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Karbengan. Human. Music.

Heeding advocates

FIRST OF TWO PARTS

By PINK-JEAN FANGON MELEGRITO

Clouds of origin

The tenth of December is not any ordinary day. Fifty six years passed and people around the world continually instill in their minds the very meaning of that day. The International Human Rights Day is still commemorated, withstanding the almost-perpetual violations against the most basic of human rights.

Dictator Adolf Hitler led and conspired with Nazis to terrorize millions of Jews, Gypsies, homosexuals, and Soviet prisoners of war (POWs). They were killed in gas chambers, by firing squad, and other ruthless methods. The world had never faced such unscrupulous crimes.

The birth of the United Nations (UN) in 1945 gave early hope for people to reclaim justice. In 1947, the UN created the Commission on Human Rights. And on December 10, 1948, the Universal Declaration of Human Rights was chartered. Thus people around the globe opened their arms to the human rights movement.

Unfortunately, millions and millions of people are still adversely affected by human rights violations (HRV). Nevertheless, in every corner of the globe, the fight still radiates for almost six decades. The people uncompromising. Adamant.

First among equals

Digital recording uses MIDI ports to communicate two or more instruments to a computer or a digital audio editing machine. This is the standard equipment of every studio here and abroad. Baguio had its first and only computerized music studio in 1994, then named Leadingtone MIDI (Musical Instrument Digital Interface) Muzik, now known as the Trinity Music Company.

Initiative to spread the love of music prospered among the people of Baguio. Recordings at the Trinity Music Company flourished, one of which is this year’s compilation of songs depicting the theme of human rights advocacy. Women. Indigenous Peoples. Homosexuals. Filipinos. Oppression. Killings. Struggle. Karbengan. Karapatan.

Last year, the Northern Media and Information Network (NMIN) and the Dap-ayan ti Kultura iti Kordilyera (DKK) brought together artists for Liwliwa para iti Kappia art exhibit for the victims of human rights abuse and militarization in the Ilocos and Cordillera region. Also during the Cordillera Day, Bantayog was released. It was a tribute in form of poetry and songs to the Cordillera martyrs.

This year, the bands Binhi, Diskarte Namin, Kwatro, Ridaw, Salidummay, Sining ng Paglaya (Silay), the music pool of Tanghalang Bayan ng Kabataan sa Baguio (TABAK-Baguio), solo artists Jen Cariño and Toto Colongon had been adeptly producing the original human rights songs of the Karbengan Album, presently on-going with its recording at the Trinity studio.

Getting up close and personal

As I stepped into the recording studio, I felt I was becoming a singer myself. But the dream clouds poofed away as soon as I heard Ridaw, Binhi and Sir Toto strike their instruments, melodic into the air with their voices. “Fantasy’s over, Pink,” I thought. I resumed the writer-me and get on with the it.

Binhi

Trinity studio had posted several lyric sheets, posters, and published articles about the artists it had accommodated in recording. My eyes fixated on Binhi’s album, Sa Bagong Panahon Unang Dekada. It was their second album, recorded sometime in 2001. It featured songs of their decade being together. I didn’t waste any more time and started talking with Binhi’s current band leader, Bob Go.

Nordis (N): Who are the band members?
Binhi (B): Si Andy Villamor (bass, classical guitar and keyboards), Rolando (Jun) Utleg (acoustic guitar), Ronaldo (Bing) Villamor (percussions, indigenous instruments), Glenn Villamor (drums), and myself (Bertrand ‘Bobby’ Go) on lead, classical and acoustic guitar. We all did the vocals together with Nanienta Villamor. But currently, Andy and Nanienta are not with us. Andy had a sort of a ‘calling’. He became a Born Again convert and wanted to become a pastor. And Nanienta had a family of her own. She’s in Bicol right now. Actually last week lang, andito siya. Sana kasama siya dito (Karbengan album) pero kulang na sa oras. And si Andy medyo bumabalik-balik sa amin (he smiles).

