Ko: Kapit sa Patalim, and Orapronobis (all three directed by National Artist for Film Lino Brocka), Rizal sa Dapitan (directed by Tikoy Aguiluz), and Eskapo (co-written with Roy Iglesias and directed by Chito Roño).

Tatay also penned the scripts for Angela Markado (from a story written by the late Carlo J. Caparas), Experience for Brocka and Segurista and Bagong Bayani for Tikoy Aguiluz.

At a recent screening of the 4K restoration of Sister Stella L. (directed by Mike de Leon), held on September 20 at the Metropolitan Theater in Manila, Tatay was in attendance along with other members of the cast and crew, which included actors Vilma Santos, Laurice Guillen, Gina Alajar, Pen Medina, Raquel Villavicencio, and Mae Paner, musical director Ding Achacoso, and Ellen Ongkeko (who wrote additional dialogue for the film).

Also present were relatives and representatives for de Leon, producer Lily Monteverde, film editor Jess Navarro, and original poster designer Antipas Delotavo, and members of the film restoration team.

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Sister Stella L., co-written by Tatay with Mike de Leon and Jose Almojuela, tackles the life of a nun who joins a strike organized by laborers, inspired by real-life activist nuns Sister Chayong Battung, Sr. Mary Pilar Versoza, and Sister Mary John Mananzan. Vilma Santos’s closing monologue in Sister Stella L. was adapted from the writing of Ditto Sarmiento, a journalist martyred during Ferdinand Marcos Sr.’s martial law.

It was Tatay who wrote the theme song, ‘Sangandaan’ (Crossroads) for the film.

Tatay has produced memorable poetry collected in such books as Ang Mga Kagilagilalas na Pakikipagsapalaran ni Juan de la Cruz, Sa Daigdig ng Kontradiksyon, Sa Panahon ng Ligalig, and Edad Medya.

He wrote features and essays collected in Days of Disquiet, Nights of Rage, Showbiz Lengua, and Notes on the Bakya and Other Essays.

His contributions to activism and social practice have shaped national consciousness informed by his belief that artists are most instrumental when they dare to tell the truth.

In 1990, Tatay joined the revived Philippines Graphic under the stewardship of businessman-philanthropist Antonio L. Cabangon Chua. The magazine had as its first editor-in-chief National Artist Nick Joaquin. There, Tatay worked as Executive Editor from 1990 to 1993.

He later BusinessMirror in 2023 as editor of ‘Tony and Nick,’ the newspaper’s arts and literature section named after Antonio L. Cabangon Chua and National Artist for Literature Nick Joaquin.

Tatay has been recognized with lifetime achievement awards, such as the 1999 CCP Centennial Honor for the Arts; the 10th Cinemanila International Film Festival Lifetime Achievement Award 2008; the 2009 Gawad Tanglaw ng Lahi from the Ateneo de Manila University, Natatanging Gawad Urian (Lifetime Achievement Award) in 2011; the 2012 Gawad Francisco Balagtas; the 2013 Gawad Plaridel; and the Komisyon ng Wikang Filipino’s Gawad Dangal ni Balagtas in 2016.

Alongside Mrinal Sen, Tatay was given the Aruna Vasudev Lifetime Achievement Award for Writing on and for Cinema in 2008 at the 10th Osian’s-Cinefan Festival of Asian and Arab Cinema. In 2024, he receive the Gawad CCP (Cultural Center of the Philippines) Para sa Sining.

It was Tatay who coined and popularized the word ‘salinawit.’

It’s a portmanteau-a single word made by blending two existing words together. In this case, it is a combination of the Tagalog words salin (translate) and awit (song).

These days, Tatay misses Nanay deeply. He tells me and my kids how much he misses her. Now, we try to get him to eat with us, with the kids. I think he enjoys his grandchildren.

On his own, Tatat no longer goes out a lot. But he joins his cousins when they invite him to go out.

YUN LANG

Sa himig ng ‘That’s All’

Lyrics: Alan Brandt

Music: Bob Haymes

Salinawit: Pete Lacaba

Tunay na pagmamahal sa habangbuhay

Yan naman ang aking maiaalay

At ang tanging puso ko, nakalaan sa iyo

Yun lang, yun lang

Alay ko sa ‘yo’y pamamasyal sa araw

At kamay na kakapitan sa ulan

At mainit na dibdib, sa gabi ng taglamig

Yun lang, yun lang

Ang iba ay maraming pangako

At handang ibigay ang mundo

Matamis na halik ang suyo

Yun lang ang maihahandog ko

Kung pangarap ko ay ibig mong malaman

Ang isasagot ko’y simple lang naman

Basta’t sabihin mong ako, ako lang ang mahal mo

Yun lang, yun lang.

