#Luzon Folk Songs

[iloco-lit]

There are around 7 million people who speak Ilocano as their first language, mainly in Northern Luzon, the provinces of La Union and Ilocos, the Cagayan Valley, Babuyan, Mindoro, and Mindanao. Ilokano is also used as a lingua franca in trade, commerce, and everyday conversation by perhaps another 2 million speakers in the northern parts of Luzon. Ilocano is more widely spoken by ethnic groups from the country's northside than Tagalog, which is also its official language. Ilocano does not, however, have official status at this time; it is merely a regional tongue. Only the first few classes of elementary school use it.

The Ilocanos were the first ethnic group from the Philippines to immigrate in substantial numbers to North America, establishing sizable settlements in Hawai'i, California, and the Pacific.

Ilocano literature, also known as Iloko literature, refers to the literary creations of authors of Ilocano origin, regardless of the language(s) they have written in, including Ilocano, English, Spanish, and other foreign and Philippine languages. The words "Iloko" and "Ilocano" are distinct in the Ilocano language.

HISTORY OF ILOKO LITERATURE

Pre-colonial Iloko Literature-were composed of folk songs, riddles, proverbs, lamentations ( dung-aw), and epic stories written or oral form.

•Ancient Ilokano poets expressed themselves in folk and war songs.

DALLOT- an improvised, versified and at times impromptu long poem delivered in a sing-song manner.

FRANCISCO LOPEZ- an Augustinian friar

-translated the earliest written Iloko poems(romances) from Spanish

-also translated the DOCTRINA CRISTIANA (Cardinal Bellarmine)- the first book to be printed in Iloko.

GRAMATICA ILOKANA (1895)

- where the study of Iloko poetry could be found

- based on Lopez’s Arte de la Legua Iloca

PEDRO BUCANEG

- collaborated with Lopez in the translation of the Doctrina into Iloko

- credited for having been the first known

Ilokano poet

- Father of Ilokano Poetry and Literature

- blind since childhood

- authored the popular epic Biag ni Lam-ang (Life of Lam-ang) in the 17th

Ilocano Literary Works

•The poem is thought to have originated as oral literature in pre-colonial times, evolving as it is transmitted from poet to poet and generation to generation. The poem's first written documentation is sometimes credited to the blind Ilocano poet and preacher Pedro Bucaneg, but historian E. Arsenio Manuel gives that honor to Fr. Blanco of Narvacan, who collaborated with publicist and folklorist Isabelo de los Reyes.

The Biag ni Lam-ang narrative teaches us about Philippine history and provides insight into the methods our early ancestors used to identify suitable hunting grounds and establish territorial control. Because our country is full with so many wonderful things and is so magical, it is the ideal place for children to reside. We think that there are living things about us that are unseen to the naked sight, but can nevertheless see us and feel their presence thanks to our instincts.

•In the 1943 short story "My Father Goes to Court," two families with vastly different levels of wealth are shown to be at odds with one another. The plot revolves around the way the impoverished family deals with hardships in life and the way of life of the wealthy family. The wealthy family has a spacious home and servants because they have been awarded a considerable quantity of wealth. Rarely did the wealthy family's children leave their home. Given their high level of purchasing power, the wealthy family can purchase everything they desire and just enjoy it in the comfort of their own home. Too much time spent at home results in inactivity. As they were depicted in the story as being skinny and pale, this prevents them from being healthy.

This tale shows how useless money is without good health. In the narrative, it was mentioned that the underprivileged kids engaged in a variety of physical activities, which is undoubtedly better for their health. The best anti-depressant is a healthy lifestyle or exercise. It also has a good impact on how our brain functions.

Appreciating Ilocano Literature

One of the most dynamic Filipino literary traditions through the ages is Ilocano literature. Ilocano regions are also among the literature of the Philippines' most active tributaries.

We Ilocanos have a rich literature as we have published many stories, songs and many other literary pieces. We should appreciate these because it depicts our culture, traditions, behaviors through literary works.

Literature allows a person to step back in time and learn about life on Earth from the ones who walked before us. We can gather a better understanding of culture and have a greater appreciation of them. We learn through the ways history is recorded, in the forms of manuscripts and through speech itself. Humanity is reflected in literature, and literature helps us to comprehend one another. We can start to understand someone else's way of thinking by listening to their voice. I think literature is significant because it serves a purpose, and books start conversations in a world that is growing more and more disconnected from interpersonal interaction.

[onemessygeek]

Folk Literature

We got printouts back in my senior high school days from the "Philippine Literature Resource Book". So, I'll be dropping the tidbits here:

Types of Philippine Folk Literature

Folk Speech

Folk Songs

Folk Narratives

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FOLK SPEECH - aka. bugtong (in Tagalog) and Tigmu (in Cebuano). They can be talinghaga (making use of metaphor to describe intended objects), ambahan (used to express everyday experience composing of 7 syllables in a line), or tanaga (7 syllable quatrain and a definite answer) (Santiago, 2011).

●・○・●・○・●・○・●・○・●・○・●・○・●・○・●・○・●・○・●・

FOLK SONGS - short verses revealing ancient Filipino cultures that usually center around solation, happiness, uncertainty, and love. The earliest songs appeared during the pre-Spanish era (Kahayon & Zuleta, 2000).

Matud Nila (Lacia, et al, 2003)

Usahay (Region VII: Central Visayas)

Atin Cu PungSingsing (Region III: Central Luzon; Capampangan Folk Song)

These are other folk songs that were commonly sung in our childhood days.

Si Pilemon

Pamulinawen

ManangBiday

Dadansoy

Sarong Banggi

Bahay Kubo

Magtanim ay Di Biro

Lawiswis Kawayan

Chit-chirit-chit

Leron, Leron, Sinta

●・○・●・○・●・○・●・○・●・○・●・○・●・○・●・○・●・○・●・

FOLK NARRATIVES - are classified into three: Myth (example: Ifugao Creation; Why the B'laans Are Ignorant), Legend (The Durian Legend; Mindanao: The Origin of Its Name; The Origin of the World), and Folk Epic.

Ulaging (A Bukidnon Epic) - The term Ulaging originated from the root word legena which means voice. An epic that is intended to be sung (Saway-Llesis, 2003) and performed without the accompaniment of any musical instrument (Brandeis, 2008). The chanting of the epic is sacred which is why it cannot be done without a ritual called pamada (Saway-Llesis, 2003). This epic is composed of many episodes sung during nighttime lasting for several hours or even several nights.

Darangan (A Maranao Epic) - is one of the Philippines' longest epic telling of the history and culture of its people. It was proclaimed a "masterpiece of the oral and intangible heritage of humanity" by UNESCO (Philippine Star, Dec 13, 2005).

