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Price hike looms after April 16 manufacturers’ commitment to hold cost of goods 

by Nova Mae Francas
written by Nova Mae Francas

THE COST of basic necessities and prime commodities is expected to increase after April 16, following the expiration of a 30-day price-holding commitment from manufacturers.

The price-holding agreement with several manufacturers and the DTI national office was signed on  March 16.

“As announced by our secretary, we will expect increases by April 16, because nahuman na ang 30-day commitment,” Romeo Vasquez Jr., DTI Consumer Protection Division chief, said during Kapihan sa Dabaw on Monday.

Vasquez said the primary factor of price increase is operational costs, such as in logistics and delivery.

“Because of the increase in the price of fuel, nagmahal na ang delivery cost,” he stressed.

Vasquez reported that in some areas, logistic costs have significantly surged, including in Malita, Davao Occidental. Delivery costs reportedly increased by 75 percent, from ₱2,000 to ₱3,500 per trip. 

On the other hand, a retailer from Mati City, Davao Oriental, had their logistics costs rise between 33% and 50%, with some trips costing from ₱5,000 to as much as ₱14,000.

“If the logistics and delivery costs increase, it will have an effect on the price of goods,” he said, noting a few increases for basic necessities and prime commodities were observed but are still within the suggested retail price.

The official said daily monitoring of prices and supply has been intensified, while price and supply monitoring teams are required to submit daily situational reports to ensure market stability.

Under existing regulations, increases within 10 percent of the SRP are not considered profiteering and do not automatically warrant penalties, two establishments have been issued a letter of inquiry in the past week.

The agency assured that it will closely track price movements beyond April 16 to ensure that any increases remain justified and do not burden consumers excessively.

Vasquez, however, emphasized that not all basic goods will increase, and it is up to the manufacturer for the costing of their products, considering operational costs.

“If there is a need to revise the SRP, especially if there is an increase, that will be published by the DTI if there is a new SRP for their products,” Vasquez said.

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Business

2GO, DTI Formalize Partnership to Strengthen MSME Supply Chain and Logistics Support

by Contributor
written by Contributor

Manila, Philippines – 2GO Group, Inc., the Philippines’ largest integrated transportation and logistics provider, and the Department of Trade and Industry (DTI) have signed a Memorandum of Agreement (MOA) to formalize 2GO’s role as a member of the Supply Chain and Logistics Center (SCLC), strengthening support for micro, small, and medium enterprises (MSMEs) nationwide.

Under the agreement, 2GO becomes part of DTI’s “go-to” logistics network, expanding its role beyond transport services to include logistics consultancy and advisory support for DTI-registered enterprises. Through this partnership, MSMEs will be supported with tailored logistics solutions that improve efficiency, reduce costs, and support business expansion.

“This partnership with 2GO strengthens our ability to respond to the logistics needs of Filipino enterprises,” said Ma. Cristina Roque, Secretary of the Department of Trade and Industry. “Through partners such as 2GO, MSMEs are supported with reliable logistics services that enable cost optimization and business expansion based on their operational needs.”

As part of its commitment, 2GO will support SCLC initiatives through logistics consultancy services, participation in business matching and market linkage activities, and support for the establishment of Logistics Support Desks in selected Negosyo Centers across the country.

“Our team is ready to support a wide range of logistics requirements, from basic shipping needs to more complex supply chain solutions,” said Faye Alonzo, Business Unit Head for Forwarding of 2GO. “We are honored to serve as DTI’s logistics partner and to work with the SCLC in helping MSMEs connect to markets and scale with confidence.”

From left to right: Francis Chua, Business Unit Head, 2GO Travel; Ethel Concepcion, Corporate Marketing and Communications Head, 2GO Group; Department of Trade and Industry Undersecretary Mary Jean T. Pacheco; Department of Trade and Industry Secretary Ma. Cristina A. Roque; Frederick DyBuncio, President and Chief Executive Officer, 2GO Group, Inc.; Will Howell, Chief Operating Officer and Chief Financial Officer, 2GO Group, Inc.; and Faye Alonzo, Business Unit Head, 2GO Forwarding.

The partnership reflects 2GO’s broader role in enabling commerce and mobility nationwide. “2GO is a mover and an enabler,” said Will Howell, Chief Operating Officer and Chief Financial Officer of 2GO Group, Inc. “We move goods and people across the country, and we continue to find better ways to do so because efficient logistics creates opportunities for Filipinos, supports livelihoods, and drives inclusive economic growth.”

