Quezon City, Philippines—On December 6, 2024, Kung Anek-Anek: Collecting Trinkets of Hope for a Vibrant Nation, took center stage, aiming to ignite the power of youth to inspire collective action for human rights.
Kung Anek-Anek was not just another gig—it’s a tapestry of art, music, and advocacy woven together. The event gathered talented musicians and bands including Dilaw, Ang Bandang Shirley, Alyson, Uncle Bob’s Funky Seven Club, Ja Quintana, and Bita and the Botflies, to share their talents along with their “hope for a vibrant nation”.
In their opening spiel, Sofy Aldeguer, vocalist of Bita and the Botflies, shares how she hopes that the Filipinos choose leaders that truly uphold the rights of every Filipino in the upcoming elections.
Apart from the artists, Kung Anek-Anek also tapped into youth and community organizations to share their ongoing campaigns and advocacies to which the audiences can engage, including Area H Youth Council, Sambilog – Balik Bugsuk Movement, Silingan Coffee, Young Bataeños for Environmental Advocacy Network (Young BEAN), The Happy Ripples, Make It Safer Movement (MISMO), Alyansa Tigil Mina (ATM), Partido Manggagawa Kabataan, and DAKILA Metro Manila-Rizal Collective.
Rooted in the whimsical Filipino culture of anik-anik—an appreciation for trinkets, memorabilia, and the seemingly trivial—Kung Anek-Anek flips the script, transforming these small treasures into metaphors for justice, dignity, and compassion. The event champions the idea that even the smallest tokens can carry profound meaning, much like how individual actions can ripple out to create societal change.
At its core, the event leveraged the universal language of music and art to bring human rights issues to the forefront. With performances from emerging and established artists, punctuated by solidarity speeches, the concert became a dynamic space for reflection and action. It was a space for young Filipinos to reclaim elections as a platform where hope can thrive amid pursuit of representation in the elite spaces of governance , urging them to champion human rights in ways that resonate with their passions and creativity.
But Kung Anek-Anek is more than just a spectacle. It embodies the Filipino love for community and connection, fostering a safe and vibrant space for dialogue. Booths offering quirky collectibles and handmade crafts add a touch of nostalgia, encouraging attendees to explore their inner child while reflecting on serious issues.
Interactive elements, such as a fun quiz blending human rights trivia with pop culture, keep the audience engaged and informed. It’s a seamless fusion of entertainment and education, designed to leave a lasting impression on every participant.
In a world where civic spaces are shrinking and apathy threatens to overshadow activism, Kung Anek-Anek stands as a beacon of hope. It challenges the youth to channel their energy into actionable steps, reminding them that the fight for human rights starts within: by healing, dreaming, and fostering empathy.
In his solidarity speech, Haron Catacutan of Partido Manggagawa, highlighted much of what Anek-Anek as a platform stood for: “Ang pangarap nating anik-anik ay hindi imposible. Ang pagbabago ay nakasalalay sa ating pagkilos, sa ating tapang, at sa ating pagkakaisa.”
Within the context of enduring influence of political dynasties, elections in the Philippines have always been a source of skepticism for people to hope for lasting change. The continued dominance of a few families perpetuates a cycle of patronage, corruption, and self-serving leadership, a problem that has plagued the nation for decades.
Anek-Anek’s playful yet poignant approach underscores a critical message: that reclaiming democracy and advocating for justice doesn’t have to be grim or inaccessible.
As the echoes of the concert fade, the call to action remains. The midterm elections are more than just a date on the calendar—they are an opportunity to collect the trinkets of hope and build a nation rooted in justice, dignity, and compassion.
