Sapnay

 

Dumaguete is a college town by reputation and by birthright. Its streets hum with the footsteps of students moving in-between classes, while cafés and parks are stages for youthful ideas and dreams. Yet, beneath the everyday rhythm of this “City of Gentle People” lies a story of young lives caught between hope and hardship, history and change.

For over a century, education in Dumaguete has been more than just a pursuit of knowledge. When the Thomasites arrived at the dawn of the 20th century to build schools and teach English, they were welcomed by a community eager to adapt to the shifting tides of colonial rule. Demetrio Larena, Negros Oriental’s first governor under American rule, championed education as a tool for survival, understanding that teaching young minds was teaching resilience.

Fast forward to 2005, and the community heritage of uplifting younger generations continues through the work of YATTA—Youth Advocates Through Theater Arts—a theater group that offers a different kind of classroom where art and advocacy meet.

It’s a home where art and kinship grow side by side.

Founded in 2005 by Dessa Quesada Palm and a group of young aspiring artists, YATTA emerged from a three-day workshop addressing child trafficking. “After the public performance, 30 young people asked, ‘What’s next?,’” recalls Dessa, now YATTA’s executive director. “They still had this burning passion left in them.” From that spark, a community-based theater group was born—a rare sanctuary for Dumaguete’s youth to explore their creativity, grapple with difficult realities, and reclaim their narratives.

The group’s name, Youth Advocates Through Theater Arts, reflects its dual mission: to nurture artistic talent while driving social change. But YATTA’s impact has grown far beyond Dumaguete. They conduct workshops in schools across Negros Oriental and have even crossed international borders—most recently leading a community workshop at The Prince Royal’s College in Chiang Mai, Thailand, in November 2024. For YATTA, every stage, whether local or global, becomes a space where young people can confront issues, share their stories, and transform awareness into action.

Indeed, YATTA’s performances are “informances”—a blend of information and performance that aims to awaken consciousness. Junesly Kitay, a senior artist teacher with the group, describes their work: “Every piece we create wakes up the consciousness of people. It’s not just theater—it’s a call to action.” 

The issues tackled are wide-ranging and urgent. Early productions focused on environmental degradation, a reflection of Dumaguete’s rich but vulnerable natural heritage. From there, YATTA’s work expanded to include children’s rights, gender equality, domestic violence, and the alarming rise of drug abuse among youth. Plays like Pulang Langub and Work in Progress illustrate the harsh realities young people face, while inviting audiences to reflect, empathize, and engage.

What keeps YATTA going isn’t just the stage—it’s the people who fill it.

This commitment to relevance is deliberate. “Some of our performances are made in partnership with NGOs,” says Junesly. “If a group fights for women’s rights, we create a performance protecting women. We filter ideas through our mission: Is it honest? Is it truthful? Is it relevant to the youth?”

Over the years, YATTA has collaborated with organizations like Gender Watch Against Violence and Exploitation (GWAVE) and the Foundation for the Philippine Environment, among others. These partnerships are not about simply staging shows on commission but about strengthening advocacies already aligned with YATTA’s mission. For instance, their Ridge to Reef Project, done with the Foundation for the Philippine Environment and the Municipality of Valencia, Negros Oriental, used theater to raise awareness among young people about the link between forest conservation and marine protection.

While their home base remains in Dumaguete, YATTA’s body of work reflects issues that resonate beyond its borders. In each case, their priority is clear: to create art that speaks truthfully to young people while amplifying causes that matter to their communities.

Such focus has elevated YATTA beyond a local theater group. Their partnerships with organizations like the Cultural Center of the Philippines and Philippine Educational Theater Association have broadened their reach, while affirming the potency of theater as a tool for education and empowerment.

(L-R) Dessa Quesada, Justine Dumalogdog, Reynald Dote, Jaira Palo-palo, Pipoy Quitay.

But beyond the stage and spotlight, YATTA is first and foremost a community—a family for many who have struggled to find one. Some members come from backgrounds marked by poverty, family dysfunction, or social exclusion. For Pipoy Kitay, now YATTA’s property manager, joining at 14 meant breaking free from the cycles of fear and violence in his neighborhood. “Back then, I felt like I didn’t have a lot of options. I came from the slums riddled with drugs—when you wake up in the morning, all these vices are around you. I lived in fear and felt like I had to survive every day.” With YATTA, his perspective shifted. “Before, I thought I was part of the problem. Now I see myself as part of the solution. YATTA opened the door for me.” He adds, “Through my small but consistent contributions, I’ve learned to see what’s wrong in society. That’s what YATTA does—it opens your mind to social realities and how to improve them. 

The organization’s home, Sapnay—meaning “cradle” in the local Bisaya language—embodies this spirit. After nearly two decades of performing in borrowed spaces and parks, YATTA finally has a creative sanctuary. Sapnay was made possible through a web of partnerships and support: designed and built in collaboration with Foundation University’s Estudio Damgo graduating architecture students, strengthened by sustainable materials from Kawayan Collective, and sustained through funding from Presbyterian churches in the U.S. and in Negros Oriental, alongside contributions from foundations and friends who believed in YATTA’s vision.

“Art needs space. It needs a hub because it is messy,” says Dessa. Sapnay is that cradle—lifting the joy and creativity of young people while grounding them in community and purpose.

Sapnay stands in bamboo and concrete, cradled by trees, river, and birdsong—a rehearsal space alive with nature.

At Sapnay, training is rigorous. Prospective members undergo the PAGASA program—a series of workshops in vocal and movement skills, scriptwriting, songwriting, and production design. Justine Dumalogdog, YATTA’s vice president, describes the journey: “You become an applicant first, then after rehearsing, learning, and performing, you become a regular member with the chance to facilitate and lead.” The commitment is demanding but transformative, creating leaders who know how to stand with their principles.

As Dumaguete continues to be a cradle of learning, YATTA’s Sapnay stands as a beacon for youth caught in the storms of modern conflict. It is a place where education, art, and advocacy converge, where young voices rise up with passion and purpose, and where hope finds a home.

Article and video script by: Liway Espina

Photos by: Paolo Correa

Video by: Grilled Cheese Studios