N: So how do you patch up the ‘loss’?
B: Nung nawala kasi si Andy, si Jun umalis din, pumunta ng Thailand. We (Glenn, Bing, Bob) felt a need ng bass sessionist. We found Mark (Amansec). Nung una nga kaming dapat magkikita in-indian ako (Mark comes in and laughs with Bob). Pero nung second meeting na, nakita namin na seryoso naman siya. He has never been late ever since.

N: (To Mark) Bakit mo naman sila in-indian (Filipino slang term for not meeting a person after a previous arrangement)?
M: Ung kasing nagsabi sa’kin parang di seryoso. Blurred kasi yung taong yun, di ba Kuya Bob? Pero gustong-gusto ko talaga sumama sa kanila (Binhi). May iba akong banda noon, may hip hop, pop, new wave. Tapos sa Binhi, Power! Nakita ko yung passion nila. Di tugtog perya ang dating. Seryosong band di lang sa music pati sa function sa buhay (they laugh at Mark’s apparent seriousness).

N: (To Bob) So how did you get started with your music?
B: (Bing) Folk singers kasi kami sa iba-ibang bars noon nung meron pang Camouflage, Café Angustia, Music Box. Tapos nung 1990, ung mga nasa EMJP (Ecumenical Movement for Justice and Peace), na NGO inipon kami tapos binuo yung Binhi. Kaya naman Binhi pangalan namin kasi kami nagsimula ng alternative na makabayang music dito sa Baguio. Kumbaga kami ang first sa ganung music dahil folk country lang dito noon e. Talagang Binhi, seed.

N: What was your first experience performing in public as Binhi?
B: (Bob) Two weeks before the recording, saka ko palang sila nakilala. They invited me as sessionist. Tapos nagrecord kami sa Manila noong 1993 sa Sampaguita Pictures Compound, sa PM Recording Studio. Ni-launch namin yung album noong 1994 sa Baguio Convention Center. Full-packed talaga. Tapos kasama pa namin Buklod saka si Pol Galang.

N: What song/s did you perform for Karbengan?
B: We did Bangungot (Ridaw composition). It was Bing’s arrangement. Tapos Ekonomiks. Kay Igan (of Ridaw) ‘to tapos tumulong kami sa instruments. Tsaka ung cast song na Tumurod.

N: Are you aware of the recent HRV? Does the album’s disposition somehow reflect your own views?
B: Yes. Through the songs, dun na lang kami nagpapahiwatig. Sa music kasi wala nang violence para isigaw ang karapatan natin. Ang Binhi kasi family-oriented, yung values iniingatan, kailangan mamulat sa bulok na sistema.

In years of reaching out to various audiences, Binhi had been offered several contracts from major labels: Dyna, Vicor, Alpha and Star Records. But they opted to stay here in Baguio where they (Binhi) say their music is not commercial. “Di namin ma-take ang ganung sistema. Being here in the North is enough for us,” Bob shares. Currently, they perform at the Ayuyang Bar here in Baguio, at some gigs in Manila at 70s Bistro and Mayrics. There are plans for another album next year since a lot of their friends had given them songs to arrange, and a lot of their originals remain unrecorded.

With their neo-ethnic music, a combination of the newest genres and the traditional use of indigenous instruments, they truly are the seed of Baguio’s original music. “Tuloy-tuloy ang Binhi. Padami ng padami,” they concluded with humble smiles.

Jennifer Patricia “Jen” Aguilar Cariño

She is a painter, freelance graphics designer and layout artist for some establishments here in Baguio. Most of her accomplishments are inclined with visual arts, and yet she has proved to be an equally good musician herself. At the age of 14, she had her first photography exhibit. From then on, she had group shows (art exhibits). One is Destinations in December 1999 to January 2000. She is a current member of the Baguio Arts Guild. “They call us the bag ladies (together with other female artists of the guild)”, she shared.

