Baguio artists challenge AI use and quality of Ibagiw musical

Baguio artists and critics have challenged the artistic quality of “Rikus: The Flow of Life Musical Performance,” a major production at the ninth Ibagiw Creative Festival, while disputing the place of artificial intelligence in the production.

The festival opened Nov. 6 at the Baguio Convention and Cultural Center as an annual celebration of Baguio’s status as a UNESCO Creative City of Crafts and Folk Art. Its programme includes cultural performances, art crawls, exhibitions and interactive installations. One report described the 2026 theme as “RIKUS: A Creative Circular Baguio,” while another called it “Rikus: The Flow of Life.”

Ferdinand Balanag Jr., a director, called the production a theatrical fiasco that fell well below the standard he expected of a UNESCO-recognised creative city. He also criticised what he saw as exaggerated praise and a reluctance by organisers and audiences to acknowledge its shortcomings.

Balanag’s objections extended to the music. He questioned whether using AI to compose it compromised originality and genuine artistic craftsmanship. Other artist-critics similarly argued that unearned praise and complacency can hinder artistic growth, and warned that AI could diminish the role of local musicians and traditional creators.

The production’s writer and director, Benj Cruz, gave a different account of the technology’s role at an Oct. 29 press conference. He said he wrote the songs himself, used AI to create mock-ups and establish their feel, then had artists sing them and hired live musicians for minus-one tracks. Cruz said AI made up only 10% to 20% of the production and served as a guide for performers, although not every song was ultimately accompanied by live musicians.

“Rikus” used a 150-person ensemble, including performers as young as six, in a Cordillera-inspired story about a mythical horse travelling through the realms of four elemental deities: Bugan of Earth, Shagem of Wind, Shanum of Water and Anido of Fire. Preparation began six months before the show but was interrupted for two months by nonstop rain.

The musical was initially promoted as the first Cordilleran musical, a claim local artists challenged. Cruz apologised and removed the designation from promotional material. Angelo Aurelio said future productions by the CBCC and City Tourism should be assessed on quality and craftsmanship rather than branding, hasty claims or external validation.

Jessica Ladines-Mirandilla called for a clearer festival planning and production structure, including early announcement of themes, earlier budget approvals, prompt artist payment and transparent open calls for submissions. She said decision-making should include tenured local artists and cultural bearers, and argued that AI should not replace authentic local creatives.

The city allocated P800,000, before tax, for the gala opening, musical and closing Anido Night ceremony. The budget covered food for 150 people during 16 rehearsal days, plus a final-show dinner, as well as costumes, lighting, sound and talent costs.

Liezl Dunuan, a CBCC advisory officer, said Ibagiw needed an AI policy that requires disclosure and considers how far technology can be used without displacing the creative process. Balanag called for greater accountability, transparency and a renewed commitment to authentic artistic excellence in Cordillera theatre. The festival is due to run for one month from Nov. 6.