The Guman of Dumalinao

The Maiden of Buhong Sky

The Epic of Labao Donggon

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"We study literature so that we can better appreciate our literature heritage. Through a study of our literature, we can trace the rich heritage of ideas handed down to us from our forefathers. Then we can understand ourselves better and take pride in being a filipino." - Kahayon and Lulueta (2000)

[phgq]

Sta. Rosa, Laguna honors 1st Filipino soprano recording artist

#PHnews: Sta. Rosa, Laguna honors 1st Filipino soprano recording artist

STA. ROSA CITY, Laguna – Mayor Arlene Arcillas on Tuesday led city officials and constituents in paying homage to the country’s first soprano recording artist Maria Evangelista Carpena, whose century-old cultural legacy collections and memorabilia are now housed at the city government museum here.

In gracing the 133rd birth anniversary commemoration of the Rosenian musical artist, Arcillas also recommended the crafting of a City Council resolution to rename the city’s amphitheater into the Maria E. Carpena Hall. The structures is just across the Museo de Sta. Rosa, where the artist’s collections are now on display in celebration of the “Museums and Galleries Month.”

The mayor was moved when musical artists from the Philippine High School for the Arts performed “Ang Maya,” a Filipino old-time favorite folk song which Carpena first recorded in the United States, and the musical recording as well reverberated through the city museum.

Born in Sta. Rosa on Oct. 22, 1886, Carpena is described by local culture and art enthusiasts as one of the most amazing yet lesser-known Filipinas who blazed the trail in the performing arts and carved her mark in Philippine history.

A descendant of Carpena, Dr. Rosauro “Bimbo” Sta. Maria, chief of Laguna’s Tourism, Cultural Affairs and Trade Office (LTCATO), shared that he painstakingly retraced his grandmother’s roots, even scouring the 26-hectare La Loma Cemetery, Manila, in search of the first Filipina soprano diva’s tomb.

“Lelang" (a term of endearment for grandma), as she was fondly called in our family circle and to friends, was known as the “Nightingale of Zarzuela” and amid difficulties in life, blazed the trail for other local singers to be the first Filipino recording artist in 1908,” Sta. Maria said.

Historical accounts revealed that a street in a district in Quiapo, Manila was named after Carpena, an honor that the city leaders and officials here said the Sta. Rosa native greatly deserved, and is now treasured under the Southern Luzon Association of Museums (SLAM) “Project Bayani: Curating South Luzon.”

In an interview with the Philippine News Agency, Nescy A. Esguerra, city tourism officer and curator of the Museo de Sta. Rosa, said the project under the city’s cultural mapping identifies heroes and personages whose outstanding achievements and contributions should be brought to the Filipinos’ national consciousness.

“Actually, kami ay taga-Sta. Rosa na, pero hindi po namin siya nakilala (we who are from Sta. Rosa, do not even know her. Until Dr. Bimbo told us that if Manila had accorded her a place in history, why not for Carpena’s birthplace,” Esguerra said, adding they only learned of a private and personal museum put up by the artist’s family.

She said the city government joined the SLAM’s “Project Bayani” project themed “Building the Nation, One Exhibit at a Time” through their “Masikhaying Bayan - Ani ng Lungsod ng Santa Rosa” highlighting the life and works of Maria Carpena.

She said historical information showed that Carpena, at age 15, was already known for her superb talent in singing but the father, who was no fan of music, prevented her from performing onstage.

“Itinakwil siya ng tatay niya nung nagsikap talaga siya, nagsikhay siya na gusto niyang pangatawanan ang kanyang ambisyon na maging singer (her father disowned her when she really struggled in achieving her ambition to become a singer),” the museum curator narrated.

Unfazed by difficulties in life, Carpena continued her journey to become a musical artist in Manila and stayed at a “beaterio” (convent) at the Colegio de Sta. Rosa in Intramuros, Manila where she tended household chores and embroidery work.

Carpena’s debut performance came at age 15 when she performed for a benefit concert at Zorila Theater in 1901, where she drew applause and admiration.

She had her biggest break in 1902 when Severino Reyes, director of the Gran Compania de Zarzuela Tagala, took her for the lead role in Minda Mora, and went on to be the lead star in stage plays such as “Walang Sugat,” “Lukso ng Dugo” and “La Confianza Mata al Hombre.”

The musical talent further received her “star” when then Governor General Howard Taft invited her to go to the US in 1908, a journey that actually catapulted her name as the first Filipino recording artist in Philippine history through the recordings of “Ang Maya” and other songs accompanied by the Molina Orchestra for Victor Recording Company.

Historical accounts on Maria Carpena displayed at the city government-run museum revealed that “Professor H. Otley Beyer, a renowned anthropologist, described Maria as a “real nightingale” who would “sing at the Luneta to 20,000 people and her voice would be heard clearly through Manila Hotel.”

With neither formal training in voice lesson or reading musical sheets, Maria Carpena’s passion for musicality and the mastery of the musical composition was developed through “oido” or hearing.

A widow with two children, Florita and Jaime, when her husband, Jose “Pepe” Alcantara died in 1904, Maria braved life as a single mom at age 18.

She died at age 28 due to health complications after undergoing appendectomy on March 8, 1915. Her remains were buried at the La Loma Cemetery, Manila. (PNA)

***

References:

* Philippine News Agency. "Sta. Rosa, Laguna honors 1st Filipino soprano recording artist." Philippine News Agency. https://www.pna.gov.ph/articles/1083969 (accessed October 24, 2019 at 04:53PM UTC+14).

* Philippine News Agency. "Sta. Rosa, Laguna honors 1st Filipino soprano recording artist." Archive Today. https://archive.ph/?run=1&url=https://www.pna.gov.ph/articles/1083969 (archived).

[pinoycollection-blog]

Dandansoy Lyrics

Dandansoy, bayaan ta ikaw Pauli ako sa Payao Ugaling kung ikaw hidlawon Ang Payaw imo lang lantawon Dandansoy, kung imo apason Bisan tubig di magbalon Ugaling kung ikaw uhawon Sa dalan magbubon-bubon Ang panyo mo kag panyo ko Dal-a diri kay tambihon ko Ugaling kung magkasilo Bana ta ikaw, asawa mo ako SEE ALSO: Magtanim Ay Di Biro Lyrics

[akimbohimbo]

haven’t done this in awhile

Issa tag meme, folks! I was tagged by the insufferable @laffayete to do a thing :) (don’t worry i know her irl im allowed to say that) 

This is gonna be hella long so I apologize in advance :’) 

1. What’s the smell of your shampoo? 

bold of u to assume i ever wash my hair 

OFF TO A GREAT START, YEEHAW Y’ALL 

jk but i guess i will NEVER know because my mom doesn’t keep shampoo labels :’) 

2. What’s your aesthetic? 

things that relate to space (pulsars, quasars, the sun, planets) 

nature (sunsets, the sky, forests, oceans) 

minimalism (in terms of cinematography and posters)

i went to japan last summer and i would consider literally everything about it my aesthetic, especially with the way they organize things  

music-related aesthetics 

anything boujee in terms of fashion: trench coats, pea coats, leather jackets, suits, dresses, jumpsuits, literally anything that naomi smalls and manila luzon wear is right up my alley 

the small of a woman’s back, collarbones, jawlines

anything intricately designed (music boxes)

flowers (orchids, daisies, sunflowers, tulips, roses)

just to name a few 

3. What’s your favourite time of day? 

i really like the hour right before a sunset. the clouds usually start to clear and the colours of the sky start to blend with each other. depending on the sunset, everything is temporarily red or blue, and even if it’s a particularly cloudy or rainy day, there’s a gentle light coming from up above that’s just very serene and relaxing. 

i also really like being outside at 3am, albeit that seldom happens. the streets are very quiet, and there’s this sense of peace that floods over me. it’s like, for a moment, i don’t feel overwhelmed and everything is just. calm. 

