Inquirer: Going rocKapampangan

By Tonette Orejas
Philippine Daily Inquirer
First Posted 22:16:00 02/26/2008

ANGELES CITY – When the band Asthma performed “Atin Ku Pung Singsing,” it wasn’t in Mon David jazz or the Sapni Nang Crissot’s classic or the ArtiSta. Rita’s ballad. It was rock – boisterous and heavy on the rhythm.

The concert, staged on Feb. 18, was, as the youth visual art group Kapangulis hailed on the theater backdrop, “RocKapampangan: The Birth of Philippine Kapampangan Rock.”

The 16 bands proved this to be a real breakthrough.

Thirteen transformed the polosa (extemporaneous songs) of Pampanga’s rural masses into rock songs. In this league were Fourth Clan (Dayang Kapampangan), Tibuan (Sintang Pangarap), Chilimansi (Istorya nang Raffy Balboa), 5 Against the Wall (Sibul na ning Arayat), Mental Floss (Ing Lugud ning Indu), Neophytes (Katatagan ning Pamakilaban), THEM (Kasamsaman), Cyclo (Dalumdum ning Bengi), Amygdala (Aldo ning Kekami Kasal), Silence (Indulang Balayan), Pulse Rhythm (Saug a Malati) and Fine Time (40 Aldo).

Dialogo gave rock form to “Atsing Rosing,” an old courtship song. Two bands – the Nora Aunor Fans Club and Mernuts – composed two originals, “Kaplas” and “Aliwa ka Talaga.”

Their performances attracted a large young crowd. The venue, the Holy Angel University’s Plaza San Jose, was jampacked.

Branding the “harvest” as rocKapampangan was right enough, said Jason Paul Laxamana, the director of what he called the first-of-its-kind project by his group, the Kalalangan Kamaru.

The bands used the Kapampangan language and folk music, and drew subjects from the local context, said Laxamana, who calls himself an “independent cultural worker trying to finish my senior sociology course at the University of Philippines in Diliman.”

“Doing this music is a first step in developing the Kapampangan consciousness. These bands showed an interest in the language, which is hardly used now in day-to-day conversation,” he said.

Bridge to youth

Opening the concert, he spoke the native language: “The promotion of our culture does not rely on one person or one group. It relies on us, the young generation.” RocKapampangan then, he said, was a way of reaching out to the youth, a sort of bridge to those growing up largely on western music.

His dream? Kapampangan music would enjoy heavy playing on iPods and MP3s.

Ram Nulud, vocalist of the Nora Aunor Fans Club, said: “It used to be baduy (awkward) to sing in Kapampangan. Apagmaragul mu ne man (You can really be proud of it).”

For Mernuts, a band of three girls and three boys based in Tarlac City, the crossover to the Kapampangan language began as a “katuwaan (for fun).” Through them, Beyonce Knowles’ “Irreplaceable” got a Kapampangan version on YouTube in March 2007.

“Aliwa ka Talaga” was composed two weeks before the album was recorded. “We also want to express the Kapampangan influence,” said guitarist Chao Chua.

Whether the native consciousness has seeped in or is still in its infancy, those who have gone before them were all praises. Andy Alviz, composer and artistic director of the ArtiSta. Rita, said, “Finally, the local music landscape attracted younger artists.”

Totoy Bato, the most popular in Pampanga’s thinning army of polosador (singers of extemporaneous songs), appealed to the listeners. “Suportan yu la sana reneng bandang Kapampangan (I hope you support these Kapampangan bands),” he said.

Local historian Mike Pangilinan was pleased. “It’s a breakthrough kasi sibukan da (they tried the form). They did not sound like copycats.”

And how do you explain the photograph, circa 1899, of the Macabebe Scouts, the people recruited by the Americans to capture Gen. Emilio Aguinaldo, on the CD cover?

“With their long hair and defiant, maverick attitude, the Macabebe Scouts were history’s original rockers. The album is a tribute to them. They’ve always been misunderstood by society, just like today’s rockers,” said Robby Tantingco, executive director of the HAU Center for Kapampangan Studies.

A Kapampangan full-length film in Cinemalaya 2008?

The ten finalists for the 2008 Cinemalaya Philippine Independent Film Festival (full-length feature category) have been chosen recently by the Cultural Center of the Philippines.

They are: 100 by Chris Martinez, 1434456 by Emmanuel Dela Cruz, Ang Concerto by Paul Alexander Morales, Antiparang Basag by Edith Asuncion, Baby Angelo by Joel Ruiz and Abi Aquino, Brutus by Tara illenberger, My Fake American Accent by Onnah Valera, Huling Pasada by Paul Sta. Ana, Jay by Francis Xavier E. Pasion and Ranchero by Michael Christian Cardoz.

At first, I was sad to hear the news that a supposed-to-be Kapampangan semifinalist, Kristo, by a Pangasinan friend of mine named Jerwin Espiritu, did not make it. His film would have tackled Maleldo practices along with the cockfights in Pampanga.

It was sad because for Cinemalaya 2007, another Kapampangan film did not make it. That time, it was TV writer Agnes De Guzman's Atin Cu Pung Parul which made it to the semifinals, but not in the finals. As the title suggests, it's about the giant lanterns of San Fernando City.

But wait, looking at the names of the 2008 finalists, doesn't the name Francis Xavier E. Pasion sound Kapampangan to you? His entry Jay goes like this:

Jay is the name of the two protagonists in the film, one is living, the other dead. The living Jay is producing a documentary of the dead Jay, a gay teacher who was brutally killed. As Jay recreates and examines the life of his subject, his own life is affected when he unravels his subject's hidden life and secret love.

Then, looking at their team's call for auditions, they mentioned these:

Auditions for a Cinemalaya film will be held on 2-27 (Wednesday), 10 AM - 4 PM at the Guillermo Hall, Don Honorio Ventura College of Arts and Trade, Sta. Ines, Bacolor, Pampanga.
We are looking for the following:

Major Roles
1. 23-30 years old, Male with pleasing personality. Goodlooking and appealing. Must know and understand how to speak Kapampangan.
2. 18-25 years old, Female with pleasing personality. Must know how to speak Kapampangan.
3. 13-21 years old. Male with pleasing personality. Must know how to speak Kapampangan.

Could it be? That a Kapampangan "modern film" (look at the story, it's not the culturati type, but more of a murder mystery of some sort) is finally being produced? If so, then luid ka Francis Xavier Pasion! Another Kapampangan filmmaker who valued his own mother tongue!

Let us support Jay.

Mother Tongue

By Michael Tan
Pinoy Kasi
Philippine Daily Inquirer

MANILA, Philippines -- I learned, only two weeks ago, that there's an International Mother Language Day (IMLD), celebrated on Feb. 21. Initiated by UNESCO in 2000, IMLD commemorates an event back in 1952.

At that time people were still reeling from the partition of India and Pakistan. The main language in Pakistan was Urdu but there were also many people, in what was then East Pakistan and now Bangladesh, who spoke Bangla. There was a demonstration on Feb. 21, 1952, in support of the right to speak and use Bangla. The police fired on the crowd and three people were killed, martyrs for a mother language.