KULAY-ROSAS

Sa himig ng ‘La Vie en Rose’

Music: Louiguy (Louis Guglielmi)

French Lyrics: Edith Piaf

Salinawit: Pete Lacaba

INTRO:

Akala ko, sa awit lang

Ang tunay na pagmamahal.

Iyon pala ay totoo.

Nadama ko sa halik mo.

Nang ibigin mo ako,

Nagbago ang mundo.

Ito’y nagkulay-rosas.

Sa init ng ‘yong halik,

Yakap na mahigpit,

Mundo’y nagkulay-rosas.

Puso ko’y umaawit,

Pag-ibig ang himig,

Sa tuwing maririnig…

Ang tinig mong

Katulad sa anghel

Na may timyas

Ng tunay na dalangin.

Dahil sa pag-ibig mo,

Ngayon ang buhay ko:

Kulay-rosas.

KAY GANDA NG MUNDO

Sa himig ng ‘What a Wonderful World’

Words and music by Bob Thiele and George David Weiss

Salinawit: Pete Lacaba

Ang mga bulaklak

Na kay bango,

Namumukadkad

Para sa ‘yo.

Nakikita ko,

Kay ganda ng mundo.

Ang mga bituin

Sa kalangitan,

Ang takipsilim

At bukang-liwayway-

Nakikita ko,

Kay ganda ng mundo.

Iyang bahaghari,

Sarisaring kulay,

Tulad ng mga tao

Sa ating buhay.

Ang kaibigan mo,

Pag kinamayan ka,

Ibig sabihin

Ay mahal ka niya.

Ang mga sanggol,

Gumagapang pa,

Sasayaw na

Paglaki nila.

Tunay at totoo,

Kay ganda ng mundo.

YOUTH, SPORTS UNITE IN DAKAR

YOUNG swimming standout Jamesray Mishael Ajido will be the flag-bearer for a small Philippine contingent in the parade of athletes during the Opening Ceremony of the Fourth Youth Olympic Games (YOG) on October 31 in Dakar.

Ajido, 16, and eight other Filipino athletes aged no older that 17 are competing in six of the 25 sports in Dakar 2026, the first time that an Olympic competition is being staged on African soil.

‘The YOG are as tough as the Summer Olympics,’ said Philippine Olympic Committee president Abraham ‘Bambol’ Tolentino, who will fly to the Dakar this week ahead of the Opening Ceremony at the Abdoulaye Wade Stadium in Diamniadio that will feature the culture and music of the host country under the theme ‘Africa Welcomes, Dakar Celebrates.’

An advanced party for Team Philippines headed by chef de mission Rocky Samson-secretary-general of the Philippine Taekwondo Association-took an arduous 29-hour flight over the weekend to Senegal that will be hosting for 14 days close to 3,000 athletes from 203 nations.

Ajido and Riannah Chantelle Coleman are the country’s representatives in swimming and they will plunge into the swimming competitions that start on November 1, the same day wushu’s Angel Polo (Women’s Taijiquan combined) also starts her campaign.

Artistic gymnastics start running on November 7 with Tchelzy Maayo and Hillarion Palles III campaigning, followed the next day by cycling with Maritanya Krog seeing action in women’s road and individual time trial.

Athletics action also starts on November 8 with Team Philippines pinning its hopes on Pi Durden Wangkay (Men’s 200m) and Naomi Marjorie Caesar (Women’s 800m).

The country’s ninth athlete, Jade Justine Justiniane, also takes his turn beginning November 8 in windsurfing of sailing.

The Philippines has so far two medals in the YOG-Luis Gabriel Moreno won a gold medal in mixed international team event of archery with China’s Li Jiaman in Nanjing and Christian Tio silver in boys’ twin-tip racing of kiteboarding.

Youth and sports unite in Dakar

DRAWIN on this historical significance, the YOG in Dakar will see youth and sport unite in peaceful competition and drive the transformation of Senegal, the host nation, while providing a source of inspiration for the whole of Africa.

Marking a milestone for the continent, Dakar 2026 will be the first Olympic event held in Africa.

More than just a sporting event, it will be an opportunity to highlight Senegal’s cultural wealth and Africa’s growing role in the Olympic Movement.

By celebrating the continent’s diversity and potential, the Games aim to inspire and set a reference point for future Youth Olympic hosts.