4. What do you like most about the beach? 

i love the beach. if i’m being honest, i love the memories i have attached to the place more than the place itself. i’ve been to dozens of beaches around the world, which each have their fair share of beautiful physical attributes that one could potentially admire. some beaches have cliffs that tower over its surroundings, while others have turbulent waters that are filled with flora and fauna; some have soft, white sand and others have mouldable sand that can be used to play with. 

5. What do you worry about constantly? 

not doing enough in terms of academics, or friendships, or even just in terms of self-care. i also worry about my constant need to overthink and my hunger for spice in my life?? these days it hasn’t been hectic and it’s what i say i always want, but i hate being bored. i have an addiction to thrill, and that’s not healthy either. there is so much i want to do, but i keep delaying everything because i am afraid anything i do won’t be worthwhile. this is why my friends tell me i need to relax lmao :-) 

6. What is a song you’ve cried to before? 

i literally have playlists reserved for specific moods. i’m too lazy to write out a full playlist bc i put a lot of thought into them but these are the songs that immediately popped into my head that correlate to my current mood:

if i’m being honest by dodie

once you by jacob collier

quelqu’un m’a dit by carla bruni

i’ll cover you (reprise) from rent the musical

maybe from next to normal the musical

ocean wide, canyon deep by jacob collier

burned out by dodie

visions of gideon by sufjan stevens

chicago by sufjan stevens

let’s get lost by elliott smith

you & i by queen

somebody that i used to know by elliott smith

the predatory wasp of the palisades are out to get us! by sufjan stevens

dancing with a ghost by st. vincent

neu roses (transgressor’s song) by daniel caesar

just a few lmao i cry to a lot of songs 

7. What are some relaxing tips for your followers? 

take long walks and listen to some music. allow yourself to catch your breath when things are getting overwhelming and it feels like you can’t get a handle on anything. drink tea, maybe watch a sunset if you have the time. write, write, write your emotions out. watch some funny movies/comedy bits.

8. What are some things that make you tear up? 

whenever my friends show me that they really do care for me and appreciate my existence??? the other day my friend got drunk and sent me a heartfelt text that said that they were grateful for me being there for them despite the fact that i have an overwhelming amount of shit to deal with on my own. it was at like 2am and i literally cried. i like being appreciated. also dogs. and when my friends send me memes that remind them of me. i also really love good music (more specifically, albums that feel complete). wholesome shit. and showing my friends that i appreciate their existence, too.

9. What is your favourite thing from each of the five senses? 

sound: hearing my friends genuinely laugh. the sound of rain and its pitter patter onto a windowsill. orchestral music. guitar riffs. good cello playing. percussion (love me some good beats). jacob collier’s thought process as he says them out loud. IN-TUNE PIANOS. stradivarius violins. daniel caesar’s soft voice. duets. grainy recordings of jazz. 

smell: oatmeal, chocolate chip cookies, fresh barbecue, food in general. the scent on some of my friends (some of them smell like laundry detergent and i love that). onions sizzling on a hot pot.

sight: seeing people smile. more specifically, jacob collier’s smile. dogs. visually aesthetic cinematography. cameras.

touch: silk. cashmere. the playful, soft touch of fingers or lips running along my thighs and/or neck. a thumb gently rubbing onto my hand assuring me everything is going to be okay. the feeling of my fingers as they hop and skid along a piano. a soft kiss on my forehead. 

taste: i will literally eat anything don’t try me. 

10. What is one alternative reality you’d want to be in? 

one where my mind is calm and not constantly confused and unsure of literally everything. one where i know exactly what i want. one where there is no political distress and everyone gets along and people are all decent human beings with a moral backbone stronger than a chocolate eclair. one where i can do things to my fullest potential without having to worry that i didn’t try or do anything hard or well enough.

11. What are some troubles you face on a day to day basis? 

waking up and contemplating whether things are worth it. not to be edgy but i know i could be doing so much more than i am currently doing with my life. also procrastination. 

12. What is one scene of a book that made you really sad? 

honestly? i block off everything sad whenever i read a book, whoops! i guess the one that comes to mind right now is in the third book of the pjo series, when zoe nightshade dies. the whole thing where she was like, “stars, i can see the stars again m’lady.” that was the first time i ever cried while reading a book, and i don’t really cry much when indulging in media. 

13. Say something to your followers 

i like too many things and im sorry that my blog is messy but also i hope u all still enjoy my content WOO i have too many hyperfixations :’)

im supposed to tag people, so uhh here’s a few of my mutuals. you don’t have to do this btw.

@grandtheftpoptart @matteolcerilli @dear-goodbye @stalkhome-sindrone @mercutiowned @somewherebetweensenseandnonsense @mlmneilperry

[mindlessdonkey]

Done some Reading lol...

LYRICAL (Folksongs)

BAHAY KUBO- It was written by Felipe Padilla de Leon and it was passed down through generation

LERON LERON SINTA –Also known as "My Dear, Little Leron," is a popular Filipino folk song from the Tagalog region. It is traditionally a work song, representing those who work in the fields harvesting fruits

MAGTANIM AY DI BIRO- Originated by the Central Luzon, where most people are farmers. This folk song talks about the basic life and hard work of farmers.

  NARRATIVE

Beowulf (EPIC)- Celebrated as a national text in most Nordic countries. Purportedly the strongest man that ever lived, Beowulf is hired by Hrothgar to protect his domain from a grotesque swamp creature, Grendel. Not only does he vanquish him, but he also confronts his mother, various sea creatures a terrifying fire-breathing dragon.

Romeo and Juliet(METRICAL TALES)- An age-old vendetta between two powerful families erupts into bloodshed. A group of masked Montagues risk further conflict by gatecrashing a Capulet party. A young lovesick Romeo Montague falls instantly in love with Juliet Capulet, who is due to marry her father's choice, the County Paris

Can't help falling in love with you (BALLAD)- The Song upholds FALLING IN LOVE by telling about popular facts,criticism as well as true nature of LOVE. People say love is where fools tread and it’s a sin.But lover says, it may be but I can’t help falling in love.It’s as natural as the river flows into the sea.That’s where it belongs to. The love has to happen,it has happened I have fallen in love with you, I couldn’t help.. He says to lady love ,take my hand -means-accept my love- and I am offering you my entire life to you.The love is such a thing one is ready to give his life to her.