The DTI–2GO partnership underscores a shared commitment to building a more resilient, accessible, and competitive supply chain ecosystem for MSMEs nationwide.

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Opinion

How P500 became a punchline

by Contributor
written by Contributor

THERE is something oddly familiar about the uproar over the proposed ₱500 Noche Buena budget.

By Herman M. Lagon

There is something oddly familiar about the uproar over the proposed ₱500 Noche Buena budget.

Not the warm kind of familiar—like your mother’s handwritten spaghetti recipe or the way your father slices ham too thick. It’s the other kind. The kind you feel when an official says something so wildly out of touch it sounds like a recycled punchline from the golden age of cringe memes.

When the Department of Trade and Industry suggested that a family could pull off a “basic” Christmas Eve meal with ₱500, the country’s collective eyebrow rose so high it nearly hit the ozone layer. Teachers checking test papers shook their heads. Vendors in La Paz Market laughed—half amusement, half exhaustion. Even accounting students muttered, “Ma’am, hindi talaga kaya.”

It became a national bonding moment through disbelief.

And no, the backlash wasn’t because Filipinos wanted lavish feasts. Filipinos are experts in stretching budgets; we’ve been doing inflation gymnastics long before inflation became a dinner-table term. The problem was that the statement seemed detached from any real household’s experience. As if someone confused a Google Sheet with an actual grocery cart.

Economists from the Ibon Foundation even called it “obviously false” and “government propaganda” (Africa, 2025). Facebook comments were harsher. One teacher wrote, “Spaghetti daw for ₱78—siguro kung noodles lang at dasal.” Another asked whether DTI used prices from a universe where onions cost fifty centavos and Christmas ham grew beside pechay.

Many laughed, but the sting was real.

Noche Buena is not just a meal. It’s a ritual—an anchor families cling to in a year full of uncertainties. Parents save for ham not because it’s luxurious, but because it lets them tell their children, “Kahit papaano, nandito tayo.” Reduce that to a spreadsheet puzzle and the harm isn’t in missing ingredients. It’s in the dismissed dignity.

What made the ₱500 claim sting more was how it echoed a long-time pattern: framing hardship as a technique problem rather than a structural one. Government messaging often praises “resilience” and “resourcefulness,” as if creativity can compensate for low wages and unstable markets. Families are told to stretch, adjust, endure—while institutions speak of affordability in abstract terms.

This year, that tone fell flat. It felt dismissive—like someone saying “Kaya yan” without even looking at your wallet.

Online reactions exposed that disconnect. “Saang planeta?” became a national tagline. People suggested the grocery list was made in Middle Earth, Mars, or “DTI Universe”—where inflation apparently goes on holiday. A Jaro vendor said she laughed at the announcement, then stopped laughing when she realized she still needed to buy cooking oil. A jeepney driver quipped, “Kung ₱500 Noche Buena, baka kami na ang magiging regalo.”

The humor was sharp, but the frustration beneath it was sharper.

Teachers felt it deeply. They see students arriving hungry because families are rationing food for the week. They hear stories of parents skipping meals so children can have recess snacks. So when someone says ₱500 is “enough,” educators hear the message behind the message: hardship is normal, dignity is optional, and families should be grateful for the bare minimum.

It runs counter to everything teachers try to model—empathy, reflection, and respect for lived realities.

The witty jabs on social media weren’t just comedy. They were political commentary dressed in humor. Someone proposed a “₱500 Noche Buena Challenge” for cabinet secretaries—no assistants, no preselected brands, no hidden catering trays. Another suggested a museum exhibit for outdated government price guides. People joked about hams the size of table tennis balls or onions priced like loose change.

Funny, yes. Petty, no.

These were ways of exposing what spreadsheets cannot measure: the mother waking at 3:30 a.m. to queue for cheaper fish in the talipapa, the father skipping merienda so his children can have fruit salad made with budget ingredients.

The government defended the estimate, saying it was only for “simple” households. But simplicity was not the issue. Mismatch was. Research shows that trust drops sharply when citizens sense leaders are speaking from insulated bubbles (Levi & Stoker, 2000). This episode reminded Filipinos of bigger issues—inequality, wage stagnation, unresolved budget controversies.

Even lawmakers called for wage increases instead of “imaginary grocery lists.” Teachers echoed the sentiment. They know a salary no longer stretches the way it used to. At some point, thriftiness stops being a virtue and becomes forced surrender.

