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Karbengan. Human. Music.

Heeding advocates

SECOND OF TWO PARTS

By PINK-JEAN FANGON MELEGRITO

Persisting initiatives

Karbengan album’s ingenuity does not stop with five artists. From bands, cultural groups to seminarians, the album has reached sundry artists-for-a-cause to unify against human rights violations. The music continues. It would linger not only in your ears but your consciousness too.

Kuwatro

In English, four. In Filipino, apat. In Spanish, quatro. But the number with the ‘U’ made all the distinction to individualize a group of four exultant musicians. Coming form several former bands, Kuwatro has been attaining its goals, given they had been together for only a year and few months old.

Nordis (N): Who are the band members?
Kuwatro (K): Si Nathaniel Tablizo yung vocalist, ako (Ethan Andrew Ventura) sa guitar, si Jerky sa bass. (Jerky says, “Jerky Lang ha.” Telling me “Lang” was his surname and they laugh) at sa percussions si Ursula. Hinde, Urso Lang (they laugh).

N: Why the name ‘Kuwatro’? Kasi apat kayo, ganun?
K: Oo. (they laugh) Dati kasi almost every gig, new name kami. (Nathan) kasi noong bata ako, yun ang unang number na alam ko, 4, 5, 6…

N: When have you been together?
K: (Nathan) Nung college pa, magkakakilala na sila from SLU (St. Louis University), ako sa tabi ng SLU, hinde sa STI (he laughs). Last year lang kami nabuo, July 4, 2004. Matagal na kasi namin gustong maging ka-banda yang dalawa (Ethan and Jerky). Ako tsaka si Urso galing ng Rewind. Sila sa 6 Days to Friday. Tapos parang tripping lang, nag-merge kami.

N: How do you classify your music?
K: (Nathan) Dati sa bands na pinanggalingan namin, mainstream reggae tsaka sa kanila (Ethan and Jerky’s band) pop jazz. So ngayon, old songs na ni-rearrange namin to become… new. (they laugh)

N: Where would people usually find you?
K: (Ethan) Wednesdays and Thursdays sa Red Boxx kami sa Nevada Square (Baguio gig spot). Ibang araw, sa bahay lang kami. (they laugh) Hinde, ako faculty (teacher) for guitar sa Music World, sila may iba-iba ring ginagawa.

N: What convinced you to become a part of the Karbengan album?
K: Siguro experience sa recording at saka kaibigan namin si Igan (of Ridaw). Tsaka yun way of supporting, way of touching lives nung album. (they laugh at their seriousness)

N: What song/s did you perform for the album?
K: Peace in Pieces (of Ridaw). It was a protest song tapos kami nag-arrange para medyo funky.

N: Is the album’s views on human rights violations same as yours?
K: Lahat naman kami aware. (Ethan) Dad ko kasi doctor tapos aware din ako sa mga child abuses. (Nathan) Mom ko naman psychologist sa NBI, so medyo may alam rin ako sa mga cases. (Urso) Tapos ako may anak din naman ako, so parang we guard din our rights.

N: If there’d be another album of the same cause, would you take part in it?
K: Oo naman. Gay rights man yan, anuman, part lahat yan ng human rights, diba? Tska sana tangkilikin tong album dahil nga para naman sa human rights ‘to.

This year, a Baguio-based radio station K-Lite had a poll on which band had the best live performance in their radio shows. The text voters chose Kuwatro as the Number 1 band. They also did front acts for Brownman Revival and Eddie K, did unplugged performances in Malate, Manila, proving their name already has a ring to people.

It was not hard to talk to the band. Each question I posed to them was answered with much laughter and giggling. They were in high spirits, and yet when in time of seriousness, they sure put in all their energy and might to set sense and insight. “Medyo malayo na rin narating namin kasi di lang kami sa music, as friends pa kami,” Ethan shares. Their plans of putting their album next year, their unfinished songs will soon be done with much gusto and contentment.