A mother language is different from a national language. In the Philippines, we have a national language called Filipino, which is supposed to draw from different languages in the country but which is still largely Tagalog-based. Tagalog is the mother language of many Filipinos, mainly those living in Central and Southern Luzon.

But for many other Filipinos, the mother language is Cebuano (probably outnumbering Tagalogs), Ilokano, Ilonggo and more than a hundred others. Even the Tsinoy (Chinese-Filipino) can say that Filipino is our national language, but Minnan (or Hokkien) is their mother tongue.

The idea of a mother language is purely cultural, a way of marking our identity. A mother language can be powerful, which is why governments sometimes try to suppress, even eradicate, the use of minority languages. Often, this is done because of the mistaken notion that national identity depends on having only one language throughout the country.

Today, we know that multilingualism can contribute to nation-building. When people are allowed to nurture their mother language, at home and in schools, they learn to appreciate not just their own local culture but also that of the nation.

Compare a national TV or radio broadcast, in English or Tagalog-based Filipino, with a regional or provincial station where the discussions are in the local language and you'll find the latter is much more animated, the analysis more in-depth. There's much more interaction, with more nuances captured, and national issues become more real to the local population.

During the last two weeks, the Inquirer has published several articles on another aspect of the use of mother language, this time for education.

There was the two-part article by Diane and Greg Dekker of the Summer Institute of Linguistics, and another article by UP linguistics professor Ricardo Nolasco, all pushing for the use of the local language (sometimes called L1, or first language) in schools, citing research to support the contention that classroom instruction in an L1 makes it easier to learn other languages (in the Philippine context, Filipino and English) as well as science and mathematics.

Maranaw

All this is not new. Even in the past, without conducting elaborate experimental research, educators noted how the use of a local or mother language could facilitate learning. Let me share an account from "The Lanao System of Teaching Illiterates, " written by Frank Laubach and which appeared in "Tales of the American Teachers in the Philippines, " edited by Geronima Pecson and Maria Racelis.

The Americans were recruiting teachers to handle public schools in Lanao but found only a small percentage of the population was literate. Those who could read and write were using Arabic and the Americans realized that the local language, Maranaw, was only spoken, without any written system. So they devised a writing system for Maranaw and began to transcribe local songs, prose and poetry. There was certainly no lack of local oral traditions waiting to be transformed into print.

Laubach noted that there were "at least 35 long epic poems that would range from 20 to a hundred printed pages in length," "many prose stories resembling those of the Arabian nights," "kisas," or stories from ancient prophets, and thousands of lyric poems "about the harvest, the rain, the clouds, the sunset, love, despair ... everything in their lives."

Using these printed texts of Maranaw folk literature facilitated the literacy campaign, because people were intrigued by the idea of being able to read their own literature. In the first four months of 1931, when the Americans first launched their program, they were able to teach 3,000 new individuals each month to read and write. Eventually, the Americans gained as well, by translating English materials on "health, government, history, geography, business, morals and religion" as well as Philippine laws into Maranaw.

We don't seem to have learned from that experience in Lanao. English remains the preferred medium of instruction, using English textbooks, and we like to imagine a time when, supposedly, Filipinos spoke proper English. We forget fluent English was a function of class, of people who could use English both in schools and at home, and with their social circles. For the majority of Filipinos, English and, later, Filipino was, and still is, distant.

If Laubach returned to Lanao today, he'd be shocked to find that literacy levels have plummeted again, even as the schools struggle with new requirements to promote English. Everywhere in the country, our textbooks, vital public documents and, generally, books on science are often produced only in English. Many Filipinos are deprived of access to important information needed to participate in civil life.

Reading Laubach's account about the Maranaw also reminded me that our preference for English and now, a skewing toward Tagalog-based Filipino, has contributed to the stunting of regional languages and cultures. Some years back, in one of my graduate classes, a student noted how thrilled he was when he first saw Kapampangan printed literature. Suddenly, the folk tales, the riddles, proverbs that he heard as a child became more real, and more certain of being preserved for future generations.

He is lucky that there is printed Kapampangan literature. For many of our other languages, we only have oral traditions, many of which are in danger of dying out because no one is passing them on.

At the University of the Philippines, the Department of Filipino sees the importance of exposing students to all these languages, and their literature, offering courses that deal with literature from all over the country. Similarly, the Department of Linguistics is beginning to offer classes in Cebuano.

We need a national language, no doubt, but the current policy is worrisome because it promotes English first, Filipino second -- both at the expense of other mother languages. We should allow Filipinos to nurture their own mother language and share this with other Filipinos or even the world.

As we begin to appreciate the rhythms and cadences, the humor and the wisdom, in each of our many languages, we just might be able to overcome our parochialism and regionalism and build a nation strong in its multicultural foundations.

Launching of RocKapampangan album a success

Last February 18, we successfully launched the RocKapampangan album at the main building of Holy Angel University. It was no mere concert, as there were AVPs of people endorsing the album (such as Andy Alviz of ArtiSta. Rita, Rodolfo Laxamana or the original Totoy Bato Jr., Celeste Legaspi, and Apl De Ap of the Black Eyed Peas) in between performances, a video stage backdrop apart from the artistically done stage backdrop was also present.


The RocKapampangan album was created to remind the Kapampangan youth through the music they are most familiar with that their Amanung Sisuan is an equally beautiful language that should be preserved, developed, and taken pride in. The musicians are likewise reminded that singing and composing Kapampangan songs is not baduy at all; in fact, it's hip and patriotic.

Mental Floss closes the concert with their eternally praised progressive rock rendition of Ing Lugud Ning Indu.

Members of 5 Against The Wall, Amygdala, T.H.E.M., and Chilimansi posing for a picture.

Group picture after the show. Since people from local TV stations were also there, we were captured on video shouting altogether: "RocKapampangan!"

The Nora Aunor Fans' Club band goofing around with the Macabebe warriors at the Kapampangan Center museum.

The Tibuan band, reunited!

With a 2-band setup and audio equipment care of Midnight Blue, the concert was able to fill Plaza San Jose with people, mostly students. A lot of Kapampangan language advocates were also present including Kapampangan researcher Mike Pangilinan, poet Frank Guinto, NGO Vice President Sonny Dobles, Jr., and Mr. Rey Maniago of Amanung Sisuan Int'l.

Dialogo (their song in the album is Atsing Rosing).

Jhaye Cura-Arzaga of Tarlac band Mernuts and Nichole Galura of Mental Floss. Two out of three female vocalists in the RocKapampangan album (the third one is from the band Fine Time).

The event was covered by ABS-CBN Pampanga, Infomax News, Central Luzon TV, and Philippine Daily Inquirer Central Luzon. This coming weekend, we will be interviewed by the researchers of Kapuso Mo, Jessica Soho on their story on Philippine regional music. Below is a low-quality news feature of the event by TV Patrol Pampanga:



CDs are available at the Kapampangan Center of the Holy Angel University (Angeles City), D'Zone Digital Recording Studio (San Agustin Mall, San Agustin, City of San Fernando), and soon, in Odyssey record stores (Pampanga branches).