Nordis (N): How did you get started with your music?
Jen (J): I grew up in a family of musicians. My dad was a folk singer before. Most of my titos and titas are singers or they play either the piano or the guitar. My mama is also a singer. My younger sisters play the violin and the piano. I loved the piano, but eventually when I learned the guitar, I love it more.

N: Why do you love the guitar more?
J: With guitar kasi, you could bring your music everywhere. Ang bigat ng piano e (Laughs).

N: Do you have other musical experiences?
J: I was with bands here. We covered mostly pop rock songs from 1997 to 1998. I was with Purple Grass, and Northwind. But I went solo afterwards.

N: Have you already put up your own album?
J: Before, BMG records accepted my demo (demonstration cd). Later on, I was told to change (my music) for more acceptability from the audience. They say I was too cerebral, but I don’t want to change it. Just recently, I opened up to having an independent release. So sometime siguro pwede na. And I also did a poetry musical album called Reaching Destination. It was my friend Nerisa Guevara’s collection of poems. She is now with the UST Creative writing center. The cd came with a book of her poems. Nerisa invited a few artists and we each chose a poem to arrange and perform. We were with Badjao, Barbie Almabis (of Barbie’s cradle), Carol of Pinikpikan. The abum just won a Catholic Mass Media Award – Secular.

N: Was it hard for you to do the transition from writing to being a musician?
J: Ngayon lang ako nagfocus sa music. I think now, my voice is my primary instrument to express. Also I incorporate my poems with music.

N: So writing has really contributed a lot to you. What are your writing experiences?
J: One work was published in Planet Philippines (1998), and another in Manila Times. For my poetry, Panorama published one. I was also the youngest fellow in the Siliman Writers Workshop (1997).

N: What song/s did you perform for Karbengan?
J: Siya’y Hindi Lamang Isang Tula. It is for all women. Ang babae ay hindi isang magandang bagay na ina-admire lang. For me, di lang siya isang tula na once you read it, you set it aside, forgotten. Siya’y manlilikha, she is a creator of life for family, for herself.

N: Does the album reflect the same as your views on human rights?
J: Yes. This album is a good way to give voice to issues out there. Sometimes, art and music are strong instruments to disseminate information. There is also the wider audience. Mas magaan siyang dalhin, pakinggan.

I visited her blog spot, and I saw on her profile this poem entitled Doll. It goes The world of the heart / is a box/ that I lost and found./ The world is a circle/ that I drew between my legs. /I took it and molded it in my pale hands;/ gave it shape,/ sound and shiver. Deep and resounding. Enough said of her depth and creativity.

Toto Colongon

Arellano Colongon, known as Toto to colleagues, is a professor of Political Science at the University of the Philippines Baguio (UPB). Currently studying for the degree of Doctor of Philosophy (Ph.D) of Political Science in the University of the Philippines Diliman (UPD). Besides being a political science professor at UPB, he finds time to shower his leisure times with music.

Nordis (N): How did you get started with your music?
Toto (T): I was a cultural worker before. I was one of the founding members of the Tanghalang Bayan ng Kabataan sa Baguio (TABAK-Baguio) in the early 80s. Nasa music pool ako noon. Dahil na rin sa krisis noon, na-expose ako sa ganung (progressive) music. We did songs of Joey Ayala, Patatag, Peryantes (Diliman), Jess Santiago and Bong Ramilo.

N: How do you classify your own music?
T: Definitely hindi pop. In terms of tune, traditional progressive siguro. And content wise, nagmature na lang after I graduated in 1987 (UPB). Dati halos progressive love songs lang kami (TABAK).

N: Do you have any previous album/s? Plans of having your own?
T: Sa Patatag, noong 1989-1990. Kasama ako sa two albums ng Salidummay, Dong Dong Ay at sa Ella Lay. Matagal ko nang gusto ng sariling album, madami lang ginagawa.