By the time the debate peaked, the ₱500 controversy had revealed something much bigger. It showed how technical explanations can overshadow human needs. How policymaking often happens far from the lives it is supposed to touch. And how dignity should never be treated as a negotiable budget line.

A meaningful Christmas meal doesn’t need to be extravagant. But it should not be framed as a test of survival either.

Filipinos have never demanded excess—only fairness, empathy, and leaders who live in the same reality as the people they serve. The issue was never the price of ham. It was the price of pretending.

Doc H fondly describes himself as a “student of and for life” who, like many others, aspires to a life-giving and why-driven world grounded in social justice and the pursuit of happiness. His views do not necessarily reflect those of the institutions he is employed or connected with.

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Opinion

MONDAYS WITH PATMEI  | Celebrating Davao’s creative community

by Patmei Bello Ruivivar
written by Patmei Bello Ruivivar

I AM still giddy from the two-day celebration of Davao City’s creative industries last weekend. My soul has been thoroughly nourished and my life choices have been profoundly reaffirmed. I am deeply grateful to be part of Davao City’s vibrant and awe-inspiring creative community.

On Sept. 26, 2025, Friday, around 350 artists, creatives, cultural workers, educators, policy-makers, program implementers, and advocates came together for the first-ever Davao City Culture, Arts, and Heritage Summit held at the Holy Cross of Davao College.

The original plan was just to have a forum to engage stakeholders to gather inputs for the newly-created Office for Culture and the Arts (OCA) under the City Mayor’s Office and for the private sector support for culture and the arts of the Conrado and Ladislawa Alcantara Foundation, Inc. (CLAFI). We were thinking of inviting around 100 people in August.

Since it was Kadayawan season, we thought of including in the discussion calls for institutionalizing the Kadayawan Festival and defining the components of the cultural celebration. So, the simple forum became a colloquium, a high-level conference with experts to guide the discussions that will form part of the proposed policy recommendations for the government. It required more time for preparation so the event was moved to September.

Because September is also Philippine Creative Industries Month, we included more creative domains in the invited stakeholders. And with more diverse participants, more topics came up for inclusion. So, the colloquium became a full-blown summit. It became a collaboration not just between Davao City’s Culture and Arts Office and CLAFI, it now included  Alsons Development and Investment Corporation, the Holy Cross of Davao College Center for Culture and Arts; the Department of Trade and Industry (DTI), the National Commission for Culture and the Arts (NCCA), the Department of Tourism (DoT), and the Davao Historical Society (DHS).

From the initial gathering of 100, we expanded the invited participants to 200. But more than 350 people showed up on the actual day of the summit. And from the original one day activity, it became a two-day event. To use the film industry’s term, the summit was a certified box-office hit!

It is a testament to the Davaoeño spirit of cooperation and profound sense of civic duty that people just showed up, even without invitation, and brought their colleagues and friends with them. It is also a manifestation of the creative sector’s thirst for opportunities to gather and work together to solve our community’s problems. 

The organizers were concerned that the budget for food was only enough for 250 participants. But with creative problem-solving and a bit of divine intervention, everyone was fed and happy. Others even said just being there with other creatives was enough to fill them up (I wonder if that’s the inspiration behind the “starving artist” term).

Speaking of being full, our souls were completely nourished by the impromptu performance of Davao legends — Joey Ayala, Bayang Barrios, Gauss Obenza, and Maree Cantaoi — who indulged the request of their fellow creatives to end the morning session with a song or two.  Joey’s “Agila” and “Bathala” came to life with the exquisite dance movements of Sheila Labos, Mario Lim, Buddy Mark Salonga, and Raleon Monsanto. They have not performed together on stage for quite a long time (they said it was their first and final rehearsal) so both the performers and the audience experienced chills, knowing they were sharing a rare, historic moment of creativity and community.

The resource speakers were all outstanding as well and fed our minds. Keynote speaker Miguel Rene A. Dominguez, former Governor of Sarangani Province and now Alsons president and CEO, shared the initiatives they made in linking culture, arts, and heritage with inclusive development. He talked about how these initiatives strengthened Sarangani’s cultural identity, elevated local pride, and advanced eco-cultural tourism, making the province a recognized model for culture-driven empowerment in Region 12.