The Dakar YOG will also be a platform for mutual exchange as they will introduce the world’s best young athletes to Teranga-the Wolof word that embodies Senegal’s unique spirit of warmth, respect and hospitality-while promoting the Olympic values among young people in Senegal and across the African continent.

Teranga is deeply rooted in Senegalese life, reflecting a culture of generosity and openness toward others.

Dakar 2026 represents a platform for cultural exchange activities and the promotion of African and other cultures around the world.

Acting as a catalyst to engage Senegal’s young people through the development of national sport and youth policies and the spirit of volunteering, it aims to transform their lives and bring sustainable economic, social and environmental benefits.

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It will also be the first edition of the Youth Olympic Games to feature a Refugee Olympic Team, composed of athletes based in Africa.

This reflects the International Olympic Committee’s continued commitment to supporting refugees and displaced persons through sport at all levels. With Olympics.com

TINY TASTES | What happens when Filipino staples get wrapped in jewelry

AMINIATURE bottle of banana ketchup, a piece of lumpia and even a rice cooker may seem like unlikely jewelry.

But these are among the familiar Filipino food and kitchen staples being turned into charms by food creator Abi Marquez and local jewelry brand Gabbie Jewelry.

The 12-piece collection, launching on October 28, features miniature versions of lumpia, calamansi, banana ketchup, siomai, garlic, spiced vinegar, salt, pepper, a knife, a drinking glass, a chef’s hat and a rice cooker.

For Abi, widely known online as the Lumpia Queen, the idea draws on the memories people associate with food, from meals prepared by loved ones to places they miss and gatherings around the table.

‘What we wear, especially jewelry, is a way to express who we are and what we love,’ Abi said. ‘Turning Filipino food into jewelry is a way to give those memories something tangible, something you can carry with you wherever you go.’

The collaboration comes as bag charms have become a way to personalize everyday accessories, with miniature toys, plush characters and other trinkets hanging from bags and keychains. Food, too, has become part of the mix.

Anik-anik’s growing appeal

THE trend is visible in the Philippines’ own retail releases.

In 2025, Chowking introduced plush charms modeled after its Siomai Chao Fan, Wonton Mami, siopao and Halo-Halo Supreme. Dunkin’ Philippines has offered donut-inspired charms, while Conti’s has turned its Mango Bravo cake into a miniature plush accessory.

These products give customers another way to engage with familiar brands and food items, even outside the restaurant or bakery. But while the releases point to growing interest, they do not establish how much Filipinos collectively spend on bag charms.

International figures suggest the trend has commercial momentum. Wholesale fashion platform JOOR reported that bag-charm sales volume among comparable brands on its platform was 12 times higher in the first half of 2025 than in the same period a year earlier. Units sold increased 17-fold.

Part of the appeal is simple: charms let people make mass-produced belongings feel more personal.

A trinket might signal a favorite character, commemorate a trip or reflect a particular interest. A food-shaped charm can do the same, whether it reminds its owner of home or is simply amusing to look at.

Abi hopes the designs will inspire both delight and recognition.

‘When people wear the charms, I hope their first reaction is, ‘How cute!’ I want them to feel happy and a little giddy, the way I do. Then I hope they see a little of themselves and think, ‘That’s so me!” she said.

The same charm, she added, could mean different things to different people. One person might connect lumpia with family gatherings; another might choose it because the miniature looks appealing.

The price of a personal touch

THE cost of collecting charms varies depending on the material, design and brand.

Gabbie Jewelry’s existing catalog lists individual charms at roughly P135 to more than P400, while its personalized clip-on charms start at P249.

These prices are reference points for its current offerings, not confirmed prices for the Abi Marquez collection, which were not provided in the launch materials.

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The collection also includes a Lumpia Bag Charm offered as an exclusive gift with purchase. Such deals add another incentive to buy, tying an extra collectible to a transaction.

A single charm may be an occasional purchase, but collecting multiple designs can become more expensive over time. Branded collaborations also attach a retail price to objects that, outside the collection, are part of everyday life.

That is not to say the meaning buyers find in them is manufactured. Nostalgia, humor and personal attachment can be genuine.

Still, the bag-charm craze shows how easily those feelings can be folded into a product-and how an ordinary object can gain new value when packaged as something to collect.

Everyday Filipino, made wearable

GABBIE Jewelry has previously drawn on Filipino references for its designs, including the sampaguita, taho and jeepney.

Co-founder Camille Jimenez-Sandico said Abi’s food videos offer a fresh perspective on dishes that people might otherwise take for granted.