Group, students plant 700 mangrove seedlings in Macabebe

By Raymond C. Garcia


MACABEBE -- Members of a non-government group, along with about 50 students from Asian College for Science and Technology (Acsat), planted 700 mangrove seedlings along the Pampanga River in Barangay Consuelo here last Saturday.

Advocacy for Development of Central Luzon (ADCL) chairman Rene Romero and president Renato Tayag led the activity, as part of the group's environmental thrusts.

"The reason why we tapped students to join us in this advocacy is to awaken them at their early age the importance of caring and protecting our environment," Romero said.

He also said they will continue planting the seedlings in other coastal areas of Masantol, Minalin and Sasmuan, adding that the activity is in line with the group's project of developing the area into an eco-tourism spot.

"The mangroves will be of big help for fishermen, they can also act as protection for marine life and since they are plants, they can help in the production of oxygen," he said.

Meanwhile, one the students who participated in the planting said they see group's sincerity in preserving the environment. He said they are seeing the value of what they are doing though most of them suffered cuts in the feet due to rough rocks and other water debris.

Also present during the planting of mangroves were Pampanga Board Members Ricardo Yabut and Nelson Calara who earlier committed to support the ADCL's projects for the progress of the province.

"It is good to see that there are people like Mr. Romero and the ADCL pushing this kind of projects. I personally know how beneficial these mangroves are," said Calara who happen to live in coastal areas during his early childhood days.

For his part, Yabut said he would urge his fellow board members to think of ways on how to protect the environment especially the newly planted mangroves. END.

The photo above shows my wounded feet. I actually took part in this endeavor and I felt like participating in Maleldo with the deep cuts I got from the sharp shells of the talaba at Pampanga Bay!

More pictures:

Mangroves

Sunrise over Manila as seen from Macabebe.

What is Kapampangan Art?

Art is an abstract concept. However, accepted dominant ideology of what art is has found its way in the minds of people. Today, art manifests in well-known disciplines such as dance, music, literature, architecture, cinema, dramatic arts, and the visual arts. But defining what art is answers only 50% of the question raised: what is Kapampangan art?

The other 50% is left to the inquiry: What is Kapampangan? What makes something Kapampangan? For me, the artwork of whoever identifies himself a Kapampangan during the time he was conceiving his work falls under Kapampangan art.

Defining what Kapampangan culture is is a tricky act. To base it on pre-colonial culture is an unwise move, as even our pre-colonial culture could have been a mixture of what our ancestors thought of then as indigenous culture; foreign culture that found way to the lives of our ancestors through trade, intermarriages, and migration; and ideas born out of sheer creativity. If pre-colonial culture is to be made the basis in defining what Kapampangan culture is, then Kapampangan cinema is an idea to be assassinated, as film is a technology and art originated by the Europeans. Literature written in the Roman alphabet should be brought down, as our ancestors used to write using Kulitan. Local music that employs the guitar should not be supported then because the guitar is not “indigenous.”

To base it on contemporary stereotypes—such as obsession for extravagance, holding a high level of pride, etc.—is likewise a preposterous move, as it assumes the Kapampangan identity as something static and uniform instead of as something alive, evolving, and diverse in its own right. If those are to be made the basis of what Kapampangan culture should constitute, are we then to say that people who deviate from those dominant characteristics have nothing Kapampangan in their artworks? Certainly there are Kapampangans who are not obsessed with extravagance (the same way as not all Ilocanos are downright thrifty and not all Chinese are good businessmen). Have they then no right to express their unconventional characteristic artistically as Kapampangans? Have Kapampangans always held the characteristics we perceive today as uniquely ours? Will Kapampangans hold those features forever? Or are those characteristics merely a branch of the total Kapampangan culture?

Another issue if dominant contemporary culture is to be made the basis of what Kapampangan is is the apparent bias toward the “positive culture.” Take for example the culture (or subculture) of colonial mentality. Has it not been injected in our culture that a lot of Kapampangans tend to regard, for example, Tagalog and English superior compared to the Kapampangan language? If yes, then to ask “Nanu ing Kapampangan king gawa mu” to a Kapampangan artist who churned out a work with “no trace of Kapampangan,” say, a song written in English interpreted using Castilian music, is contradictory, because clearly, his work expresses the Kapampangan attitude of colonial mentality.

Kapampangans are good cooks, they would say. I honestly cannot make something as simple as fried chicken. Does it make me less of a Kapampangan (or a Kapampangan with an “imperialized mind”) if I know how to edit videos (a technology that originated from foreigners) but am ignorant when it comes to the art of cooking, which is attributed to be a characteristic of Kapampangans?

To solve this dilemma, it is a beneficial move to hold a sociological understanding of what culture is and how it behaves.

The first thing to know is the definition of culture. Culture is a set of meanings and symbols shared by a community. It can either manifest materially (tools, shelter, clothes, food, etc.) or immaterially (values, ethics, norms, laws, religious belief, language).

The next thing to understand is that culture is alive. It is not static. It changes based on the present needs (and wants) of the community members and continually blends with external influence, especially now that ideas can be shared in seconds through communication technology, unlike in the ancient times when direct human contact and communication were needed for information exchange, which resulted in slow and unnoticeable cultural change.

Lastly, no culture is pure. Different cultures influence one another, and it is through these “cultural marriages” that ideas are either born in new forms, mixed forms, or merely reproduced as they are (especially if the powerful culture is wed with a weak, minor culture, the latter’s “cultural genes” may not surface at all in their “child”), similar with how humans perpetuate their species through sexual reproduction.

Americans and Europeans today use 1, 2, 3, 4, 5 in counting. Do they still think of those numbers as Hindu-Arabic? No. Instead, since the Hindu-Arabic numbers have proven to be most convenient in the daily lives of Westerners, they adopted the “foreign” counting system and from there developed things on their own, such as the binary system in computers (use of 1 and 0), etc. It is the same with local literature—our ancestors adopted the alphabets and from there churned out works we can now claim to be ours. Will we still think of them as impurely Kapampangan because they used an alien orthography?

The trick in creating a strong, advanced culture is to adopt every piece of knowledge from every source possible and tag the collection as our own—Kapampangan culture. Like in the arena of enterprise, it doesn’t matter which business establishment introduces an idea. It is who makes the most out of an idea who shall be known by the people.

ABS-CBN originated the idea of having batches of actors they called Star Circle. They recruited talents secretly in workshops held in key Philippine cities. GMA-7 one day adopted the idea of gathering batches of actors, but mixed it with its knowledge in producing reality shows like American Idol; hence, the birth of a reality actor search on primetime TV they called Star Struck. Do people still see Star Struck as a TV show “alien to GMA-7”? No, in the same manner that we no longer think of Spanish as a corrupted version of Latin with an Arabic touch. Spanish is Spanish.

Then, ABS-CBN adopted the idea of recruiting talents through a reality show on primetime TV, but tried to set itself higher by opening the contest to kids as well; hence, the show Star Circle Quest with two categories: those for the teens and those for the kids. This is a capitalist illustration of how things progress through competition and continual exchange of ideas.

