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.