‘For a long time, these things felt so ordinary, not something we’d necessarily celebrate,’ Jimenez-Sandico said. ‘It’s exciting to see that changing, and to see more of us recognize just how special Filipino culture is.’

The Abi Marquez Collection by Gabbie Jewelry will be available from October 28 through the brand’s website, Shopee and TikTok Shop, as well as its stores at Alabang Town Center, Glorietta 1 and SM North EDSA.

REDEFINING THE PLATE | How hotel dining has evolved in recent years

In recent years, hotel dining has reached a point where it’s no longer just about filling tables or serving silver-cluttered continental courses. In today’s travel ecosystem, space, story, and local identity happily come together in what is quietly shaping up to be a deliberate evolution.

At the Manila Marriott Hotel at Newport World Resorts, Marriott International recently unveiled its annual white paper, the ‘Future of Food Asia Pacific 2027.’ The study offers a comprehensive look at the shifting appetites of modern travelers across Asia Pacific (not counting China). The result of a collaborative survey of 284 participating properties alongside chefs, restaurant operators, and designers, the report serves as a roadmap for one of the world’s largest food and beverage operations, covering more than 1,500 restaurants and bars.

In an interview with BusinessMirror, Petr Raba, Vice President of Food and Beverage for Marriott International APEC, provided insights into the broader consumer shifts and the core rationale behind these emerging trends.

Raba actually helped open Manila Marriott in 2009 and worked on the design of its grand ballroom. Having spent 15 years in Asia and worked across four continents, Raba understands how food deeply defines a destination.

‘We started this about three years ago to identify what the trends are within the industry. Being one of the largest restaurant operators with 1,500-plus restaurants and bars, we have a lot of customers visiting us every single day. We want to understand what customers’ expectations are, what they want moving forward, and how we can adapt to stay ahead of the trends,’ Raba noted.

Spatial dining and micro-concepts

ONE of the key shifts underscored by Raba and his team during the unveiling is what they refer to as ‘the spatial shift.’

As food is no longer confined to rigid restaurant layouts, roughly 45 percent of guests seek unique dining experiences across non-traditional areas like lobby lounges, al fresco spaces, and poolside venues. To optimize these environments, Marriott is championing the idea of a ‘micro-concept within the concept’ or as Raba puts it, ‘how a simple venue can transform into a more specialized, limited-seating restaurant, optimizing space for a more exclusive setup.’

‘A lot of customers today are looking into different spaces for dining. What is the sweet spot? Is it 40 to 50 seats in the restaurant where you can interact, engage, and provide great experiences? How do we design restaurants for breakfast, and what happens after? How can we make them smaller and maybe focused on a specific cuisine?’

A prime example of this concept was the transformation of the GreatRoom’s al fresco area at Manila Marriott into the Selva Shrimp House, an interactive, sustainable platform dedicated to responsible seafood sourcing and environmental awareness.

Authentic localization and ‘The Rise of Place’

WHILE modern design and spatial flexibility provide structure, the soul of the experience remains tied to native ingredients and heritage cooking. According to Marriott’s report, the single strongest trend across participating properties involves 95 percent of guests demanding local signature dishes.

‘Travelers tend to resonate more with moments unique to their destinations, hence the increase in demand for regional cuisine,’ says Raba. ‘Ingredients, meals, drinks, and wellness traditions are becoming central to what they value. Local dishes are requested three times more than Asian and Western cuisine.’

Local ingredients, destination-driven storytelling, and spatial design converge all conspire in placing emphasis on authentic localization consistent with the study’s overarching theme, ‘The Rise of Place.’

‘The Rise of Place is a combination of findings from the report. It’s about the spatial shift, the rise of local cuisine, and the destination itself, where people want to have different experiences in unique spaces,’ Raba further explained.

‘Wherever I go, I always eat local,’ Raba himself reveals. ‘I always ask the team to take me where they go, not in a fancy restaurant, but whether it’s a food stall, a food truck, or a hole-in-the-wall restaurant where they have the best single dish. That’s always what I like to eat.’

From 99-minute fine dining to wellness eating

BEYOND spatial design and local flavors, the Future of Food 2027 report outlines several operational shifts catering to modern lifestyles:

The 99-Minute Fine Dining: Recognizing that modern travelers have packed itineraries yet still desire elevated culinary storytelling, hotel kitchens are condensing traditional marathon tasting menus.

‘People are busy, but they want to have great experiences in a shorter period of time,’ says Raba. ‘How do we deliver the four-hour, 15-course meal in a smaller form, maybe in 99 minutes, where you still have great dishes, great ingredients, and great stories around the food?’