Going back to the formation of a definition of Kapampangan, thus, foreign ideas should not be hated and neglected. Instead of thinking of them as means of foreign imperialism, they should be regarded as free knowledge which we can tap to advance our culture. If rock music is an American genre that has made its way to the minds of the Kapampangan people, then so be it. Let’s absorb rock music and call it our own. Whether our musicians decide to blend rock music with perceived native styles is subject to their creative discretion. Even the Japanese make rock songs and they have absorbed it well; hence the birth of the globally acknowledged J-Rock. Even if rock came from America, we, Kapampangans can still continue rocking and rolling in the event that America, say, gets hit by a meteor and all our favorite American rock bands get wiped out. It is safe to conclude then that we have mastered the rock genre (or have acquired ample knowledge to make rock songs independent of Americans) and can call it our own already. Immaterial culture is not patented anyway.

I dare artists who would protest to this strategy of cultural enrichment to show me how a so-called purely indigenous Kapampangan dresses or how a so-called purely indigenous song sounds like. I dare a Kapampangan painter approach me and tell me his paintbrush is indigenous, his canvass is indigenous, his aisle is indigenous, etc.

It is to be made clear that I am not saying we should forget the wisdom and practices of our ancestors. In fact, they should be preserved and developed as well. What I am against is sticking to them religiously and thinking of foreign influence as something viral, to the point of shackling Kapampangan art and culture with the ancient past and branding anything with foreign influence as something non-Kapampangan. We should collect knowledge—both from “native” culture and foreign culture—in order to advance our culture.

In sociological terms, this is how the so-called “culture base” is enriched. Culture base is the amount of knowledge a community possesses. Culture base is somewhat synonymous to cultural capital, which is a concept Kapampangan advocates should start grasping. Like in business, where handsomer financial and intellectual capital possessed by an entrepreneur gives his business better opportunities of existing throughout time, improving facilities, increasing personnel, branching out, and making profit, cultural capital should be made bountiful in the Kapampangan community as well. Capital is power, and for the Kapampangans to reject the idea of increasing our capital, including the cultural ones, is a primitive move in a globalizing and highly capitalist world.

Thus, it is also my stand that we should acknowledge the trilingual skill of Kapampangans when it comes to writing, singing, and speaking. Kapampangan literature in Kapampangan, in Tagalog, and in English should be equally admitted in Kapampangan literature, the same way as Kapampangan music using perceived native styles, using European styles, and using other foreign styles should be collectively put under the umbrella of Kapampangan music.

If one Kapampangan artist’s preference in literature is writing in Kapampangan, then he should feel free to compete with Kapampangan literature in other languages. If he’s very good and influential, I see no reason why it would be impossible for him to persuade other writers to write in Kapampangan. Again, that is one way of how we raise the quality of our works—never-ending internal competition, which I hope is always healthy. It is, scientifically speaking, still survival of the fittest.

Therefore, every artwork which a Kapampangan does should be admitted in Kapampangan art because it collectively artistically expresses the diverse life and characteristics of the Kapampangan people from anywhere in the globe.

Kapampangan bands perform for local TV show

To advertise the RocKapampangan album, we were featured in this show called Personalan produced by Infomax and aired at ABS-CBN Pampanga. Here are the video performances of the four bands I brought there, taped at Party Place, San Fernando City.

Mernuts
Aliwang Kang Talaga / Payung (Kapampangan "Umbrella")



5 Against The Wall
Sibul Na NIng Arayat / Bilog Na Naman Ang Buwan



Chilimansi
Istorya Nang Raffy Balboa / Fame



Dialogo
Atsing Rosing / Regrets

A Valentine's Day Post

Bayu Melasak
neng Jason Paul Laxamana

Ing tagimpan ku kanita, maging ikata.

Asna kang ka-cute. Asna kang kaganaka. Asna kang kasikan lub mangabit matuling a lipstick potang lulub ka UP. Atin pánga-punk ing kekang fashion sense. E na mákapakirut kasi bokalista na ka ning metung a bánda. Oneng kalupa na pin ning amanuan mu king Friendster, trip mu mu ing makanitang imalan; e ka maniwalang ita ing pipamantayan ning pamaging rakista. Tsk. Inya naman crush da ka e.

Inyang king ku pang UP Pampanga, atin tamung reporting king Com 2 kanita. Asna kung katamad panigaralan ing report ta inyang aldo bayu ing pamag-report. Kayi bigla kang mig-text. Pápasaup ka king aldong tutuki para king kekang report uling e ka mipaindatun isip uli ning pate yu ning tau mu.

Inya menigaral ku.

King aldong katuki nita, sinulud ke ing bayu kung asul a baru. Kalub ku library, sabi mu cute ya ing imalan ku. E ku na mu asabi, cute ka mu naman kanita.

Corny ku, ne?

Metung naman a bengi king Quezon City, Third Exam ku king tutuking aldo kanita king PolSci 14 inya pákakalat la ngan ding readings at lecture ku king lamesa king sála ning boarding house, kawalu ning bengi. Pákasadya na ing kape king lele kasi pilmi kung maging na ku na naman Master Showman king benging ita (“Walang tulugan!”). Kayi mig-text na ka’ kabud. Syempre mekibat na ku man. Kaibat, migbabad ta na king pamag-text! Makatula la ring kekatang sasabian king balang metung. Dakal ku abalu tungkul king biye mu – king masikan mung ilig king pamanigtig, king protesta nang ibpa mu king ilig mu, at aliwa pa. Pati itang lihim a kasulatan a kinudta ku kanita tungkul keka, apisabian ta mu rin. Ing masanting keta, cool ka mu tungkul keta.

“E ku na mu asabi kekang apaninapan ku mu rin ing mitáu kata kasi pota mag-freak out ka,” ngaku pa.

“Ali naman. Astig pin e.”

Inya naman e ku rugu mekapanigaral manggang 11 nin bengi. Ambuski manga 20 minutu kata mung “mísabi,” metung a oras kaibat na nita, dikal na mu mamaglundag ku king ligayang dela ning simpling pamipangamanung ita. Sigi na pin – wa, memaglundag ku talaga.

Corny, ne?

Sembreak inyang mílabas a banua, tatali ke pa ing buak ku king gulut. Mig-get together tamung mikakaluguran UP Pampanga king Fontana, overnight. Aku, ika, ing tau mu, at aliwa pang kaluguran. Wa, ati yu ing tau mu. Iya ing menakit ketang lihim a kasulatan kinudta ku dikil keka, dikil kekata. Syempre e ku mipaindatun. Kayi uling mamulang ku, e da ka mo pinansin mabilug a bengi. Inyang minuna kung abalitan a kinalat ya itang sulat kung ita, medyu mig-panic ku. Oneng keluatan, ayisip ku, bakit ku tumakit karing sarili kung amanu? Tutu la ngan deta.

Atin oras a ikata mung adua king sála: aku, mánalbe kung Starstruck Season 2 at pánenayan ke ing pamaglage nang Chris Martin bang págsisti, kabang ika, atin ka yatang babasan o mánalbe ka. Pakisabian da ka sana, oneng praning ku king tau mu.