 DRAMATIC

Abou Ben Adhem-is a poem by Leigh Hunt, a key figure of the Romantic movement in England. The poem focuses on an event in the life of the Sufi saint Ibrahim bin Adham

The Tragedy of Hamlet, Prince of Denmark (SOLILOQUY)- often shortened to Hamlet (/ˈhæmlɪt/), is a tragedy written by William Shakespeare sometime between 1599 and 1601. It is Shakespeare's longest play with 30,557 words. Set in Denmark, the play depicts Prince Hamlet and his revenge against his uncle, Claudius, who has murdered Hamlet's father in order to seize his throne and marry Hamlet's mother.

My Last Duchess- is a poem by Robert Browning, frequently anthologised as an example of the dramatic monologue. It first appeared in 1842 in Browning's Dramatic Lyrics.[1] The poem is written in 28 rhyming couplets of iambic pentameter.

Activity# 2: Poetry Literary Pieces

[sef1208-blog]

History of OPM(Original Pinoy Music)

Original Pilipino music, now more commonly termed original Pinoy music, original Philippine music or OPM, originally referred only to Philippine pop songs, particularly ballads, such as those popular after the collapse of its predecessor, the Manila Soundof the late 1970s. In the 1970s, popular artists were Nora Aunor, Pilita Corrales, Eddie Peregrina, Ramon Jacinto, Victor Wood, and Asin. The more major commercial Philippine pop music artists were Claire dela Fuente, Didith Reyes, Rico Puno, Ryan Cayabyab, Basil Valdez, Celeste Legaspi, Hajji Alejandro, Rey Valera, Freddie Aguilar, Imelda Papin, Eva Eugenio, Marco Sison, Nonoy Zuniga, and many others. Between the 1980s and the 1990s, OPM was led by artists such as Regine Velasquez, APO Hiking Society, José Mari Chan, Janet Arnaiz, Dingdong Avanzado, Rodel Naval, Janno Gibbs, Ogie Alcasid, Joey Albert, Lilet, Martin Nievera, Manilyn Reynes, Lea Salonga, Raymond Lauchengco, JoAnne Lorenzana, Francis Magalona, Sharon Cuneta, Sheryl Cruz, Zsa Zsa Padilla, and Gary Valenciano, among many others. In the 1990s, famous artists included Eraserheads, Smokey Mountain, Rivermaya, Jaya, Donna Cruz, Jolina Magdangal, Jessa Zaragoza, Ariel Rivera, South Border, AfterImage, Side A, Andrew E., Lani Misalucha, Ella May Saison, Roselle Nava and Blakdyak, among many others. In the 2000s and the 2010s, leading OPM artists include Aiza Seguerra, Toni Gonzaga, Sarah Geronimo, Nina, Yeng Constantino, Spongecola, Christian Bautista, Charice, Jed Madela, Erik Santos, Parokya Ni Edgar, and Gloc-9, among many others. Underground bands emerged and along with them were their perceptions of idealism and self-expression. The famous lyricist of Circle's End, Geno Georsua landed on top as the melodramatic expressionist. Bassist Greg Soliman of UST Pendong grasps the title as the best bassist of underground music. From its origin, OPM has been centered in Manila, where Tagalog and English are the dominant languages. Other ethnolinguistic groups such as Visayan, Bikol and Kapampangan, despite making music in their native languages, have rarely been recognized as OPM. Unusual cases includr the Bisrock(Visayan rock music) song "Charing" by Davao band, 1017. Multiculturalism advocates and federalists often associate the discrepancy to the Tagalog-centric cultural hegemony of Manila. Having successfully created a subgenre of Philippine rock thatvthey called Bisrock, the Visayans, by far, have the biggest collection of modern music in their native language, with great contributions from Visayan bands Phylum and Missing Filemon. However, a band called Groupies' Panciteria that hails from Tacloban, a Winaray-speaking city, launched a free downloadable mp3 album on Soundclick.com in 2009 containing 13 Tagalog songs and only one very short song in the Cebuano language.[1] Following suit are the Kapampangans. The debut music video of "Oras" ("Time") by Tarlac City-based Kapampangan band Mernuts has penetrated MTV Pilipinas, making it the first ever Kapampangan music video to join the ranks of other mainstream Filipino music videos. RocKapampangan: The Birth of Philippine Kapampangan Rock, an album of modern remakes of Kapampangan folk extemporaneous songs by various Kapampangan bands was also launched last February 2008, which are regularly played via Kapampangan cable channel Infomax-8 and via one of Central Luzon's biggest FM radio stations, GVFM 99.1. Inspired by what the locals call "Kapampangan cultural renaissance", Angeles City-born balladeer Ronnie Liang rendered Kapampangan translations of some of his popular songs such as "Ayli" (Kapampangan version of "Ngiti"), and "Ika" (Kapampangan version of "Ikaw") for his repackaged album. Despite the growing clamor for non-Tagalog and non-English music and the greater representation of other Philippine languages, the local Philippine music industry, which is centered in Manila, is unforthcoming in venturing investments to other locations. Some of their major reasons include the language barrier, small market size, and socio-cultural emphasis away from regionalism in the Philippines. The country's first songwriting competition, Metro Manila Popular Music Festival, was first established in 1977 and launched by the Popular Music Foundation of the Philippines. The event featured many prominent singers and songwriters during its time. It was held annually for seven years until its discontinuation in 1985. It was later revived in 1996 as the "Metropop Song Festival", running for another seven years before being discontinued in 2003 due to the decline of its popularity.[2] Another variation of the festival had been established called the Himig Handog contest which began in 2000, operated by ABS-CBN Corporation and its subsidiary music label Star Records. Five competitions have been held so far starting in 2000 to 2003 and was eventually revived in 2013. Unlike its predecessors, the contest has different themes which reflect the type of song entries chosen as finalists each year.[3][4]In 2012, the Philippine Popular Music Festivalwas launched and is said to be inspired by the first songwriting competition.[5] Pop music OPM pop has been regularly showcased in the live band scene. Groups such as Neocolours, Side A, Introvoys, The Teeth, Yano, True Faith, Passage and Freestyle popularized songs that clearly reflect the sentimental character of OPM pop. In the new millennium up to the 2010s, famous Filipino pop music artists include Sarah Geronimo, Erik Santos, Yeng Constantino, and Christian Bautista, among many others. Choir music Choral music has become an important part of Philippine music culture. It dates back to the choirs of churches that sing during mass in the old days. In the middle of the 20th century, performing choral groups started to emerge and increasingly become popular as time goes by. Aside from churches, universities, schools and local communities have established choirs. Philippine choral arrangers like Robert Delgado, Fidel Calalang, Lucio San Pedro, Eudenice Palaruan among others have included in the vast repertoires of choirs beautiful arrangements of OPM, folk songs, patriotic songs, novelty songs, love songs, and even foreign songs. The Philippine Madrigal Singers (originally the University of the Philippines Madrigal Singers) is one of the most famous choral groups not only in the Philippines, but also worldwide. Winning international competitions, the group became one of the most formidable choral groups in the country. Other award-winning choral groups are the University of Santo Tomas Singers, the Philippine Meistersingers (Former Adventist University of the Philippines Ambassadors), the U.P. Singing Ambassadors and U.P. Concert Chorus, among others. Rock