DHS president Luzviminda C. Ilagan talked about the aesthetic vision and cultural significance of the Kadayawan sa Davao Festival; La Herencia creative director Wilfred Dexter “Rob” Tañedo outlined the challenges and opportunities for the promotion and enrichment of multidisciplinary creative works in Davao; UP Mindanao Professor Andrea Malaya “Aya” Ragragio discussed how artists and cultural workers can address dangers of cultural appropriation and advance the protection and promotion of cultural diversity in the city; DTI’s Creative Industries Development Strategic Partnership Division chief Katrina T. Salvador shared the Malikhaing Pinoy program while NCCA deputy executive director for administration Marichu G. Tellano discussed the Philippine Development Plan for Culture and the Arts.

The afternoon session was dedicated to focused group discussions among 13 breakout groups: literary arts/books and press; design; gastronomy; cultural education and research; film; digital arts; traditional expression; museums and galleries; live events; performing arts; visual arts; music; and DepEd’s special program in the arts.

On the second day, Sept. 27, 2025, Saturday, we all continued the discussion and celebration at the Davao City Recreation Center (Almendras Gym) for the Davao Creative  Industries Exchange.

The DMMA Marching Band set the festive tone with their Chamber Symphonic and Band mini concert leading to the “untying of Mindanao woven fabrics” (a creative alternative to cutting the ribbon) to open to creative industries exhibit.

Various national government agencies talked about the intellectual property rights of the Filipino creative (IPOPhil); the national certificate programs for creative industries (TESDA); competitive grants for culture, arts and heritage (NCCA); preservation of heritage sites and promotion of cultural tourism (DoT).

NCCA consultant Maria Victoria “Mags” Maglana creatively and brilliantly synthesized all the aspirations, challenges, and opportunities of each creative domain that came out of the breakout sessions on the first day. All the participants marveled at how beautifully all their ideas came together (this deserves a separate column piece).

The venue was filled with creatives’ booths showcasing innovative local creative ventures and social enterprises. The energy was electric with various creative workshops going on simultaneously at every corner of the recreation center.

Pasalidahay, Inc. showed films made in Davao by Davao filmmakers. Joey Ayala led a music and songwriting workshop. Dadai Joaquin gave a watercolor workshop. Cacao City Chocolate Crafters showcased the “Gasa sa Kakaw,” a bean to bar to drink tasting experience. And the Crossover Dance Community held a modern dance workshop. All  open to the public and absolutely free.

The closing program was a showcase of Davao’s best led by Joey Ayala, the Kaliwat Performing Artists Collective, and the Crossover Dance Community.

Everyone I met and talked with during the two-day event was sharing the creative high I am experiencing and we all want to keep feeling this way. We thank the brilliant Nestor Horfilla, our first Gawad Sining Dabaw awardee, for guiding us and sparking this creative renaissance we are having now. Let’s give him that Datu Bago Award already.

There is no doubt about it. Davao City is a creative city. We only need to always remember that this creativity is rooted in and powered by the community. If we can pull this off with very little government funds (yes, all that for less than a million pesos only; sadly, we spend so much more on beauty pageants), imagine what we can achieve if the government seriously invests in culture, arts and heritage. To quote the President: Mahiya naman kayo.

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Opinion

MONDAYS WITH PATMEI  | Davao’s cultural and creative industries join forces

by Patmei Bello Ruivivar
written by Patmei Bello Ruivivar

Every September of each year is declared as the “Philippine Creative Industries Month” to promote the goods, products, and services of the country’s creative industries and to raise awareness of the creative industries’ role in national development.

This is in support of Republic Act 11904 or the Philippine Creative Industries Development Act (PCIDA), signed into law on July 28, 2022. Under the law, the Philippine Creative Industries Development Council (PCIDC) will lead the development and promotion of the creative industries nationwide. The Department of Trade and Industry (DTI) is the primary agency that is responsible for the law’s implementation.

At their core, creative industries are sectors of the economy that generate wealth and jobs through the “creation and development of intellectual property or artistic talent.” Essentially, they are businesses whose primary value comes from creativity, imagination, and ideas.

A simpler way to think of them is — industries that create products and services based on symbolic, artistic, and cultural value, rather than just pure utilitarian function.

An example is a chair. Its utilitarian function is an object to sit on. It becomes a creative product if the chair is designed by an artisan inspired by traditional culture or by a furniture designer with a unique aesthetic. Its value lies in its design, brand, and cultural significance.

Key characteristics of creative industries are: (1) It is idea-based, which means their primary raw material is human creativity, imagination, and intellectual capital; (2) It is high risk because it is difficult to predict what will be a commercial success (whether a movie, book, or fashion trend will become a hit); (3) It is driven by intellectual property (IP) wherein products are often protected by copyright, trademarks, patents, and design rights; and (4) It has symbolic value as they create meaning, experiences, and identity.