Pulus tamung alang agawa inyang linalam pa ing bengi, inya naman memialung tamung Spin-the-Bottle. Red Horse Bottle. Truth or truth, alang consequence. Apiyikit-ikit ku nang makulkul ya ing personal kung biye (a masalese kung sasalikut karing tau), pero salamat king Red Horse, sinikan-sikan ing lub ta. Mumunang inum ku pala ita king ganap kung biye.

Mumuna da mu rin ikit ding tau ing metung kung dakeng e da sukat isipan atin ku.

Inyang tinuldu ya kaku ing boti, ala lang akutang kanakung juicy. Boring ya kasing lálon ing biye ku kasi ala kung kukuentu karing tau. Dakal karela, pulus lang alang balu. Inya mig-volunteer kang ika na mu ing mangutang. A, balu ku na ing ikutang mu, ngaku king isip ku.

“O’t asulat mu ita?”

“Kasi ita ing pánamdaman ku kanita,” mabilis pa king alas singku kung pekibat kabang e man makalawe keka. Págumasdan ke mu itang boti ning Red Horse a bagya-bagya ko nang abuburi. Lasa ampong epektu. Alang arti keng pekibatan ing kutang mu agyang kasiping me ing tau mu.

Makatula la lupa ring inosenti tang kaluguran. Clueless la. Sabi ning kasiping ku, “Kapabaluan, i Jason pu atin yang sinulat tungkul king kayang inspirasyun e kena na Internet.”

“Ninu ing inspirasyun?” ngara namang menusisa.

“Patye mitutuk yang pasibayu ing boti kanaku, karin ku makibat,” ngaku. Kayi biglang, “Aku,” sabi mu. Whew. Sumap ika na ing migbuyangyang. E ku kapad ing manibat kaku, kasi ati yu king lele mu ing tau mu.

Kasaya na ning benging ita, ambuski pa e ku makaying migsalita. Mákarine mu pin; ambuski pa e ku melasing kabang miminum tamu, melasing ku yata katudtud. Kuentu mu, atin kung sasabian tungkul king Online Enlistment kabang matudtud ku. Tsk. Sana ing sinabi ku na mu ing solid a pánamdaman ku keka anti mong “unconscious confession.”

Ka-corny ku talaga!

Kabangun ku, ala na ka, kasi keilanganan mung muling maranun. Mig-text na ku mu keka at menyawad sorry kasi e da ka makaying átuan. Minasala ku keka nung bakit, at aintindian mu naman. Aku naman mine ku High School Reunion mi; katuki ne kasi ning outing tamu at king Fontana ya mu rin. Sabi ku keka king text, mabuburat na ku king reunion mi kasi e ko no man kabásang makayi ring keraklan karing kaklasi ku dati. Kayi sabi mu, “Sigi, aku ing maging GENIE mu at pasayan da ka! Hehe.”

Atin kung sabian... corny ka’ naman pala! Hahaha. Inya naman buri da ka.

Aka-chat ke YM ing kayabe kung linipat kening UP Diliman. Pámuysitan na ku tungkul ketang abalu na tungkul king pamalsinta ku kekta. Kitang na, o’t e ra ka kanu paglolon? Lupa na ku man kanung ating pang-asa agyang pakananu. Pakibat ku, maturak-turak ya yata king sasabian na! Atin kang tau e.

“Tuod,” ngana. “Matagal na silang wala.”

Ay, maibug kung ma-stroke kanita. Kasi nung balu ku mu na ali na pala ikayu... pota pa sa sinabi ku kekang daretsu ing atiu kilub ning pusu ku inyang benging mig-Fontana tamu. Inya naman ibat king aldong ita, pengaku ku king sarili kung misan a aldo, ipagtapat ku keka.

Misan a aldo pa pin, kasake ku king metung a bus pataglus Cubao Ibabaw, atuklasan kung makabuklat ya zipper ing bag ku. Mawawala ya ing cellphone ku, mápilan a class card, at ing dinalan kung pesus. Balu mu ing minuna kung pekiyisip?

Syet! Detang message mung sesesen ku, páka-store la ngan king inbox ning cellphone ku!”

Wa, ring kekang text, makatuknang la mu king inbox ku. E naman keganagana, oneng dakal. Manga 20. Pengadi kung sana ing menako king kakung cellphone manakbag ya king overpass king Philcoa at malaparis yang taxi (ambuski pa lupang imposibli kasi bagya la mu kikimut ding saken keta uli ning traffic). Mímasmas na ku man kaibat. Uling ing tutu, maka-store la pa naman king pusu ku ring anggang mensahi mu.

Tanaydanang corny!

Kayi inyang misan pa pala, inyang minuli ku Pampanga ibat Diliman para manalbe Mr. and Ms. UP Pageant, kayakit mu kaku, pinulandit ka kaku. “Jasooooon!” at kinaul king kakung takde. Balu mu nung makananu kasagradu ing pitung segundung eksenang ita?! Na?! Ali mu, kasi inosenti ka, inya mas cute ka.

Asna kang ka-cute king mala-Avril Lavigne mung getup king benging ita. “As usual,” ngaku sa king isip ku, oneng e na ka man pulus Avril mágmalan, ali? Atin panaun a girly kang mágmalan, kumpletu pati makuyad a palda, buak Sailor Moon, at matas a medyas. Basta cute ka agyang Bananas In Pajamas ka pa gáyak.

Kayari ning pageant, minta ya ing barkada king Total bang tumambay. Ala mu, kuentu kuentu, bagyang inum, at aliwa pa. Asna kang ka-cute kanita: gatas ing pinili mung inuman. Sabi mu e mu na buri ing beer kasi pota bumungko ka pusun. At saka para na mu rin tumas ka agyang bagya, kasi ngamu pin king Tagalug, “Sadyang maliit lang talaga ako.”

“Lumakad tamu,” kumbira mung bigla.

Inta ali wari ing ipakibat ku? Oyta, linakad katang ditak, bala mu sira buntuk a ala naman puntalan. Balu mu namang e ku masalitang tau at mayilig kung mányalikut pilubluban. Dapot balu mu? Bayu te likuan ing lamesa da ring kaluguran ta, ginulut ku pa mu at tiniman karing kabarkada ta. Balu mu na; kasi lumakad katang ikata mung adua e.

Corny.

Linabas ing panaun, sinikan nang sinikan ing kalampag ning pusu ku para keka. Masákit, kasi king kang Pampanga at yaku, king Diliman. Ing gewa ku na mu, gewa ku ing keganagana bang sálese ku kumpyansa at sumanting ku personalidad. Pemilit kung maging masikan lub para keka. Migtagumpe na ku man kasi agpang karing kakilala ku, sabi ra bala mu kanu ating menaliwa kanaku. Dinagdag ku kanu “dating” ngara. Dati kasi e ku bitasang bubulad o nanu. Bala mu antisocial kung mákabitki biye.

Pengaku ku, Kaleldo 2005, paglolon da na ka, kabalik ku ibat king pamagbisita mi king ibpa kung caregiver king Amerika.

Oneng o ba’t makanita?

Mernuts performs Kapampangan songs at SM City Clark

Tarlac-based Kapampangan band Mernuts (famous for doing Kapampangan covers of English songs like Beyonce's Irreplaceable, Rihanna's Umbrella and Unfaithful, and Fergie's Big Girls Don't Cry) performs an acoustic version of their original funk/rnb song Aliwa Kang Talaga at UP Aguman's Sining 2008 event at SM City Clark last February 9.


