The ELEPHANT In The Room: Changing Manila’s Queer Nightlife Scene, One Rave At A Time

Manila’s nightlife scene has vastly changed over the past few years — although its colorful aspects have only managed to become more vibrant in the time that has passed. 

What was once an underground realm pulsating with gritty beats and unconventional sounds has gradually risen to prominence in mainstream culture. Among the catalysts reshaping this landscape stands ELEPHANT, a fearless queer music collective that has become synonymous with innovation and boundary-pushing in the city’s club and musical scene.

Founded by a cadre of visionary artists and performers, ELEPHANT represents more than just a musical group — it embodies a cultural movement. Emerging from the underground where experimentation thrived on the fringes, ELEPHANT has disrupted the status quo with its audacious performances and genre-defying taste in music. With a deliberate focus on queer expression and unapologetic individuality, the collective has carved out a niche that challenges traditional norms and celebrates diversity.

In celebration of Pride Month, Billboard Philippines talks to Celeste Lapida — one of the group’s co-organizers, core members, and performers — about ELEPHANT’s role in changing the queer nightlife scene, one rave at a time. For in Manila’s music scene, ELEPHANT acts as more than a collective, but as a beacon of change that has paved the way for a new era of artistic expression in the heart of Manila.

Billboard Philippines: How would you describe Manila’s nightlife scene, and what sets the queer music scene apart from the mainstream?

Celeste Lapida: Nightlife in Manila has definitely regained its momentum, while also adapting to new desires and conditions that people arbitrarily came up with. There’s been a shift in sound, as you can see with more Gen Z and TikTok tracks being played in the clubs. The demand for raves (with a big venue, big lineup) and for regular club programming (smaller space, homegrown acts) is also finding its balance, as there was more demand for the former due to COVID.

It’s [actually] hard to [distinguish] the “queer music scene” from “mainstream,” as there are actually queers in the mainstream too. But the queer underground scene that I know of is one that is flourishing. It’s flourishing with so much talent and opportunities, and it’s starting to dream big as of now. With how it’s been going, we’re already connecting with regional and SEA counterparts, so you can see how our local talents are traveling around both the country and the world to make other bodies in different places dance. 

The underground queer music scene sets itself apart from anything else definitely by its music, its venues, but most particularly by its desire. This scene has the desire to bring the joy we experience locally together to different regions and other parts of the world. There’s ultimately a fundamental desire to multiply that feeling of joy.

In your own words, how would you describe ELEPHANT? How did it start, and what makes it unique in Manila’s vibrant nightlife?

ELEPHANT is queer, progressive, DIY, nomadic, and so much fun! I actually realized that Elephant parties — in whatever form — are always so fun, following our art exhibit opening last June 7 in Quezon City’s Gravity Art Space.

The collective started back in 2017 as a weekly program in the now-defunct XX:XX, originating from the desire of our members to express both flamboyant fashions and techno in one package. But eventually it blossomed almost automatically after the lockdown to a much bigger scale — encompassing other genres of music, drag programming, and even with the presence of vendors. So I can’t pinpoint the exact moment or feelings we had when we knew that it needed to be bigger than it already was.

Manila nightlife is already such a vibrant scene, [and] there are several parties that one can choose to go to, depending on what music they wish to hear and how exactly they wish to celebrate the night. Yet with Elephant, it provides a space with shameless kabaklaan (queerness) and the spirit of barangay fiesta (community festivals). It’s a scene that is comprised of strobe lights, cheering, laughing, smoking, hip-swaying, drinking, and shades indoors, which are all the elements of a good time.

As a collective of LGBTQIA+ artists, DJs, activists, and performers, what is your shared vision for ELEPHANT? How would you say Manila’s nightlife evolved over the years, particularly for the queer community?

First and foremost, we at ELEPHANT advocate for safer spaces for everyone.

We have the presence of Dance Floor Angels, who are volunteers that extend the safety on the dance floor with help from the bouncers [of our events]. We always make sure to share our house rules on our website and also live during the party, because we believe in the values of DANCE, TALK, CONSENT, and RESPECT.

We believe that the queer struggle is a class struggle, due to our belief that in SAFER SPACES, we UPLIFT AND PROTECT the most vulnerable from discrimination, bullying, harm, and abuse — most especially the transgender and non-binary youth, the elderly, those living with HIV and AIDS, and including the ones from lower social and economic sectors.

Our members Lance Navasca, alongside Pao Mendoza, Clarisse Furio, Grant Frondozo, and Bruce Venida all act as the first force to implement our house rules, with unapologetic Filipino bakla (queer) aesthetics expressed in the production design by Paul Jatayna. And despite us moving around [to] different venues, these designs and aesthetics really help in bringing out the joy that we wish to express in each night that we get to put up.

Beyond the results of our work, I can definitely say that queer nightlife has evolved in two ways — in one’s advocacy and the expression of queer aesthetics. And while the advocacy is definitely more challenging than the rest, the reward is divine.

In your events, what genres and styles of music are often featured at your dance parties? Are there any particular reasons as to why these forms of music are allowed?