and blues The United States occupied the Islands in 1898 until 1946, and introduced American blues, folk music, R&B and rock & roll which became popular. In the late 1950s, native performers adapted Tagalog lyrics for North American rock & roll music, resulting in the seminal origins of Philippine rock. The most notable achievement in Philippine rock of the 1960s was the hit song "Killer Joe", which propelled the group Rocky Fellers, reaching number 16 on the American radio charts. Up until the 1970s, popular rock musicians began writing and producing in English. In the early 1970s, rock music began to be written using local languages, with bands like the Juan Dela Cruz Band being among the first popular bands to do so. Mixing Tagalog and English lyrics were also popularly used within the same song, in songs like "Ang Miss Universe Ng Buhay Ko" ("The Miss Universe of My Life") by the band Hotdog which helped innovate the Manila Sound. The mixing of the two languages (known as "Taglish"), while common in casual speech in the Philippines, was seen as a bold move, but the success of Taglish in popular songs, including Sharon Cuneta's first hit, "Mr. DJ", broke the barrier forevermore. Philippine rock musicians added folk musicand other influences, helping to lead to the 1978 breakthrough success of Freddie Aguilar. Aguilar's "Anak" ("Child"), his debut recording, is the most commercially successful Filipino recording, and was popular throughout Asia and Europe, and has been translated into numerous languages by singers worldwide. Asin also broke into the music scene in the same period, and were popular. Folk rock became the Philippine protest music of the 1980s, and Aguilar's "Bayan Ko" ("My Country") became popular as an anthemduring the 1986 EDSA Revolution. At the same time, a counterculture rejected the rise of politically focused lyrics. In Manila, a punk rock scene developed, led by bands like Betrayed, The Jerks, Urban Bandits, and Contras. The influence of new wave was also felt during these years, spearheaded by The Dawn. The 1990s saw the emergence of Eraserheads, considered by many Philippine nationals as the number one group in the Philippine recording scene. In the wake of their success was the emergence of a string of influential Filipino rock bands such as Yano, Siakol, Parokya ni Edgar and Rivermaya, each of which mixes the influence of a variety of rock subgenres into their style. Filipino rock has also developed to include some hard rock, heavy metal and alternative rock such as Razorback, Wolfgang, Greyhoundz, Slapshock, Queso, Bamboo, Franco, Urbandub and the progressive bands Paradigm, Fuseboxx, Earthmover and Eternal Now. Rock festivals have emerged through the recent years and it has been an annual event for some of the rock/metal enthusiasts. One big event is the Pulp Summer Slam wherein local rock/metal bands and international bands such as Lamb of God, Anthrax, Death Angel and Arch Enemy have performed.[6] The neo-traditional genre in Filipino music is also gaining popularity, with artists such as Joey Ayala, Grace Nono, Bayang Barrios, Cocojam and Pinikpikan reaping relative commercial success while utilizing the traditional musical sounds of many indigenous tribes in the Philippines. Earth music Another genre that utilizes traditional instruments and found objects in primal compositions. Earth music recordings came out in 1994 under Backdoor Records.A series of albums have been recorded and released by Ambahayan Productions like Kubing Album, Chants Album, Kudyapi Album, Kulintang Album, Gabbang Album, Gangsa Album and Native Flutes Album. Airborne music A kind of music popularized by local musicians which is unrehearsed and played in public. Hip-hop Filipino hip-hop is hip hop music performed by musicians of Filipino descent, both in the Philippines and overseas, especially by Filipino-Americans. The Philippines is known to have had the first hip-hop music scene in Asia since the early 1980s, largely due to the country's historical connections with the United States where hip-hop originated. Rap music released in the Philippines has appeared in different languages such as Tagalog, Chavacano, Cebuano, Ilocano and English. In the Philippines, Francis M, Gloc-9and Andrew E. are cited as the most influential rappers in the country, being the first to release mainstream rap albums. Program music Unlike pure music which has no reference in the real world and no story component, program music is instrumental music that may tell a story with explicit episodes, reveal facets of a character, place or occasion, or imitate the sounds of the world. Sometimes this may take the form of a verbal explanation of the "story" or "program" of the piece. The term was invented by composer Franz Liszt, who understood program music to involve a program external to the music that set the parameters and the form in which the musical piece unfolds. Other genres A number of other genres are growing in popularity in the Philippine music scene, including a number of alternative groups and tribal bands promoting cultural awareness of the Philippine Islands. Likewise, jazz has experienced a resurgence in popularity. Initial impetus was provided by W.D.O.U.J.I. (Witch Doctors of Underground Jazz Improvisation) with their award-winning independent release "Ground Zero" distributed by the now defunct N/A Records in 2002 and the Tots Tolentino-led Buhay jazz quartet in the year before that. This opened up the way for later attempts most notable of which is the Filipino jazz supergroup Johnny Alegre Affinity, releasing its eponymous debut album in 2005 under London-based Candid Records. Mon David has also made the rounds of the Las Vegas music circuit. Among the female performers, Mishka Adams has been the most prominent. A recent development is the fusion of spoken-word and jazz and also with rock, chiefly attributed to Radioactive Sago Project. Other notable names of late are Bob Aves with his ethno-infused jazz, The Jazz Volunteers and Akasha which have anchored the now legendary underground jazz jams at Freedom Bar for almost half of the 11 years of its existence. Today, underground jazz jams are now held in a bar called TAGO jazz bar which is located at Main Avenue, Cubao. Newer jazz groups emerged in the local jazz scene namely Swingster Syndicate pioneering in the post-bop and modern trad jazz, and Camerata Jazz known for their Filipino jazz arrangements and sound. Bossa nova and Latino music has been popular since the 1970s. Performers like Annie Brazil were active in the 1970s, while more recently, Sitti has been earning rave reviews for her bossa nova covers of popular songs. While there has long been a flourishing underground reggae and ska scene, particularly in Baguio City, it is only recently that the genres have been accepted in the mainstream. Acts like Brownman Revival, Put3ska, Roots Revival of Cebu and The Brown Outfit Bureau of Tarlac City have been instrumental in popularizing what is called "Island Riddims". There is also a burgeoning mod revival, spearheaded by Juan Pablo Dream and a large indie pop scene. Electronic music began in the mid-1990s in the Manila underground spearheaded by luminaries like Manolet Dario of the Consortium. In 2010, local artists started to create electropop songs themselves. As of now, most electronic songs are used in commercials. The only radio station so far that purely plays electronic music is 107.9 U Radio. 2010s also began the rise of indie electronic producers and artists with the likes of Somedaydream, CRWN, NINNO, Kidthrones, and Jess Connelly. Source:Wikia

[iambeyn-blog]

