For many, Masskara Festival is a celebration of joy—colorful masks, vibrant dances, and a city alive with energy. But few know the deeper story behind the smiles.
Therese Mae Ortaliz, recipient of the P.E. Marzoña Excellence Award for Best Thesis, set out to change that. Her thesis, “A Museum Complex: A Cultural, Historical, Memorial, and Art Center in Bacolod City,” is a deeply personal and culturally anchored proposal that brings together memory, art, and civic identity in one immersive space.
“I feel that especially my generation—they aren’t familiar that Masskara came from the efforts of artists to give hope or uplift the people of Bacolod,” Therese shares. “This isn’t taught in our studies, but a museum is an alternative platform for education and is a direct link to our culture.”
A Museum That Tells the Whole Story
Therese, a member of the Art Association of Bacolod, saw the need to ground the Masskara narrative in the city’s lived history. Her museum complex carefully interweaves three major threads:
The fall of the sugar industry (historical),
The Don Juan tragedy (memorial),
And the artistic birth of Masskara (cultural).
“To narrate Masskara, I have to first narrate two major events that transpired,” she explains.
The result is not just a museum—it’s a story told through architecture, memory, and emotion.
A Journey Through Emotion and Identity
Guided by narrative design, Therese’s proposal brings exhibition spaces to life through sensory and spatial transitions. Visitors don’t just read about history—they feel it.
“Exhibition spaces are felt through the senses, with a bit of interactivity and deep engagement,” she explains.
The fall of the sugar industry is entered through a gloomy room, designed to evoke hardship and sadness.
A reflection pool introduces the Don Juan tragedy exhibition, creating a solemn and reverent atmosphere.
Visitors transition again through darkness before arriving in the Masskara gallery—a bright, colorful celebration of the art and spirit that helped Bacolod rise again.
Interactive, Inclusive, and Built for Everyone
Therese’s design also ensures that diverse audiences engage with the museum on a personal level.
In the sugar industry section, visitors can taste sugarcane juice, walk through a replica of the iconic Iron Giant train, and explore history through videos and soundscapes.
The Don Juan exhibit includes a space where visitors can write messages on paper boats—a participatory memorial.
In the Masskara zone, visitors can join dance sessions similar to Just Dance, or design their own Masskara masks—a joyful, hands-on way to connect with culture.
“Spaces were designed for interactivity,” she says. “It’s not just about looking, it’s about experiencing.”
A Legacy of Truth Behind the Smiles
More than a tourist destination or educational site, Therese sees her museum as a long-term contribution to civic pride and cultural clarity.
“We get to understand what makes us the ‘City of Smiles’—it is not through covering our hardships, but rather it is from the good intention of artists to uplift the people through Masskara,” she reflects. “Especially now, for the newer generation, as they aren’t familiar with this history of Bacolod.”
Therese Ortaliz reminds Bacolodnons—and future generations—that resilience, art, and community are at the heart of every smile.
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