Eat Well and Spirit-Free: Health and mindful consumption continue to rise, with 43 percent of guests preferring nutritious options and 40 percent seeking sugar-free items. Additionally, 77 percent of Philippine properties reported a surge in low- or no-alcohol beverage sales.

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‘People are drinking less,’ Raba observes. ‘In the Philippines, 77 percent of hotels saw an increase in low- or no-alcohol sales. We’ve made a spirit-free program available so our hotels can execute delicious, good-looking cocktails that go far beyond the standard Virgin Mojito.’

Solo Dining and Multi-Sampling: With a significant rise in solo travelers, menus are pivoting toward smaller, shareable, or multi-sample portions.

‘We see a huge rise in solo diners,’ Raba points out. ‘How can we deliver these experiences for them? Maybe a smaller portion where you can try five local dishes instead of having one big dish.’

Sinagtala takes center stage

‘Filipino cuisine is great, but it needs a little bit more amplification outside of the Philippines,’ Raba pointed out.

Raba noted that while Filipino cuisine possesses immense depth, it remains an underrated treasure globally that deserves wider international spotlighting.

To help address this, Marriott introduced the Sinagtala Philippine Culinary Arts Program. Borne out of an internal competition among Marriott chefs across the Philippines, Sinagtala institutionalizes regional classics.

The resulting ‘Sinagtala Recipe Book,’ curated alongside Director of Culinary Chef Meik Brammer, showcases winning entries from various properties: Clark Marriott’s Pork Adobo, The Westin Manila’s Vegetable Kare-Kare and Sisig, and Manila Marriott’s Sinigang na Hipon and Chicken Inasal.

‘We invited all the chefs to compete and create the best pork adobo, sisig, and kare-kare, and put them all together in a recipe book. What we want to do now is take this and make it available in all our hotels across Asia Pacific so they can run Filipino promotions and put these signature dishes on their menus,’ Raba enthused.

For local food enthusiasts wanting to experience these findings firsthand, the Future of Food x Sinagtala Buffet runs exclusively at the Manila Marriott Hotel through December 2026-offering guests a direct taste of where regional heritage meets the future of hotel dining.

ROEN HOUSE OF ROBATA | Kiwami’s newest fire

Why The Standard Group is now building its own Japanese brands.

When the Standard Hospitality Group (SHG) opened Yabu in 2011 with nothing but katsu on the menu, people thought the idea was crazy.

‘Everyone thought we were insane for just having katsu,’ said Nicole Concepcion, group brand manager at SHG. ‘They were like, ‘Where’s the sushi?”

Fifteen years later, specializing in a single dish or a focused category has become the group’s signature. At Kiwami, its home for Japanese Master Kitchens, six specialists share one space, each with its own kitchen, equipment, and Japan-trained chefs.

The newest addition, ROEN House of Robata, is different from the rest. Most of Kiwami’s kitchens represent concepts from Japan. ROEN is homegrown.

A fresh take on the familiar

THE group already served yakitori at Kiwami through Hachibei, along with Hibachi, a small in-house grill concept whose hanger steak was ‘booming,’ Concepcion said. The team then spent about eight months in Japan developing a full-fledged robata concept with Chef Yuta Saito, a chef and entrepreneur who combines Japanese roots with French technique.

The group was already familiar with charcoal grilling. It brought Hikiniku to Come, a Japanese concept specializing in charcoal-grilled hamburger steak served over rice, to the Philippines, opening its second branch at SM Megamall in September.

‘They are one of our best franchises we’ve ever worked with,’ Concepcion said. ‘We consider ourselves charcoal experts because of them.’

At ROEN, the grilling techniques remain traditional. What sets the concept apart are the sauces Saito developed specifically for its menu and charcoal-grilled dishes.

‘We did not want to touch any of the Japanese grilling techniques,’ Concepcion said. ‘It’s the pairings of the flavors. That’s what makes it modern.’

Building its own brands is a deliberate move for the group.

‘Sometimes we just need to make our own concept because we know what’s going to work for the local market,’ she said.

A kitchen built for sharing

ROEN takes its name from two Japanese words: ro, meaning hearth, and en, meaning feast. The concept is designed around how Filipinos like to eat.

‘Filipinos are family-centric,’ Concepcion said. ‘They want to share everything.’

The restaurant operates two grills fueled by bamboo Ogatan charcoal: one for modern yakitori and another for larger plates designed for sharing.