ILOCOS SUR

HISTORY OF ILOCOS SUR

The story of Ilocos Sur can be told in the same historical events and episodes which fill the pages of our country’s past. It is similar narrative of conquest, exploitation, persecution, revolution and emancipation as the Philippines. The great men and women of Ilocos Sur who sailed forth from her native bosom into the limelight of history wrote with their immortal deeds of bravery, courage, and heroism the records and chronicles of the times. Indeed, the Ilocos Sur story reads like excerpts of the Philippine history, chapters of the Filipino saga made unforgettable by the exploits and achievements of Ilocos Sur’s sons and daughters through the long march of our country and the progress of our people from the era of colonialism to the sunlight of liberty and freedom. Today, history lives in Ilocos Sur. In Vigan, the famed Villa Fernandina founded in1574 by Juan de Salcedo, grandson of the Adelantado Miguel Lopez de Legaspi, the hand of history is everywhere, in the imposing monuments and statues standing as permanent tributes to the memory of illustrious dead, on the markers of stone and the memorial tablets upon the hollowed grounds where long ago a martyr was born, where a famous poetess lived, where a President taught as a humble barrio teacher. These markers and inscriptions are veritable readings a history, citing here and there “a chapel of wood and thatch erected on this site, 1574,” “an earthquake in 1619’,” “a fire in 1739”, recording the seizure by revolutionists under Col. Juan Villamor, and the detention by American forces as a political leader, Mena Crisologo 1899. Of Ilocos Sur, history records that three years after the founding of the City of Manila, Legaspi dispatched the ‘conquistador’ Salcedo on a mission of exploration and conquest to the north in the island of Luzon. Salcedo established the Ciudad Fernandina in honor of King Ferdinand, the reigning ruler of Spain at the time, and for his reward was granted a rohyal “encomienda” and named Lieutenant-Governor for the whole Ilocos.

CULTURE AND TRADITIONS OF ILOCOS SUR

Ilocanos strive hard to make a living, difficulty is never a hindrance to their success. To and Ilocano, hardships can easily be overcome. He believes in the value of study, industry and patience; thus, every Ilocano family encourages the children to go to school and learn skills to find better paying jobs and consequently, have a better life. Most customs and traditions of the Ilocanos are influence by their frugality. From the cradle to the grave, the Ilocano rituals reflect what they believe in. Death to the Ilocanos means great sorrow. If the father dies, the wife dresses the deceased alone so that her husband's spirit can tell her any messages or wish he was not able to convey when he was still alive.

The body is placed in a coffin in the middle of the house parallel to the slats of the floor. A big log is is then lighted in front of the houses so that the spirit of the dead will go to heaven with the smoke. As long as the dead body is in the house, the log is kept burning to keep the evil spirit away. During the wake, the members of the family keep vigil. The women wear black clothes and a black manto (handkerchief) to cover the head and the shoulders. Before the coffin is carried out of the house all windows must be closed; No part of the house must be touched by the coffin; otherwise the man's spirit will stay behind and bring trouble to the family. Family members shampoo their hair with gogo as soon as the funeral is over to wash away the power of the dead man's spirit. Prayers are said every night for the next nine nights. After each night's prayer, rice cakes and basi are served to all guests. The period of mourning ends on the ninth day when relatives and friends spend the day feasting and praying. The first death anniversary will then be another occasion for feasting and praying.

Ilocano’s famous writers and their works

Ilocano literature is one of the most colorful regional Filipino literatures. It is one of the most active tributaries to the general Philippine literature next to Tagalog, Cebuano, Hiligaynon, Bikol, and Pangasinense.

Prior to the Spanish colonial period, the Ilocano literature is purely alive in form of written and oral literature. The ancient Ilocano poets expressed themselves in folk and war songs. Another popular form of literature was the dallot, which is an improvised, versified and impromptu long poem delivered in a sing-song manner.

When the Spaniards arrived in Ilocos Norte in 1572, it took a toll on Ilocano literature. During the Spanish era, Ilocano poetry was heavily influenced by Spanish poetry. The earliest known written Ilocano poems were the romances translated from Spanish by Francisco Lopez. Lopez was an Augustinian friar who published his Iloko translation of the Doctrina Cristiana (first book published in the Philippines by Cardinal Bellarmine) in 1621.

The Christian missionaries started using religious and secular literature to advance their mission of converting the Ilocanos to Christianity during the 18th century. In 1719, Fr. Jacinto Rivera published the Sumario de las Indulgencias. In 1845, Fr. Antonio Meija published The Pasion, which is an Iloco translation of St. Vincent Ferrer’s sermon.

Today, Ilocano writers are known to have published their works in foreign countries. Francisco Sionil-Jose (F. Sionil Jose) is the most internationally translated Filipino author. He is a pure blood Ilocano born in Rosales, Pangasinan. Contemporary Ilocano writers are also known to bag numerous major awards in the most prestigious Philippine literature award giving body, the Palanca Awards.

Biag ni Lam-ang

Biag ni Lam-ang (Life of Lam-ang) is a pre-Hispanic poem of the Ilocano people. It was finally written down around 1640 by Pedro Bucaneg. Bucaneg is the first known Ilocano poet and was dubbed as the “Father of Ilokano Poetry and Literature”.

The epic tells about the heroism of a brave, almost-mythical Ilocano warrior named Lam-ang.

Lam-ang is born from a noble Ilocano family. Nine months before Lam-ang’s birth, Don Juan (father) left for the mountains to defeat an evil tribe of Igorots. Unfortunately, Don Juan was beheaded. His head was displayed at the center of the village as a prize.

Ina Namongan (mother) was surprised to learn that her son could talk immediately after birth. Lam-ang chose his own name, chose his own sponsor, and asked for his father’s presence. He was barely 9 months old when Lam-ang fought against the headhunters who killed his father. He was also eaten by a river monster (Berkakan) and was reborn from his retrieved bones.

[ixoramanila]

That the Tagalogs of Lusong Were Their Own People.

Who were the Tagalogs of Manila Bay and the Pasig? And where did they come from?

Until only very recently, anyone asking those questions would most likely find answers that are clouded in legend and hearsay, especially if they were asking the wrong sources.

And until today (I’m writing this in June 2017), these wrong sources include Wikipedia, and, for the most part, google. I personally think that the answer to that question is rather disingenuous: the Tagalogs were who they were.  That is to say: they were their own people, with their own identity - their own culture, their own language, their own beliefs and worldviews, and their own sociopolitical organization.

This is specifically important in light of the fact that the opposite is often proposed - that the peoples of the early settlements in Maynila, Tondo, Namayan, and their less known neighbors in Cainta, Pasay, Mandaluyong, Pasig, Kalookan, Tambobong (now Malabon), Morong, Ba-i and Pila, were the primarily product of cultural transfer from some other, more imperial, entity. Those assertions have become sort of a nightmare for me as an old-time wiki editor; for years, I and only a handful of other editors have had to beat back the conspiracy theory that says Tondo was an extension of the remnants of China’s Song Dynasty; a few years later I had to help fight an apparently politically-motivated effort to re-write the histories of the reigning lakans of Maynila and Tondo.  And more recently, I’ve been embroiled in a wiki-debate over exactly how “Indianized” the Luzon Polities were, and how accurate it is to portray their political structures as “monarchies” in the western imperial sense.