The song is part of the RocKapampangan album, the first ever Kapampangan Rock album, a collection of 16 Kapampangan songs by 16 bands. Launching concert will be on February 18, 5 pm, Plaza San Jose, Holy Angel University.



Can't wait to get a copy of the album? You may purchase CDs at the Kapampangan Center of Holy Angel University.

Aliwa Kang Talaga
lyrics by Jhaye Cura-Arzaga; Jhaye Cura-Arzaga (vox), Chao Chua (guitars/vox), Rafael Sabado (bass), Jun Catacutan (guitars), Sarj Prima (keyboards), Jay Salazar (drums)

Telanan mu ku gamat
Makapiak kung dinuku
Pilit kung ísipan nung
Kaluguran mu ku ping tutu
Nung panusignan da ka king buri mu
Pota e maglambat mikawani tamu
E ku naman mu rin abata
Inya pin ngeni sabian ku na

'Nyang mumunang bigla
Apansinan kung aliwa kang talaga
Tabalu kabud nea mu kinabug ing pusu ku
Kasanting mung lalaki
Maganaka, mapanantabe
Mebaldug ku lub keka
E migluat ikata nang adua
Sabi ku pin king sarili ku
Subuknan ku pa' pota pin iya pin na
O't atin bala mu sisitsit kaku
Pakalale ku kanu
E ku pa mákasiguru

Respetu mu naman ing kaku
O't e mu pa' pakibaluan ing buri ku
'Ganaganang gagawan ku para mu keka
Tutung kaluguran da ka
Migkulang ku pa wari keka
Sabian mu nanu ing pa'intunan mu pa
Aliwa kang talaga

Sabi mu kaku atin kang puntalan
E ka maglambat, ala kang perang dadalan
Tabalu, mulala ku wari't e ku balu
Kalaram mung lalaki, sana e na ka mu sinabi
Uyta na pin ing sasabian ku

Magaling ka patye kokontrolan mu ku
Patye mo aku babawal mu ku
Oneng ika, pábusten da ka mu
Bagya-bagya ing oras mawawala
Sabian mu nung kaluguran mu ku pa

Matutula ka pa patye kokontrolan mu ku
'Ganaganang kikimut ku papansinan mu pa rugu
Anti mo ing susulud ku, makuyad ya, libayan ku
Ala na kung dapat bayuan
Talaga naman makanini na ku
Inyang meging ikata `nyang mumuna mu masaya
Sasagaran ko ring oras tamu
Tutung kaluguran da ka
Ditak a masaguli, pane na ku mung tutuki
E ku na agyu ini, mapagal na ku kasi

Respetu mu naman ing kaku
O't e mu pa' pakibaluan ing buri ku
'Ganaganang gagawan ku para mu keka
Tutung kaluguran da ka
Migkulang ku pa wari keka
Sabian mu nanu ing pa'intunan mu pa
Aliwa kang talaga

Pilit kung pa'intunan ing pakibat
Karing alang patugut a kutang ku king buntuk
Sisibi, mágsisi, nu ku pa migkamali
Penamdaman a ligaya
Kabud nea mu meyari

Respetu mu naman ing kaku
O't e mu pa' pakibaluan ing buri ku
'Ganaganang gagawan ku para mu keka
Tutung kaluguran da ka
Migkulang ku pa wari keka
Sabian mu nanu ing pa'intunan mu pa
Aliwa kang talaga

Telanan mu ku gamat
Makapiak kung dinuku
Pilit kung ísipan nung
Kaluguran mu ku ping tutu
Nung panusignan da ka king buri mu
Pota e maglambat mikawani tamu
E ku naman mu rin abata
Inya pin ngeni lakuan da na ka

Rock and Kapampangan

By Robby Tantingco
Peanut Gallery

AFTER Totoy Bato, ArtiSta. Rita and Ara Muna, Kapampangan folk music is just about ready for its next reincarnation: RocKapampangan!

It's a term coined by a 20-year-old Kapampangan filmmaker from UP Diliman, Jason Paul Laxamana. It is also the title of a CD album he co-produced with the HAU Center for Kapampangan Studies.


RocKapampangan is not just an album, or an event; RocKapampangan is an idea whose time has finally come, because after folk, classical, acoustic and pop, Rock is the next and probably last frontier to be conquered by Kapampangan music.

In one of his recent visits to the Center, Andy Alviz could barely hide his excitement over a CD he had picked up from the sidewalks of San Fernando. It contained techno-pop versions of some ArtiSta. Rita songs recorded anonymously, as well as the Kapampangan version of "Sometimes When We Touch," entitled "O Joe Caluguran Da Ca," performed by the phenomenal Ara Muna.

Instead of making a fuss over the obvious piracy of ArtiSta, Rita songs, Andy Alviz gushed, "These versions prove that our songs will outlive us. Now I can die!" Never mind if nobody had asked his permission to rearrange his songs or record them; Andy Alviz was just too happy that more people are now listening to Kapampangan songs.

"What I will do is pirate this pirated CD, and make money on it," joked Alviz. "That will be the sweetest revenge."

The reawakening of public interest in traditional Kapampangan music can be attributed to many things and many people, but I can point to a single event that really started the ball rolling -- the launching of the double album "Pamalsinta qng Milabas," launched by the Sapni nang Crissot (Heirs of Crisostomo Soto), in the early 2000s at the Casino Filipino in Angeles City.

Before Pamalsinta, there were only the polosadores-folk singers who earned their living performing Kapampangan polosa and basulto during town fiestas and political rallies-and priests and laymen who composed Kapampangan church music for parish choirs.

What Pamalsinta did was, it took Kapampangan music beyond humid town plazas and choir lofts and put it in CD players inside air-conditioned bedrooms and cars of moneyed Kapampangans. After Pamalsinta, it was no longer bakya to sing "Atin Ku Pung Singsing."

Then came ArtiSta. Rita, which jazzed up Kapampangan folk songs and packaged their shows as big cultural events. ArtiSta. Rita raised the bar in the Kapampangan cultural scene, from the quality of recording to the quality of their live performances, which I think was the critical factor -- that is, had ArtiSta. Rita not been that good, or had the Broadway-trained Andy Alviz not been behind it but another person, the cultural renaissance that ArtiSta. Rita helped generate would have probably faltered early on. Their team-up with internationally acclaimed singer Mon David further gave Kapampangan music the class not found in other regions that have older and bigger recording industries.

With more Kapampangans now wanting more Kapampangan songs, the problem cultural workers are facing is how supply can meet the rising demand.

Local radio stations, cable TV, malls and schools are now willing to air Kapampangan songs and MTVs, and households across Pampanga and neighboring provinces are clamoring for Kapampangan songs to play during parties and programs. I was in Abucay and Hermosa last month and was delighted to know that even Tagalog residents in the two Bataan towns could sing Ara Muna's "O Joe Caluguran Da Ca" and Totoy Bato's "Carmencita." But I was worried because they were clamoring for new songs and none was coming.