The Butabara is a compelling reason to visit. Thick slices of pork belly are grilled until their edges turn crisp, and the fat renders into something almost buttery. A garlic-lime sauce cuts through the richness just enough to make you reach for another skewer. Of everything on the table, it was the dish everyone kept returning to.

The Yakisoba is the surprise. A plate of noodles is easy to overlook on a menu built around the grill, but this one is a revelation: balanced and never heavy, yet full of flavor, with every strand soaking up the smoke and sauce. It comes a close second to the Butabara.

The hanger steak, carried over from Hibachi, is tender, with a clean, smoky char from the Ogatan. A glossy, savory-sweet glaze reminiscent of teriyaki provides much of the flavor, while chimichurri adds a bright, herbal contrast.

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The Tebasaki, grilled chicken wings coated in Saito’s onion-milk sauce, comes off the grill perfectly cooked. The Beef Sukiyaki Spinach Enoki roll, meanwhile, is meant to be dipped in raw egg and soy sauce, following the Japanese sukiyaki tradition. The egg lends each bite a silky texture.

Chef Minehiro Ishii, Saito’s sous chef, manned the grill during the media preview at Kiwami SM Mall of Asia on October 7, 2026.

A low-risk lab

ROEN opened at SM Mall of Asia on October 1, followed by Kiwami Alabang Town Center on October 15 and Kiwami BGC on October 29. The staggered rollout allows the team to apply lessons from one branch to the next.

That includes guest feedback, which staff members summarize after every service and review each morning.

Whether ROEN will eventually move beyond Kiwami remains an open question.

‘My dream for the future is to have standalones for both Koyo and ROEN,’ Concepcion said.

For now, Kiwami serves the purpose for which it was built.

‘It’s kind of a place where we can test the waters,’ she said. ‘Not much risk.’

The group that once had to defend a katsu-only menu is now testing its own concepts alongside the Japanese brands it brought to the Philippines. If ROEN succeeds, the next master kitchen may not need to come from Japan at all.

Weavers dominate Voyagers; Knights rally past Batang Kankaloo

Defending champion Abra beat Pasay, 81-71, while San Juan edged Caloocan, 73-71, in overtime to open the North Division semifinals of the SportsPlus Maharlika Pilipinas Basketball League on Saturday at Ynares Sports Arena in Pasig.

Dave Ildefonso led Abra with 14 points and seven assists, while Drex de los Reyes and Raven Gonzales added 12 points each.

Brian Hilario hit three triples in the fourth quarter and finished with 15 points for Pasay. Christian Fajarito added 14 points.

Orlan Wamar led San Juan with eight rebounds, four assists and four steals. Harold Alarcon and Terrence Fortea scored 11 points each.

Kymani Ladi led Caloocan with 14 points, while Jeff Manday scored 13.

Abra and San Juan seek 2-0 leads on Wednesday.

The South Division semifinals continue on Tuesday, with Quezon Province facing Cebu and host Biñan taking on Rizal.

Quezon beat Cebu, 77-67, while Biñan edged Rizal, 73-71, in the series openers.

’Ohanaeze at 50′: Onuma on hazards of unipolarism (1)

‘The Igbo have no king, as the saying goes, and that absence of a central authority figure has allowed us to flourish in some ways while limiting us in others. Ohanaeze was meant to fill that void, to be the voice that speaks when the people cannot speak as one. But a voice that is silent when it should speak, that is absent when it should be present, that allows impostors to hijack its message without consequence, is a voice that is slowly strangling itself’ (Agbeze Ireke Kalu Onuma’s ‘Ohanaeze at 50,’ p. 236).

Introduction

A new Colonial Master looms large on the economic horizon of 21st Century Igboland. He is the militant Arab expansionist, hand in glove with the Islamist Nigeria, that captured the Ohaji/Egbema gas fields through the Nigeria-Morocco Gas Pipeline, NMGP, also known as the African Atlantic Gas Pipeline, AAGP. His resource terrorism against Ndigbo has been going on since 2016. Once completed, the pipeline will place the economy of Ndigbo in the hands of Morocco for as long as gas powers human civilisation. What has Ohanaeze Ndigbo Worldwide, the apex socio-cultural group representing some 80 million Igbos, done to halt the construction of this illegal pipeline?

It is also instructive that in September 2026, days before Ndigbo gathered in Lagos to receive Agbeze Ireke Kalu Onuma’s major work, ‘Ohanaeze at 50: The Burden of Memory. The Politics of Relevance,’ overwhelmed Igbo traders in Lagos protested against the new Chinese economic conquistadors. Ohanaeze should have known a day would come when Asian retailers would enter Nigeria. The same traders demonstrating against the Chinese allowed Lebanese syndicates to operate gambling machines in Igbo markets targeting our apprentices (see my ‘The Igbo Apprentice Addicted to Gambling and Other Matters: Open Letter to Leaders of Igbo Traders’ Associations’).