The motivation behind all this debate is understandable; the Philippines is a post-colonial nation-state that is facing the post-modern world without having quite achieved a stable level of industrialization (aka modernization).  As my old Master’s degree professor was fond of pointing out, ‘we are agricultural nation in the information age, and it is hard for agricultural nations in the information age.‘ What is more, we are trying to hold it together as a nation state whose history has been obscured, and in ways literally trod-upon, by three or so hundred years of colonial rule.

So we are scrambling to write our history, and the information age is giving idealists of all forms plenty of opportunity to do so.  And because our current centers of political, social, and economic power are built on the sites of the old Pasig River polities, the stories of these ancient settlements have become the focus of a great deal of spin. It doesn’t hurt that the historical record for the period in which these polities existed are themselves mysterious and foggy.

Most filipinos’ knowledge of these times are defined by writings from the 1890s to the 1980s; the Philippines’ Nationalist Century. Pinoys who went through public elementary school in the 1980s or earlier are likely to have been taught Beyer’s since-discredited wave migration theory, and will have grown up on stories of the Ten Datus, the Code of Kalantiaw, and the Golden Salakot. Growing up in a culture that still fetishized Monarchial and Imperial grandeur, we were eagerly told that before the europeans came to rape our lands, we were part of the “glories” of the Majapahit and SriVijaya, and were praised for our virtues by the traders of the Song, Yuan, and Ming dynasties.

Philippine historiography has changed a great deal since then.  Along with the excitement that was the discovery of the Laguna Copperplate Inscription in the early ‘90s came the rise of a more critical approach to history in our schools.

Theories and discussions that had mostly been confined to academia and the intellectual elite in the 70s and 80s finally found their way into popular works and textbooks, and thanks to the explosion of new media starting about ‘92, into cyberspace.

Accompanied by similar rise of scholarship in other Southeast Asian nations, this new wave of Philippine and Philippine-centric scholarship was primarily led by W.H. Scott, F.Landa Jocano, Laura Lee Junker, and popularized by the likes of Ambeth Ocampo, Bambi Harper, and lately, Xiao Chua.  Local history scholars like Grace Odal-Devora, Luis Camara Dery, Go Bon Juan, and Luciano PR Santiago.  The works of earlier writers such as TM Kalaw and of Gregorio and Sonia Zaide were recognized for their contribution to present knowledge, while also reexamined for factual inaccuracies which were once acceptable in light of nationalist ideological passions.

One major course-correction in the Southeast Asian story arising from this trend of critical historiography is the greater understanding that the Filipino people belong to an Austronesian heritage, with a culture that was already in place before the cultural influences of China and India, of the Srivijaya and Majapahit and of Brunei, and of Buddhism, Hinduism, Islam, and, later, Christianity.

The only problem is that this course correction hasn’t properly been integrated into many historical narratives quite yet.  About ten years ago, it was common to simply add a discussion of the Austronesians to the section of texts where Beyer’s Wave Theory used to hold exclusive sway, and then say that the Austronesian theory was the more accepted of the two.  More recently, narratives have tended to replace the Wave Theory with the Austronesian narrative entirely, and explain that the Wave theory has more or less been discredited. But there isn’t really that much discussion about  the Austronesian cultures yet beyond the far prehistoric era in which they first settled in the Ohilippines; whether correctly or not, the Philippine history for the era Jocano described as the Emergent Phase, corresponding to what he also called “protohistory”, tends to be indo-malay in its emphasis. The consequence is that these narratives are written in a way that paints a picture of history largely received from early indo-malay cultures - most notably the SriVijaya, Majapahit, and Bruneian empires -  with also-large contributions from Chinese and Indian cultures. There’s no doubt there were strong influences from these cultures - except perhaps that archeological evidence suggests that the SriVijayan and Influences influences were not as big as they are sometimes made out to be.  But the point is that these influences were just that: influences.

Discussing the specific context of Southeast Asian indianization, Osborne points out an important reminder about any cultural influences over Southeast Asian ethnic groups:

Because Indian culture “came” to Southeast Asia, one must not think that Southeast Asians lacked a culture of their own. Indeed, the generally accepted view is that Indian culture made such an impact on Southeast Asia because it fitted easily with the existing cultural patterns and religious beliefs of populations that had already moved a considerable distance along the path of civilization.[…] Southeast Asians, to summarize the point, borrowed but they also adapted. In some very important cases, they did not need to borrow at all. (Osborne  P24)

So I’ve decided to create content for the wikipedia articles of the Pasig River Kingdoms, which I’m keeping here for easier reference at a later time:

== Content after this heading will be fully available for fair use under a Creative Commons license once they’re uploaded to Wikipedia. ==

For Transfer to the Kingdom of Tondo wiki:

Austronesian Roots of Tondo

As with virtually all the lowland peoples of Maritime Southeast Asia, the Tagalog people who established the settlement of Tondo were austronesians. (Scott, 1994 p.12; Alvina,2011 p.9 ) (Osborne, 2004) They had a rich, complex culture, with its own expressions of language and writing, religion, art, and music. (Benitez-Johannot,2011)(Osborne, 2004)  This austronesian culture was already in place before the cultural influences of China, the indonesian Thassalocracies of SriVijaya and Majapahit, and Brunei, and eventually, the western colonial powers.(Osborne, 2004) (Benitez-Johannot,2011) The core elements of this austronesian culture also persisted despite the introduction of Buddhism, Hinduism, Islam and, later, Christianity. (Osborne, 2004) (Maggay, 1999)  Elements of these belief systems were syncretistically adapted by the Tagalogs to enrich their already-existing worldviews  (Osborne, 2004), elements of which still persist today in the syncretistic forms known as Folk Catholicism and Folk Islam. (Maggay, 1999)(Demetrio, Et. Al, 1991)(Benitez-Johannot,2011)

There is some debate (Alvina,2011) about whether the Austronesian culture first came to the island of Luzon from continental Asia as proposed by Peter Bellwood and Robert Blust (Alvina,2011), or from Maritime Southeast Asia as proposed by Wilhelm Solheim and William Meacham (Alvina,2011). But Whichever route these austronesians first used to get to the Philippine archipelago, the general consensus among scholars (Alvina,2011) is that the they settled on what is now the island of Luzon during the earliest stages of their migratory dispersal no later than about 3,500 years ago, (Alvina,2011) and later waves of migration spread from the Philippine Archipelago to reach as far east as Easter Island (Langdon, 2001; Van Tillburg 2004), and as far west as Madagascar. ( Burney, et. al., 2004; Dewar and Wright, 1993)

The cultural heritage uncovered by this recent scholarship explains why Philippine cultures, as pointed out by writers such as Nick Joaquin (in his 1988 book Culture and History), seem even more similar to Micronesian and Polynesian cultures than they are to Continental Asian and Maritime Southeast Asian cultures.(Joaquin, 1988)

These Austronesian cultures are defined by their languages, and by a number of key technologies including the cultural prominence of boats, the construction of thatched houses on piles, the cultivation of tubers and rice, and a characteristic social organization typically led by a “big man” or “man of power.” (Benitez-Johannot,2011)(Osborne, 2004)