N: What are your other musical experiences?
T: I did productions na mainly composition of campaign jingles for the Alliance of Concerned Students sa UPB. I did one musical play with the Committee on Culture and Arts (CCA) in cooperation with TABAK-Baguio. In 1998, ginawa namin yung musical play na Pauwi sa Amin. Ako ang arranger at composer dun. Tapos may additional songs sa remake nung play in 1996. Sa theater thesis productions naman sa dating UPB theater program, I arranged for Nina Ledesma’s Isa, Dalawa, Tatlo. It’s a children’s theater production. One graduation song din for UPB graduating batch 1999, it was entitled Duyan. Lastly, nung National Theater Festival in Diliman, October 2004, the musical artists of the 1980s collaborated. I joined in as Salidummay.

N: What song/s did you perform for Karbengan?
T: Yung composition ko na Karapatan. In 1989 para sa HR Celebration dito sa Baguio, kinompose ko yun. Some are familiar with it. Sana they find it useful, a good material. Through the album, mapopularize sana pati ibang songs. This is my small way of contributing generally to cultural work in Baguio, at sa advocacy sa human rights. Through this song, makatulong sana sa kampanya.

N: Does the album reflect your views on human rights?
T: Oo. Ang HRV di naman na ata nauubos. It reflects the sad state of politics in the Philippines. Lalo pang lumalala, since what, 20 years ago, HR ang kino-commemorate. Imbes um-ok lalo lumalala. All the more na maging vigilant sa HRV. Expose the violators. Educate the people.

His song Karapatan goes, Karapatan mo ang mabuhay ng marangal at malaya./ Mamulat sa katotohanan./ Yakapin ang paniniwala. If given any similar project as this, he is very much willing to join as performer, a contributor. “Di naman nawawala ang pagiging cultural worker,” he explains. Truthfully, a cultural worker is never lost. Their cause never fails.

Diskarte Namin

This band is composed of Filipinos residing in the United States of America. For several years now, they had been visiting the Philippines annually, especially the Cordilleras. They willingly embrace and understand their roots and unite with the Filipinos in general in all the inplights here and abroad.

Nordis (N): Who are the band members?
Diskarte Namin (DN): BJ Aligasao (lead singer), Michael Cual (lead rapper), Jen Soriano (lead singer), some sessionists for the drum kit, djembe, ganzas, congas, bass, electric guitar and indigenous instruments from the Philippines.

N: Where did you first perform?
DN: We had shows in Los Angeles and Seattle. In the Bay Area (San Francisco, California), we had gigs at Victoria Theatre, Cocodrie, Cellspace, Justice Leagues, Curve, Voodoo Lounge, Covered Wagon Saloon and Mumia rallies. We are always contributing our musical talent to educational institutions, community fundraisers and political organizations throughout the Bay. And then if we come to the Philippines, we perform for the activities in the Cordilleras.

N: So how did you get started with your music?
DN: First of all, we bring with us the legacy shared by all communities of color: the use of culture as a tool for political and community organizing. The band members are quick to emphasize that we are political activists first and musicians second. We open up our performances with ganzas. We do a short traditional dance from the Cordilleras. Each band member puts down the ganza and picks up own instruments.

N: How do you classify your music?
DN: We change our sounds among rock, latin, acoustic/folk, hiphop and reggae. We keep one thing constant: our conscious lyrics.

N: What song/s did you perform for Karbengan?
DN: Diaspora and Cousin Arlene (DN’s original compositions) illustrate the forced migration of Filipinos to work overseas, many of whom are tricked into sex trafficking. Taken from Gabriela (USA) statistical findings, Michael spits out a chorus, “Women and children overseas/ six dead in a box back to the Philippines.” Jen sings, “If you promise to provide/ Food for my family and ways to survive/ well then i’ll spread my wings and fly home.”