Salidummay

In college, we had this book for a humanities course called Linangan. It involved various works of arts (and, say, with progressive contents) -from poems, short stories, essays and songs. I found one song very interesting. I did not quite understand it because it was in a language somehow foreign to me. Our professor explained the song; that was the first time I encountered Salidummay. Then through the years in my theater organization will I work with them for several productions.

Nordis (N): Who are the band members? Part/instrument you play for the band?
Salidummay (Sa): Si Marlon, Santong, Jema, RR at ako (Maty). Rainmaker, gongs, tongatong and guitar. Kami kami nagsasalitan sa instruments.

N: What are your previous albums?
Sa: Salidummay (1980) yung first album. Tapos nasundan ng Dong-dong-ay (1992), Elallay (1995), Diway (2000) at yung pinaka-recent, Ay ay (2003).

N: How did Salidummay start?
Sa: Salidummay as a song is traditional, associated and inherent to the people of Cordillera. In the 1980s, height ng issue ng Chico dam. Yung mga magiging members ng group in the years to come, naka-integrate sa umili. They were inspired to compose, gamitin ang tradition ng salidummay. In 1987, nabuo na ang Salidummay as a group. Nagrecord na din ng album. Traditional songs tapos mostly a capella.

N: How did the group develop? Kasi ngayon di ba you use guitars, other instruments to accompany your songs.
Sa: Syempre as the years go by, dumami compositions, nag-improve yung musicality. May guitar na, bamboo instruments, gong. Di na lang traditional tune, nirearrange ibang songs. Kumbaga, innovations ng sariling tono. Content wise, we write about life, issues, and struggles of the people. Defense of land, life and resources

N: Paano naman yung continuity ng Salidummay?
Sa: In 1998, ibang members ng Salidummay nagdisperse to integrate in different communities (in Cordillera). Although syempre pag may activities (in Baguio), nag-ko-convene naman. In 2001, the old members decided to recruit for the new generation. This time, performing arts na rin ang forte ng grupo. Tapos there was the assistance ng old members. Parang passing of the heritage ng grupo.

N: So far, how was the recruitment process?
Sa: Open ito sa lahat ng interesado. We get to know the people who are interested, their strengths, commitment nila at response sa trainings. So far, yung bagong members, may ilang compositions na din, winorkshop naming tapos yung nga, we came out with the Ay ay album.

N: Paano naman yung performing-arts side ng group? Of what themes are your plays derived from?
Sa: We performed in Sagada, Laoag, Tadian, sa universities here in the Cordillera, sa Manila, church in Urdaneta, sa mga conference, forums. Basta when we get invited to cause-oriented gatherings, ok. Mostly, environmental, about peasants, women, peoples issues.

N: What convinced you to be a part of the album?
Sa: Di lang kami advocates e, we promote rights. Dapat lang maging part nito (album). At saka being part of DKK (Dap-ayan ti Kultura iti Kordilyera), we had somehow preliminary ideas about the album.

N: What song/s did you contribute in the album?
Sa: Highlight ang issue ng basic sectors. Tungkol sa Lepanto workers yung kanta namin dito. Title nya Lubong Ko. Sabi sa kanta, Lubong ko, danum, daga/ Angin, balitok, apoy/ Sanguen da ngarud/ apoy ti tignay masa/ Unget ti mangmangged, mannalon ken minorya/ Uston ala uston, iparit ti expansion/ Isardeng ti nakadadael panagminas ti Lepanto. Sinasabi sa kanta na ngayon harapin nila (Lepanto management) ang apoy ng mass movement, galit ng maggagawa, magsasaka, ang minority. Tama na, pigilan ang expansion, itigil ang nakasisirang pagmimina ng Lepanto.

N: Lastly, what would you like to share about the human rights violations?
Sa: Ano nga ba ang dapat nating gawin? Assert and fight for our human rights. If there’d be any more albums of the same purpose, for other sectors, we would not hesitate to take part in it.

For years of creating music with the integration of indigenous instruments and the current tune styles, Salidummay never tires of establishing their principles. Their music continues and their cultural performances will always be seen and felt. Their song will always be resounding. Ay, ay salidummay. Salidummay diway.