In ‘Capitalist Nigger,’ Chika Onyeani warned us the economy was everything because an economically self-reliant black community could never be easily dominated politically. He forewarned Ohanaeze about how the Chinese Spider-Web Economic Doctrine operates: China would enter Nigeria, sell everything to Nigerians and buy nothing from Nigerians. In the past two decades, the powerful Lagos chapter of Ohanaeze did not address the possibility of Asians dislodging Igbo traders. Instead, it consumed itself with infighting. Asian retailers are here, and our response is carrying placards. That is weakness.

Ohanaeze appears not to understand the Igbo problem because it is still trapped in the post-bellum mindset of the 1970s. It lost the plot refusing to look at the global scene. Any discourse on Ohanaeze must avert intellectual foreclosure by looking at the big picture to understand the place of Ndigbo in the economic timetable of the 21st Century. Limiting ourselves to the actions and inactions of the association will ensnare one into the treadmill Ohanaeze found itself. Onuma escapes this trap by admitting the Igbo Diaspora in his argument. He also gives the Igbo economy the attention it deserves (Onuma: 387).

Understanding the Onuma Argument

Onuma examines the deployment of mechanics of power by the Ohanaeze leadership (human factor) and how the monolithic body became the elephant in the room (institutional failure). He believes the association suffers a crisis of legitimacy due to poor performance. Legitimacy is not a permanent certificate. It is renewable with every milestone covered. The moment Ohanaeze stops performing, it loses legitimacy before Ndigbo. It suffers a crisis of legitimacy because its elite leadership suffers from a survivalist complex; just as Ndigbo, especially young Igbos, it serves have their own resistance complex.

The founding fathers formed the association in 1976 as ‘a response to deep trauma. The founders were reacting to the anti-Igbo pogroms, the horror of the civil war, the dislocation and suffering that followed…. They preferred negotiation to confrontation, because survival required it’ (Onuma: 245). Their survivalist complex meant they ‘see no evil, hear no evil and speak no evil’ in a hostile Nigeria if they must remain alive and serve Ndigbo. Their collective self-abnegation was typical of any marginalised group.

In ‘Souls of the Black Folk,’ W. E. B. Du Bois identified a survivalist complex in the emancipated Negro living in the racist southern part of the United States. He called this survivalist complex ‘patent defence,’ first noticed in the Medieval Jews living in anti-Semitic Europe. The marginalised Southern Negro resorted to flattery and deception to survive white racism. Onuma agrees with Du Bois on how a violent environment emasculates the individual. Such a victim is alienated as a mental exile. He is in an environment yet does not feel he belongs, as many young Igbos feel about Nigeria (Onuma: 203). The victim’s response is either acquiescence or resistance. For Igbos who experienced the war, their response is acquiescence conditioned by their survivalist Complex. But for the latter generations, their resistance complex aims to factionalise Ohanaeze or secede from Nigeria.

‘Deep trauma,’ ‘Igbo Psyche,’ ‘horror,’ ‘war,’ ‘dislocation’, and Suffering’ constitute a unique register indicating abnormal conditions. ‘Ohanaeze at 50’ engages Psychology of Oppression, defined as the abnormal behaviour oppression produces in the victim, consistent in Frantz Fanon’s ‘Black Skin, White Masks;’ Steve Biko’s ‘I Write What I Like’ and Onyeani’s ‘Capitalist Nigger.’ Fanon diagnosed the colonized did not aspire for self-liberation but to be assimilated into the white dominant culture. Biko saw the same syndrome in those blacks he called ‘non-whites,’ who aspired to be whites instead of being proud of their black identity. He reminded them that by trying to be whites, they were insulting the intelligence of God who created them blacks. Onyeani ridiculed those blacks prepared to pay any price to live among whites instead of fixing their degraded black neighbourhoods. Onuma sees the ambivalence in Ohanaeze appeasing the rabidly anti-Igbo establishment instead of confronting it.

Unlike Fanon and Biko, however, Onuma stops short of lampooning those Igbos who aspire to be Binis while repudiating their Igboness as a burden. Instead, he turns his attention to the fragmentation of the association and the resistance complex that produced such schism: ‘When nothing changes, when the suffering continues, when the roads are still bad, when the schools are still neglected, when the appointments still bypass the Southeast, people lose faith’ (Onuma: 245). Alienation forces impatient young Igbos to take their destiny into their own hands. Welcome to the factional Ohanaeze and separatist Indigenous People of Biafra, IPOB.