Elephant offers music programming like no other — Dignos, Baby Ikea, and T33G33 make sure that alternative DJs and live acts locally and abroad get to perform and make people dance. It is always a genuine expression of the usual underground sound: techno, trance, house, hardcore, disco, and experimental noise. We have Pette Shabu and Christal as household names. We’re always on the lookout for what isn’t platformed — not just for the sake of difference, but because we know that these forms of sound stem from queer struggle and triumphs, and its sound worth sharing to those who have the same experiences and feelings.

Just the same, our drag programming follows the same mission to celebrate the alternative — Superstarlet XXX with Worshipthegays build our program around the same spirit, having Pura Luka Vega and Magenta as mainstays. 

What artistic themes and messages are commonly conveyed through ELEPHANT’s events, and how do these reflect the personal stories and contributions of your members?

DANCE, TALK, CONSENT, and RESPECT really talk about coexistence. We wish for every body to respect those around them — everyone is allowed to move, dance, [and] express their gender, to negotiate their wants and desires, and be listened to. We emphasize asking for consent, as it really is an important practice in society. It builds confidence to approach another person communicate properly, and not hide from desires.

Andi Osmeña a.k.a. Baby Ikea is our art director, and what we present in our posters and other online material is symbolic of a particular Pinoy Queer experience we wish to celebrate. Creative direction for ELEPHANT is a group task.

For Pride, we’ve programmed three major events: an exhibit, a talk, and a rave to close things off. GOD BLESS THE QUEERS, BLESS THE BADINGS (GAYS) is a project supported by the British Council and a collaboration with Inferno London. Our Pride 2024 programming is our response to the prosecution of Pura Luka Vega for allegedly violating Article 201 of the Revised Penal Code. Article 201 is a vague ruling on what is acceptable in art and its many forms, and is unconstitutional. We’re also releasing a podcast on the senility of this ruling. 

Come see our exhibit in Gravity Art Space, Quezon City. You’ll see different expressions of queer faith and spirituality. Join us on July 6th for our rave with Wax Wings from London, Zah from New York, and homegrown talents such as T33G33, Soft as Silk, and Papa Jawnz. We believe in experiencing the divine in the mundane and that FAITH IS FOR EVERYONE, REPEAL 201!

In what ways does ELEPHANT support and promote local queer artists, and who typically attends their events?

Since coming back from lockdown, we noticed a much younger following from our attendees. A lot of them are young queers who were probably inspired by queer shows like Pose to come out and find their scene, so we really think about them by keeping them in mind. We don’t particularly price our tickets so high as well. And each time we throw a party, I notice all these kids having such a lovely time.

That’s what we mean by experiencing the divine in the mundane — we bring a feeling of joy and triumph despite the anxiety from the outside world creeping in. I know that there’s a desire to prolong these moments; I guess that’s why we dance until morning.

How does your collective foster a sense of belonging and solidarity within the queer community, and what initiatives or collaborations do they engage in with other LGBTQ+ organizations?

In the north, we collaborated with Northern Luzon Pride for a party in Baguio and in La Union, just last year. Our host in LU is the artist residency Emerging Islands, which is actually queer and female-led. We also make sure to partner with queer-owned businesses such as Frisky and Este’s Ice Cream.

With our platform and what we’re able to do, it’s impossible for us not to gain support and support other queer groups — whether its our fellow organizations, artists groups, businesses, or even individuals. We believe its impossible because queerness finds itself within the spirit of coming together.

What are some significant achievements and recognitions that ELEPHANT has received, and what milestones have they celebrated, both personally and collectively?

Our party was featured in the Netflix documentary Midnight Asia, in the book Atlas of Safe Spaces, which was published in London, and last year by FEATR.

It was both a big and bold move for us to host our parties outside of the Metro — particularly in Baguio and La Union. Our artist-organizers Baby Ikea, Dignos, and T33G33 have been playing at parties in other parts of the world! So you’ll see Baby Ikea and Dignos as part of the roster in MOTH Agency Hong Kong later this June.

Our Connections Through Culture grant from the British Council of the Philippines truly is a major achievement for all of us. It gave us the opportunity to showcase and celebrate queer faith and spirituality as art, and we’re definitely still reeling in delight from their support.

What are the plans for the growth and expansion of ELEPHANT looking forward, and what are their hopes and dreams for the future of Manila’s queer nightlife scene?

We want to keep exhibiting and presenting forms of art by queer and trans bodies. Locally, there are a number of raves out there now, and we’re finding new focus on other things that are important to us. Yet right now, it’s the right to express queer art. We want to produce bigger drag shows — perhaps hosting film screenings, or to showcase another exhibit. But ultimately, we’ll always close things off by coming together and dancing! In the end, we wish for nightlife to have better working conditions, fair pay, and to make an active effort to implement for safer environments.

Make sure to check out ELEPHANT’s upcoming event “GOD BLESS OUR RAVE!” happening on July 6 (Saturday) at 8 PM in Gravity Art Space, Quezon City. To stay tuned with the group and their advocacies, you can check out their official website and social media pages here.

This interview was edited for clarity and length purposes.