For Transfer to the Kingdom of Maynila wiki:

Austronesian Roots of the Tagalog People

As with virtually all the lowland peoples of Maritime Southeast Asia, the Tagalog people who established the settlement of Maynila were austronesians.(Scott, 1994 p.12; Alvina,2011 p.9 ) (Osborne, 2004) They had a rich, complex culture, with its own expressions of language and writing, religion, art, and music.(Benitez-Johannot,2011)(Osborne, 2004) This austronesian culture was already in place before the cultural influences of China, the indonesian Thassalocracies of SriVijaya and Majapahit, the Sultanate of Brunei, and eventually, the western colonial powers.(Osborne, 2004) (Benitez-Johannot,2011) The core elements of this austronesian culture also persisted despite the introduction of Buddhism, Hinduism, Islam and, later, Christianity. (Osborne, 2004) (Maggay, 1999)  Elements of these belief systems were syncretistically adapted by the Tagalogs to enrich their already-existing worldviews (Osborne, 2004), elements of which still persist today in the syncretistic forms known as Folk Catholicism and Folk Islam. (Maggay, 1999)(Demetrio, Et. Al, 1991)

Whichever route these austronesians first used to get to the Philippine archipelago, the general consensus among scholars (Alvina,2011) is that the they settled on what is now the island of Luzon during the earliest stages of their migratory dispersal no later than about 3,500 years ago, (Alvina,2011) and later waves of migration spread from the Philippine Archipelago to reach as far east as Easter Island (Langdon, 2001; Van Tillburg 2004), and as far west as Madagascar. ( Burney, et. al., 2004; Dewar and Wright, 1993)

The cultural heritage uncovered by this recent scholarship explains why Philippine cultures, as pointed out by writers such as Nick Joaquin (in his 1988 book Culture and History), seem even more similar to Micronesian and Polynesian cultures than they are to Continental Asian and Maritime Southeast Asian cultures.(Joaquin, 1988)

These Austronesian cultures are defined by their languages, and by a number of key technologies including the cultural prominence of boats, the construction of thatched houses on piles, the cultivation of tubers and rice, and a characteristic social organization typically led by a “big man” or “man of power.” (Benitez-Johannot,2011)(Osborne, 2004)

For later moving to the religeon sections

Deeply ingrained Austronesian religious beliefs persist to this day (Maggay, 1999; Demetrio, Et. Al, 1991 ), having syncretistically incorporated elements of hinduism and buddhism (Osborne, 2004), and having later adapted the structures of later dominant religeons, (Osborne, 2004;  Benitez-Johannot,2011) creating the syncretistic forms of “folk islam” and “folk catholicism,” (Maggay, 1999) which can still be observed in the Tagalog region and throughout the Philippine archipelago today.(Maggay, 1999)

[pinoycollection-blog]

Magtanim Ay Di Biro Lyrics

Magtanim Ay Di Biro Lyrics

Magtanim ay di biro Maghapong nakayuko Di man lang makaupo Di man lang makatayo Braso ko’y namamanhid Baywang ko’y nangangawit Binti ko’y namimitig Sa pagkababad sa tubig Sa umaga paggising Ang lahat iisipin Kung saan may patanim May masarap na pagkain Braso ko’y namamanhid Baywang ko’y nangangawit Binti ko’y namimitig Sa pagkababad sa tubig Halina halina mga kaliyag Tayo’y magsipag unat-unat…

[pinoycollection-blog]

Paru-Parong Bukid Lyrics

Paruparong bukid na lilipad-lipad Sa gitna ng daan papaga-pagaspas Isang bara ang tapis Isang dangkal ang manggas Ang sayang de kola Isang piyesa ang sayad May payneta pa siya — uy! May suklay pa man din — uy! Nagwas de-ohetes ang palalabasin Haharap sa altar at mananalamin At saka lalakad nang pakendeng-kendeng. SEE ALSO: Sitsiritsit Alibangbang

[pinoycollection-blog]

Sitsiritsit Alibangbang

Sitsiritsit, alibangbang Salaginto’t salagubang Ang babae sa lansangan Kung gumiri’y parang tandang Santo Niño sa Pandakan Putoseko sa tindahan Kung ayaw mong magpautang Uubusin ka ng langgam Mama, mama, namamangka Pasakayin yaring bata. Pagdating sa Maynila Ipagpalit ng manika. Ale, ale, namamayong Pasukubin yaring sanggol. Pagdating sa Malabon Ipagpalit ng bagoong. SEE ALSO: Manang Biday Lyrics

[pinoycollection-blog]

Manang Biday Lyrics

Manang Biday, ilukat mo man ‘Ta bintana ikalumbabam Ta kitaem ‘toy kinayawan Ay, matayakon no dinak kaasian Siasinnoka nga aglabaslabas Ditoy hardinko pagay-ayamak Ammom ngarud a balasangak Sabong ni lirio, di pay nagukrad Denggem, ading, ta bilinenka Ta inkanto ‘diay sadi daya Agalakanto’t bunga’t mangga Ken lansones pay, adu a kita No nangato, dika sukdalen No nababa, imo gaw-aten No naregreg,…

[pinoycollection-blog]

Pamulinawen Lyrics

Pamulinawen Pusok imdengam man Toy umas-asug Agrayo ita sadiam. Panunotem man Dika pagintultulngan Toy agayat, agruknoy ita emmam. Issemmo diak kalipatan Ta nasudi unay a nagan, Ta uray sadin ti ayan, Disso sadino man, {Aw-awagak a di agsarday Ta naganmo nga kasam-itan} No malagipka, pusok ti mabang-aran Adu nga sabsabong, adu nga rosrosas Ti adda’t ditoy, Nena, nga mabuybuyak, Ngem awan manlaeng…

[pinoycollection-blog]

Atin Cu Pung Singsing

Atin Cu Pung Singsing

Atin ku pung singsing Metung yang timpukan Amana ke iti King indung ibatan. Sangkan keng sininup King metung a kaban Mewala ya iti, E ku kamalayan. Ing sukal ning lub ku Susukdul king banwa Pikurus kung gamat Babo ning lamesa. Ninu mang manakit King singsing kung mana Kalulung pusu ku Manginu ya keya. SEE ALSO: Leron, Leron Sinta Lyrics

[pinoycollection-blog]

Leron Leron Sinta Lyrics

Leron Leron Sinta Lyrics

Leron, Leron, sinta Buko ng papaya Dala dala’y buslo Sisidlan ng bunga Pagdating sa dulo Nabali ang sanga, Kapos kapalaran Humanap ng iba. Gumisang ka Neneng, tayo’y manampalok Dalhin mo ang buslo, sisidlan ng hinog Pagdating sa dulo lalamba-lambayog Kumapit ka Neneng, baka ka mahulog. Leron, Leron, sinta Buko ng papaya Dala dala’y buslo Sisidlan ng bunga Pagdating sa dulo Nabali ang sanga, Kapos…