N: Are you aware of the recent HRV? Does the album’s disposition somehow reflect your own views?
DN: As cultural activists, Diskarte’s mission is to get folks grooving to our music and moved to action by our messages. In the tradition of the revolutionary musicians who came before us, Diskarte injects politics into beats, hooks and lyrics to inspire listeners to look beyond the myths of pop culture, to see the reality of corrupt states and corporate empires, and to work for justice in our communities.

Diskarte uses music to organize, let political messages proliferate among listeners. They contribute in ending silence and oppression. They stand in solidarity with peoples’ struggles for land, democracy and sovereignty in oppressed communities in the United States and in third world nations across the globe.

This truly Filipinos-at-heart support struggles for self-determination in the Philippines by echoing revolutionary music from the Cordillera Mountains and by highlighting indigenous elements of the Filipino culture, which will help cultivate the traditions of repressed people in the Philippines and build solidarity for their struggles in the United States.

Ridaw

Translated as door from the Ilocano term ridaw, the band bearing such name really altogether shows the essentiality of opening doors to people to become aware of the current social issues, carried out in their songs. Most of Karbengan’s songs are Ridaw’s compositions, though they willingly shared their songs to the other artists in the album.

Nordis (N): Who are the band members?
Ridaw (R): John ‘Igan’ Marasigan on guitar, Mica Atienza-Villamor, Dhang Soriano-Cruz, Arman Guillermo, Day Caluza (sessionist) and I (Myke Sotero) are on vocals. Mica and I also do some percussions.

N: Where do you usually perform?
R: Basta cause-oriented performances. Sa celebration ng Cordillera Day, sa forums, rallies, fundraising concerts, and the Ayuyang Bar.

N: How did you get started with your music?
R: We started in 1995. Ako, si Igan at si Mica. Our first original composition was Ikalawang Ikaw. It was about gay rights. Our name evolved from our first name Salintubig. Pero even before, ako saka si Igan, we’re both from the League of Filipino Students (LFS). Tapos we discovered our love for protest music and then we decided to form a band called Aninag. We took every opportunity to sing in folk houses way back in 1994. Patatag, Buklod, Grupong Pendong and Joey Ayala were our first influences.

N: With those influences, how do you classify your music?
R: Socially-conscious music. Music with a bite (he laughs).

N: What song/s did you perform for Karbengan?
R: We performed our songs Ikalawang Ikaw, Solidarity Song, Garison ng Maton. Ung Ekonomiks tinugtog ng Binhi kasama kami. Yung pinerform ng Kwatro, ni Jen kami din ang nagcompose. Lastly, ung Tumurod/Mangahas, magkasama kami ng Salidummay na nagcompose. Tumurod is the album’s cast song.

N: Most of the songs are yours, why did you encourage other bands to perform your songs instead?
R: Ridaw album ito originally during the planning stage. We had a lot of original compositions na. Pero we thought of opening it up to other musicians who may want to take part in it.

N: Apparently, the album is your initiative. Why did you come up with such theme for an album?
R: We feel that panahon na ng mga musicians sa region na mag-bonding and this is a good opportunity for us to get together in one collective effort to promote HR especially during this time of CPR (calibrated preemptive response), HRV, economic crisis and political killings. We also feel that we must expose such violations through music and arts. This is our way among other alternatives to advance our struggle.

Ridaw’s music ranges from the themes of gay rights, political repression, environment, peace, social justice issues. Some of their songs are also in Binhi’s second album. They have been in the music arena in Central Luzon and Metro Manila for a long time now. And their music has not gone passe. People listening to them still find the same passion they had seen in them since their first performances.

“Our accomplishments are our causes in performing,” Myke says. There is a growing number of poltical and cultural activists and peace advocates; and Ridaw has proved not only a gem to the arts, but also to the progress of the peoples’ consciousness. #

Next Issue: Salidummay, Silay, Tabak

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