In the Philippines, intimacy and nudity are largely taboo. Conversations and artworks touching on sexual and emotional well-being are deemed “awkward” or “inappropriate,” leaving many without proper information and adequate support. This lack of discourse translates to harmful attitudes and practices, with victims often afraid to speak up for fear of judgment or retaliation.
The growing field of intimacy coordination offers a security blanket for sensual art and its performers. Intimacy coordinators (ICs) revolutionize existing industry practices by serving as liaisons between actors and directors to properly execute on-screen passion. By fostering respectful communication and setting clear boundaries, ICs protect actors from exploitation while maintaining artistic integrity.
Boundaries brick by brick
The mediating role of ICs, however, comes with its challenges. In the face of multiculturalism, defining consent and boundaries is a mountainous hurdle. Oscillating between different languages and juggling different cultural contexts adds another layer of complexity. As an IC herself, theatre actress, and director Missy Maramara shares, “I had to cross that cultural bridge [and] make sure that gap was [filled] as much as possible,” as local and global contexts vary greatly in their perceptions of provocativeness.
Maramara explains that across media industries, “What we value is different [as] our measures of intimacy are different” compared to the contexts of intimacy from other countries. “If you look at reality TV, mag-holding hands lang yung Pinoy Big Brother housemates, eskandalo na ‘yun ‘di ba?” Acknowledging these differences helps to better execute intimate scenes that are palatable and respectful toward actors, filming crew, and audiences alike.
(Just seeing Pinoy Big Brother housemates holding hands, that’s already a scandal right?)
It is crucial to understand intimacy from a culturally sensitive position. However, intimacy coordination in itself, along with its training and certification systems, is heavily rooted in Western concepts of intimacy—which may not fully align with the conservative norms of the Philippines.
At present, IC and former president of Theater Actors Guild Jenny Jamora joins Maramara in the short list of certified practitioners under the Intimacy Professionals Association in Los Angeles, California. Maramara also carries certification for both intimacy direction and coordination under the New York-based organization Intimacy Directors and Coordinators.
Given the differing levels of experience in intimacy, Maramara explains that choreographing staged intimacy—especially in a comfortable space—would allow a more authentic yet mindful portrayal of sensuality. Although it’s difficult to draw a clear line between what’s real and acting, ICs help to distinguish that, reminding everyone to follow certain behaviors within established boundaries. Using a hostess bar as an example, she elaborates, “The performers are simulating the behavior, not actually doing as they would in that space. This is a film, not real life,” she drills.
Breaking down blunders
Much like how athletes risk discomfort and pain on the field, actors face the steep risk of crossed boundaries during intimate staging. Should limits be violated, Jamora and Maramara push the urgency of their roles in addressing the feelings and needs of the person affected, as a sudden act can have lifelong repercussions. Jamora shares, “Some people will need an apology, some just need to vent, and some might need to see a mental health professional.” They stress that this is why meeting with the actors and producers pre-production is “imperative,” laying out that talents shouldn’t be pressured into breaking their own boundaries while filming.
Hence, local ICs strive to foster a safer working environment tailored fit to the concept of intimacy in the Philippines. As the country’s pioneer IC, Maramara shares her aspirations to plant the seeds of intimacy coordination within the local backdrop. “I want that certification process to be rooted in the Philippine culture,” she says. Jamora, who works closely with Maramara, shares this common goal, “We’re really looking forward to somehow being able to organize and form a guild of sorts [to] better standardize our practices.”
At the same time, addressing intimacy must extend beyond the scope of media production. Maramara hopes that talks on intimacy will start within educational institutions. “Everyone should have sex, gender, [and] anti-harassment education,” she asserts. Implementing such measures at an institutional level will reduce cases of abuse and widen safe spaces across communities.
Apart from the tangible aspect of intimacy, Marmara highlights the need to expand the reach of these trainings to digital spaces. “Boundaries online are blurrier because you’re hiding behind a mask of anonymity,” she observes. Stirring these conversations will foster safe spaces and establish firm boundaries on sensuality within the virtual realm.
Thoughtful, yet impactful
Intimacy coordinators play a vital role in facilitating genuine collaboration among the performers, directors, and other staff members. This industry practice ensures that intimate scenes are executed safely, with sensitivity and respect for everyone involved.
Intimacy need not be a taboo topic, but rather the topic must be handled with care and concern. It is a commitment to the welfare of the actors, production staff, and even the audiences. Jamora hopes that intimacy coordination and the directorial landscape within the country will develop positively from here on, and ideally, “more and more directors [as well as] actors will look for ICs.”
Stories are elevated when audiences realize that the characters are being brought to life by real people—individuals with fears, hopes, and goals. Advocating for art also means advocating for the rights of the artists behind it. Intimacy coordinators serve as the bridge between performers and directors with the storylines they work with so they can reach new heights and wider audiences together—safely, creatively, and with integrity.
The future of intimacy coordinating in Philippine media is bright. Jamora wishes it well, hoping it “[develops] into something more organized, more standardized, and more collaborative between producers and ICs.” It is these minimum criteria that can spell all the difference for better sensual representation and reception. As in the grand scheme of things, art need not sacrifice the well-being of its curators for the sake of entertainment. It is a mutual process for everyone’s enjoyment.
This article was published in The LaSallian‘s Menagerie Special 2025. To read more, visit bit.ly/TLSMenagerieSpecial2025.