The products and services in the creative industries involve a creative chain, which is a complex ecosystem. It begins from creation (original idea) then production (turning the idea into a product), then distribution (getting the product to the market), then exhibition/consumption (where the audience experiences it).

There is no single universally agreed upon list, but the Philippine government has identified the following nine (9) key domains within the creative economy: (1) Audiovisual Media – this includes content creation and distribution, such as film, television, and other visual media; (2) Digital Interactive Media – this encompasses software, mobile applications, electronic games, and other digital content; (3) Creative Services – this includes advertising. marketing, research and development, and other artistic and design-related services; (4) Design – this covers various design fields such as fashion, graphic design, product design, architectural and interior design; (5) Publishing and Printed Media – this involves the creation and distribution of books, magazines, newspapers, and other printed materials; (6) Performing Arts – this includes music, theater, dances, and other live performances; (7) Visual Arts — this includes painting, sculpture, photography, crafts, and other fine arts; (8) Traditional Cultural Expressions – this focuses on the preservation and promotion of indigenous cultural heritage; and (9) Cultural Sites – this refers to heritage sites, museums, and other cultural venues.

Creative industries are similar to cultural industries, but there is a slight distinction. Cultural industries are more focused on heritage, the arts, and activities that have a strong symbolic and cultural value. On the other hand, creative industries is a broader, more modern term that includes cultural industries but also encompasses commercial, innovation-driven sectors where creativity is a key input. Cultural industries emphasize cultural value while creative industries emphasize the economic potential of creativity.

In other words, creative industries are the business of imagination.

And it is big business. The global creative industries are a major economic force valued at approximately USD 2.9 trillion in 2024 and projected to reach USD 4.24 trillion by 2033, growing at a compound annual growth rate of 4.29 percent.

Creative industries contribute 2-7 percent to the gross domestic product (GDP) of developed economies and are among the fastest-growing sectors globally. In emerging markets and developing economies, creative industries contribute 4-15 percent to GDP.

In terms of employment and job creation, creative industries support approximately 50 million jobs worldwide, with a significant portion held by youth and women. These industries are reported to have a strong multiplier effect — for every USD 1 spent in the creative sectors, it generates USD 2.5 in economic output.

In the Philippines, the creative economy at current prices amounted to PHP 1.94 trillion in 2024, according to the report by the Philippine Statistics Authority (PSA) released last March 20, 2025. This represents an 8.7 percent increase from PHP 1.78 trillion in 2023. This accounted for 7.3 percent of the country’s GDP in 2024.

The symbols and images domain — which includes the manufacturing, renting, and trading of visual designs and symbols across various products like fashion, furniture, jewelry, toys, visual arts, and design — accounted for the largest share at PHP 640.29 billion or 33 percent of the total creative economy in 2024.

Employment in creative industries increased to 7.51 million in 2024 from 7.23 million in 2023, indicating an annual growth of 3.9 percent. The share of employment in creative industries of the total employment in the country was at 15.4 percent in 2024.

In terms of employment in the creative industries, traditional cultural expression activities registered the highest share at 36.6 percent in 2024.

As Davao City ramps up its push to be a leading creative city, our local cultural and creative industries have joined forces to create a harmonized roadmap with the support of the DTI, the National Commission for Culture and the Arts (NCCA), the Mindanao Development Authority (MINDA), the City Government of Davao, and the Conrado and Ladislawa Alcantara Foundation, Inc. (CLAFI).

Davao’s startup community is having its 4th Davao StartUp Week on September 20-27, 2025, with the theme: “Grassroots, Global Reach: Scaling Innovation from the South.” A lot of innovative solutions from Davao and Mindanao startups will be pitched to government and private investors.

Meanwhile, the culture and arts community is coming together for the first-ever Davao Culture, Arts and Heritage Summit on September 27-28, 2025, to be held at the Holy Cross of Davao College (first day) and the Almendras Gym (second day). All the cultural and creative domains will be represented in the summit, and the aspirations, challenges, and opportunities of each domain will be gathered to serve as a guide for the roadmap that will be created. This will be the common reference for the implementation of the city’s culture and arts ordinance and its inventions and innovations ordinance to promote and support Davao City’s cultural and creative industries.

This is a result of people’s initiative — artists, artisans, creatives, academics, entrepreneurs, non-government, and socio-civic organizations coming together to promote creativity in our city. A testament to the pioneering Davaoeño spirit of innovation and community.

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