RocKapampangan is a breakthrough album because it reaches out to the sector that's probably the hardest to reach-the youth, especially those that prefer their music gritty. Sixteen youth bands from Pampanga and Tarlac volunteered for this project. They are Asthma, Fine Time, Nora Aunor Fans Club, Pulse Rhythm, Silence, Mernuts, Amygdala, Cyclo, T.H.E.M., Neophytes, Mental Floss, 5 Against the Wall, Dialogo, Chilimansi, Tibuan and Fourth Clan. They were all given folk songs to rearrange into rock and then attended recording sessions in a local recording studio. They did all this free of charge.

In the two or three concerts where they have performed their Kapampangan rock songs, the audience seemed to have liked what they heard. Imagine rockers and punks with spiked hair and pierced tongues banging their heads to the tune of "O Atsi Kung Rosing" and shouting "Yeah! Cool!" when they heard "Sibul na ning Arayat." And when a rock band sang "Atin Ku Pung Singsing," they let out a really loud howl, as if to celebrate their ownership of the national anthem of Kapampangans.

Rock and Kapampangan were probably destined to merge from the very beginning. Fray Diego Bergaño, Fray Alvaro de Benavente and all the other early missionaries who wrote Kapampangan dictionaries and grammars agreed that ancient Kapampangans loved to sing.

Our ancestors did not merely recite their poems or tell their stories and epics; they sang them. They sang when they planted their crops and sang when they harvested them; they sang at every milestone in their life, from birth to courtship to marriage to death and burial; they sang throughout the dark night of prehistory to the dawn of history when the Spaniards came, and they sang all the way to the Revolution and Independence Day.

I even think that the Macabebe Scouts, those misunderstood and marginalized warriors from southern Pampanga, were history's first rockers because they had the look and attitude of longhaired, defiant rock singers. Thus, we put them on the cover of RocKapampangan, as a tribute.

RocKapampangan the album will be launched at the Plaza San Jose, Holy Angel University on Monday, February 18 at 5 p.m. Admission is free.

[The album is also in cooperation with the following: SM City Clark, Pizza Hut SM Clark, Pampanga Crusaders USA, Mr. Rene Romero of the Romac Group, Mr. Abong Tayag of Mother Earth Products, Advocacy for the Development of Central Luzon, Mr. Sonny Dobles, Mr. Rey Maniago, Ms. Jocelyn Fabello, and Mr. and Mrs. Jun Oliver Laxamana.]

SunStar Pampanga columnist mentions K bands

Kragi Garcia, who is by far the only Kapampangan columnist in Sun Star Pampanga who writes in Kapampangan, wrote an article citing some of the bands included in the RocKapampangan album.

Busang Basultu: Dinatang Na Mu Rin!
By Kragi Garcia
Kapisik

"NANU ing magpatalakad karing tulus a sasapu king yatu? Ninu ing mibili king batung pangsuluk ning labwad? King munag niting kayaldawan ding batwin migdalit la. At ding anak ning Guinu pepaygulisak la kingtula?" (Yob, 38:6-7)

"Ing paylaut karing dayatan makabye tula king ninu mang malsinta. Ing siwala ning dumara bubungit ya pauli ning pangarakap na king gayuma; E ku atakasan ing kekang pamalsintang sinukul kanaku." (Dalit Pamalsinta ning Laung Eyipto, S Schott)

"Ing tigtigan ya pin ing amanu ning kaladwa." (Geywang Diparan) Karetang mapilang bulan a milabas king "Dalumat" mibansagang "Ing Kasalungsungang Kabilyan ning Tigtigang Kapampangan," Setyembri 22-28, 2007 a sadya kung susulat ketang sadya kung pisulatang pipasyagan, bala mu mikurusan ku dila ngening dintang na ing kanita ku pa panayang datangna agyang mitawling bagya.

Abalitan kung mika-pangmaldang pamanigtigan la kanitang milabas a bulan deti dapot sayang e ku atagunan iti.

Makanyan man, mipayntagun a mipalabas ku kang Bise Mayor Bajun ning Masantol at atagmwan ko rening mp3 a patigtig na king PC na.

Ing amanwan ku ya pin ing malyari kung awsan Busang Batung Kapampangan o Kapampangan Pop Rock Music! Busa o Pop, Batu o Rock!

Uyta. Ating mala-grunge, ating mala-metal, ating mala-reggae, ating mala-ska, mala-blues, mala-rap at atin mu namang mala-bossa nova.

Ating masyas, ating malambut. Miyayaliwa! Malulut o makayadya no reng Kapampangan anting manigtigan bang makagawang antining tigtigan.

At ba'mu namang kaliwa karing titigtig da reng sadya ta nang darandamang antimo reng Arti Sta.Rita, Cris Cadiang, menigtigan at migdalit king "Pamalsinta Ketang Milabas" ding Sapni nang Crissot at deng papalwal nang Marc Nepo ning Kamalig (Camalig) at lakwas na reng kari Totoy Batu at kauri da.

Ing kamatutwanan ing dalumat antini migmula kanita pang mapilang pulungbanwa nang milabas dapot ngeni pa mu talagang migmulang memutaktak.

Deng amanwan kung menimuna kaniti ya pin di Isagani Ibarra bista't Tagalug ya ginamit amanu, i Papa Dom ning Tropical Depression ("Atin Ku Pung Singsing"), Romy Dizon a manigtigan pasingit Basultu king Baguio ngeni at deng Aguman Makamas a meging Miwalyan at ngeni megi na namang Julian Katarungan kebilangan da ri Norther Paras, Oliver Viray, Jason Ducut, Yul Urbina at ing manimunang talasulat/maglalang dang dalit -- i Punsigwa.

"Batalya", "Sulu", "Dale, Terak!", "Pamun Na, Ligaya", "Daya King Danum", "Mulagat", "Balen Ku" at mapilang dalit pamasku, at ding Mansuli a penimunan na ning magdalit a i Clarissa Maniego - "Tagulele nang Nelab", "Makabebe"(medalit king palage "Aring Tarik Bako Suliman" ketang banwang 2000) at "Masantol".

Minuna kareti ya pin ding Kapisik a manigtigang Kapampangan Blueskanitang pulungbanwang 1970.

Deting atlung tatawli e la man mibantug dapot atin lang makatalang pamanigtigan anting patune.

Mekad dakal la pang e mibulalag a talatigtig Kapampangan pauli ding miyayaliwang sangkan.

Matula ku at palage ku dakal la namang tumula pa king kapalyaryang ayni agya mang e la pa tune bayu uling ginamit lang andam lumang amanu o lyrics at arle pamanigtigan o musical genre a e tune Kapampangan.

Makanyan man metung nang maragul a bage iti para king Pamanigtigan Kapampangan.