Onuma concedes that the two self-defeating mindsets/complexes put the association and Ndigbo under serious stress. It is like the proverbial falcon no longer hearing the falconer. He wonders if Ohanaeze is actually a socio-cultural entity, a political lobby group or what? This is because an amorphous Ohanaeze creates identity and audience problems for itself and Ndigbo:

Is Ohanaeze a cultural association that is inward-looking or a pressure group that is outward-looking? In the former, success is in the number of children who can speak Igbo, and in the latter, the number of policies positively influenced. If political broker success is in the number of appointments and contracts secured. Each role requires different structure, incentive, form and accountability. You can’t be all three without creating institutional contradiction and atrophy. Ohanaeze has tried to be all, only to end up being none’ (Onuma: 431).

Fear on the part of Ohanaeze leadership and anger on the part of its followership lead us to a deadlock: If Ohanaeze moves fast in ameliorating the Igbo condition as demanded by young Igbos, the suspicious Nigeria could proscribe it. But if it goes slowly about it not to alarm the establishment, Igbo youths could opt for factionalism, if not outright secession. Things are not helped, as Ohanaeze must not only remain a single entity but also keep Ndigbo in Nigeria. Failure could dent the Igbo man’s leadership credentials, a prospect the association can ill afford. Onuma’s solution, inter alia, is democratising the Igbo traditional philosophy of ‘ako-na-uche,’ or wisdom and intelligence, to make the association more responsive.

My point of divergence with Onuma is his aversion to factionalism. The author is against a parallel Ohanaeze even when elections are rigged and the constitution is violated. He favours an in-house arbitration mechanism like the Committee of Igbo Archbishops and Bishops on Peace and Conflict Resolution. The problem is that none take this committee seriously. Did former President-Generals Dr Joe Irukwu and Professor George Obiozor/successors respect episcopal arbitration in 2006 and 2023?

I conscientiously believe in the necessity of some form of counter-force to Ohanaeze if Ndigbo must see the light of the next fifty years. Socio-Cultural includes the economy, oil, gas, banking, Maritime, etc., which Ohanaeze is not addressing. The association was created to serve Ndigbo and not the other way round. The day it abdicates this crucial duty, or dallies when Igbo lives and properties are at risk, then Ndigbo must fashion out an alternative best suited for the challenge at hand.

My modest enquiry is to examine Onuma’s treatment of power within the context of Social Contract. He believes his reforms could set Ohanaeze on the true path of becoming the proactive entity envisaged by our founding fathers, namely, Dr Nnamdi Azikiwe, Eze CC Nwuche (Ekpeye), Chief CD Orike (Ogba), Okogbule Wonodi (Ikwerre), Emmanuel Agwuma (Ikwerre), Obidike Nwonodi (Ikwerre), Francis Ellah (Ogba), Akanu Ibiam, Michael Okpara, Dr Obi Wali (Ikwerre), etc. Citations from the primary text are lifted from the soft copy version.

Mutable Reality Vs Immutable Ohanaeze

Ohanaeze could have been a solution in 1976 when it was established. But the same entity can be the new problem in 2026. This is because no condition is permanent. Professor Donald Nwoga reminded us that every reality changes not only within itself but from one form of reality to another. He simply meant that within five decades, the problem of Ndigbo in Nigeria not only changed in content but also in form. Onuma’s claim that the association suffers identity and audience problem must be understood within the ambit of a changing reality.

An ossified Ohanaeze, trapped in the 1970s political inclusion mindset, when the challenge today is economic terrorism, in my view, is a stumbling block. In this age of Information Revolution that heralds the social media, Ohanaeze has proven itself the elusive ‘Pater remotus,’ or remote father. It is nowhere seen; and when seen is silent. There is nothing like Ohanaeze for Ohanaeze’s sake. Any pragmatic measure within or without the association capable of serving the Igbo interests, I truly believe, must be considered.

I agree with the author’s presentation of the factors that coalesced to reduce Ohanaeze to an albatross. But when you apply deductive calculations to his solutions, you tend to see the same old Ohanaeze emerge at the end of his reforms- an inverted Ohanaeze populated by squabbling elites, patronage network specialists who benefit from the rot, the contractors, the fixers, the gatekeepers who have learned to profit from a weak and distant Ohanaeze (Onuma: 371).