Luid la reng talatigtig a makatuki: Silence -- ing mala-metal rock a pangatigtig ning "Indung Balayan"; 4th Clan -- ing mala-rap a "Dayang Kapampangan"; Amygdala -- ing mala-metal rock mu namang "Aldo ning Kekaming Kasal"; Asthma -- ing mala-blues rock a "Atin ku pung Singsing"; Istukas Over Disneyland -- ing mala-grunge/punk a "Bye Keni Yatu", ing minuna kung pepatigtig keng DWAU ketang milabas a banwa; Cyclo - ing mala-punk mu namang "Dalumdum ning Bengi"; Dialogo -- ing mala-neo reggae senayang kundimang "Atsing Rosing"; Five Against The Wall -- ing pesublyang mye mala-ska a "Sibul"; Mental Floss -- ding mala-Van Halen rock a "Lugud ning Indu" at Tibuan -- ing "Sintang Pangarap"; Mernuts -- ing panerak a mala-rhythm and blues o R and B "Aliwa Kang Talaga"; Neophytes -- ing mala-"Bohemian Rhapsody" o rock operang "Katatagan king Pamakilaban", aliwa itang ka-tigtig ne nung e dakal ya lawiwi ini inya asabi ku ita at balamu bayu ya ini at pigmulan o original ya; Nora Aunor Fans' Club -- ing mala-blues a "Kaplas" mapamyalung ya at malagu ya amanu; Pulse Rhythm -- ing inandam kang Totoy Batu -- "Saug a Malati"; Chilimansi -- ing basultung meyandam mu naman kang Totoy Batu o kabaru nang "Raffy Balboa" at pati na retang menigtigan "e misulpak" o acoustic a sayang e ko ikwa lagyu a tinigtig karing dalit mala-Bossa Novang "Abemuku" at malumane "Bulan."

Makawili la! Luid ko ngan! Balu kung datang ing panaung malyari iti kanita pa at matula kung sasalubungan ngeni! Dapot ing panayan kung tagana ya pin ing panyatang ding tigtigang tune Kapampangan a palage ku nung e la tutuknang, e la sasawa at e la susukung manintun bayung arle pamanigtigan deng talatigtig ngeni datang at datang mu rin ita.

Sana datang na ing aldo a maka-kudta lang bayung arle ning pamanigtigan deng Kapampangan at iti karandam ninu man tambing akilala nang iti Kapampangan mengari king panga-bukud ding aske ning Rock and Roll, Jazz, Blues, Reggae, Grunge at aliwa pa.

Nung agyu da't agawa reng aliwa, agawa tamu namang Kapampangan, ale? Balu ku't panwalan -- datang mu rin ing aldo ita!!!

Ssisti Mu! Ot mo reng mapilang makasake karing saken da papalwal do reng gamat da patse sisigarilyu la?

Ing balu kung pakibat da -- e de kanu buring muluk ing lub ning saken da.

Kutang: Ing sanu wari ing lakwas maulaga, ing katawan da o ing saken da?

Kasi nung sisigarilyu ka, e mu itang muluk ka asbuk nung e mikasakit ka naman at pati na reng makalele keka asangaban da ing lakwas pang makasakit a asuk niti, e wari?

Masayang aldo kapagmasusyan king Baranggay Batasan, Makabebe -- kadwa ning bulan at maligayang kadwang pulung kayaldwan kang Jayashri Govinda dasi -- kapat ning bulang kasalungsungan!

Nung atin kang munikala o sisti, malyari kang makipagtalamitan king talasulat king text o CP: 0919-6940-224 o king email: garciakragi@yahoo.com.


The RocKapampangan album is already out! Catch RocKapampangan songs being played over RW 95.1. Witness our formal launching on February 18, 2008, 5 PM, at the Holy Angel University. Infomax will also be taping a RocKapampangan special episode for their ABS-CBN Pampanga magazine show Personalan. Keep posted.

Clark airport declared RP's main airport

President Gloria Macapagal Arroyo has ordered the development of the Diosdado Macapagal International Airport (DMIA) in Clark, Pampanga into the country’s premier airport, amid the plan to shut down the Ninoy Aquino International Airport (NAIA) in Pasay City.


A Malacañang statement issued on Tuesday said Mrs Arroyo gave the Department of Transportation and Communications (DOTC) and other government agencies “six months to one year" to turn the DMIA into the country’s leading airport.

Lorelei Fajardo, deputy presidential spokesperson, told reporters that the move was in anticipation of the possible closure of NAIA.

“(DOTC) Secretary (Leandro) Mendoza said that the NAIA 1 might be downgraded and it might eventually be closed down," Fajardo said.

She said that while NAIA Terminal 1 remained as the country’s premier airport, there was still a need to expand and improve the airport’s facilities.

“Ang problema natin sa NAIA, is masikip na talaga,… there’s no longer room for expansion. Unlike in Clark, kasi malaki iyong area natin doon so that’s why we’re transferring it to DMIA (NAIA is too crowded, there’s no longer room for expansion. Unlike in Clark, we have a bigger area there, so that’s why were transferring it to DMIA)" she said.


Fajardo said that even with the opening of the controversial NAIA Terminal 3, accommodation of tourists won’t be enough.

DMIA, which has a runway of 3.2 kilometers (km), is named after Mrs Arroyo's father, the late former President Diosdado Macapagal.

NAIA, with a 2.6-km runway, is named after former Sen. Benigno "Ninoy" Aquino Jr, whose widow, former President Corazon Aquino, joined calls for Mrs Arroyo's ouster in the wake of the "Hello, Garci" wiretapping controversy in 2005.

According to the Palace statement, Mrs Arroyo's order supports her vision of Clark and Subic as the country's logistics hub in the Asia-Pacific region and the new international gateway of the country.

It said DMIA is one of the biggest aviation complexes in Asia, whose runway would be extended to four kilometers to accommodate new generation wide-bodied aircraft.

"The DMIA is certified by the International Civil Aviation Organization (ICAO) with ratings of Category I for Precision Approach Runway and Category IX for the Emergency Services," it said.

It added DMIA "is well-equipped with instrument landing system, navigational aids, meteorological equipment, and complete airfield lighting system." - GMANews.TV

Mandaue street signs in Cebuano?

By Dale G. Israel
Cebu Daily News

Imagine reading Mandaue City's traffic signs and billboards in both English and Cebuano.

A proposal to have bilingual signboards instead of just English text will be discussed in the Mandaue City Council next week.

Councilor Victor Biaño is proposing an ordinance that would require Cebuano translations in all the texts appearing in billboards and traffic signs.

"Every Cebuano-speaking person must be proud of his own tongue and should be able to project it to others in order to expand the usage to more people," said Biaño, who is Mandaue chapter president of the Cebuano language advocacy group, Lubas sa Dagang Binisaya (Ludabi).

In an interview, Biaño said other countries post traffic signs in two language. He cited Japan as an example where signs appear in English alongside Japanese characters.

"One of the better ways to project the Cebuano language is to use it on traffic signs, Welcome and Thank You signs at boundaries and other directional signs, which are some of the first things that a non-Cebuano will see upon arrival in Mandaue City," he said.

The draft resolution, which will be discussed on Wednesday, suggests penalties for violators.

The penalties include a P5,000 fine or imprisonment of 30 days, or both at the discretion of the court.

Private advertising agencies that don't comply with the ordinance would have to pay an additional P2,000 fine and would be asked to immediately remove their material.

Biaño's proposed ordinance designates the Engineering Office and the Office of the Building Official (OBO) as the implementing agency.