SILAY

Sining ng Paglaya, known to many as SILAY, is originally a group composed of music-loving people who came from various sectors and progressive Baguio-based organizations. Twelve people consisted the group coming from Kilusang Mayo Uno (KMU), Urban Poor, Alliance of Concerned Teachers (ACT), Innabuyog and Cordillera Peoples Alliance (CPA).

Nordis (N): Who are now the band members?
Silay (Si): From the original 12, there are only 4 of us now na nagpipilit pa ring kumanta, Ani Bungaoen, Audrey Beltran, Julie Palaganas and ako (Luchie Maranan).We are not of YS (youth sector) age. (she laughs)

N: How do you divide the tasks?
Si: Guitarist si Julie. Ani would occasionally play the gangsa before. In some of our performances, my sister Lingling Maranan-Claver would play the guitar, para bagang sessionist. Lahat kami kumakanta, may toka agad sa voicing. Wanted: male voice nga pala at retired na mga boys ng SILAY (she jokes).

N: Does SILAY already have an album?
Si: No album yet. Our work schedules do not allow us kasi hindi ito (music, singing) ang primary na ginagawa namin. But of course we have not given up on that dream to come up with our own kasi may mga materials naman. Julie and I used to kid about Windang Hill recording dahil inggit sa Windham Hill records (she laughs).

N: So you say, you came from different organizations, how did you get started?
Si: For the 20th anniversary of CPA in 2000, we were asked to put together people who would sing for the cultural number at parangal para sa mga martir ng people’s movement. Kami yung over-enthusiastic na nabuo, talagang naghahanap ng outlet para ma-express ang maalab na kagustuhang kumanta (the group laughs). Mula noon, ang SILAY ang tinatawag para tumugon sa mga cultural numbers sa mga campaigns. We would sing songs ng Tambisan, Saliddumay, Buklod, Jess Santiago, Nonilon Queano, songs in Ibong Malaya composed by political detainees in the 70’s, Peter, Paul and Mary, songs from the old and new, aboveground and underground revolutions.

N: Clearly, your influences are mainly political. Why did you choose such music?
Si: Gusto namin yung mga songs that can rouse people, kaya militancy in singing is important. Dapat maparamdam sa mga nakikinig at nanonood yung fervor ng kanta, kung saan dadalhin ng pagkanta ang diwa ng mga tao. Music should inspire and move people to action.

N: What convinced you to be a part of the album?
Si: The Karbengan project is a very timely one. We were invited to join para mai-ambag naman ang komposisyon sa karapatan ng kababaihan

N: What song/s did you contribute to it?
Si: We contributed “Gumising ka, babae!” Lyrics were composed by me and music arranged by Julie. Nung una nga, sobrang new age yung tunog pero habang kinakanta na namin, lumabas yung martsa na beat. Kinanta namin ito noon sa Gabriela Partylist campaign. For this recording, Lingling helped a lot in rearranging and directing us, even with the instruments. Na child-labor pa nga namin anak niya, si Gaea (Mutya) para mag-bass guitar. Si Ani pinaglaruan yung rainstick, si Lingling nagdagdag ng ilang hints ng keyboard, nahatak namin si Kumbaya sa Innabuyog-Gabriela at voila! Reborn ang SILAY sa Karbengan album.

N: Why did you choose that song?
Si: It is important to highlight women’s rights in the whole human rights situation. Women cannot be free from oppression as long as the rest of the people are not free. Women’s rights cannot be realized as long as they are bound in this deplorable situation. As the lyrics go, “Kumalas/ Sa hulma ng lipunan/ Igiit karapatan/ Sarili’y pandayin/ Tumugon/ Sa tawag ng pag-aalsa/ Laya’y may pag-asa/ Ika’y makiisa.

N: What can you say about the human rights violations situation?
Si: The recent political executions of human rights workers Pepe Manegdeg and Albert Terradona are telling signs of this state’s brutality and terrorism. It has no regard for human rights and legitimate protest at all. Walang pakundangan ang gobyerno ni Arroyo sa pagkitil ng buhay ng mga progresibo at militanteng indibidwal na nagnanais lang ng pagbabago at magandang buhay para sa nakararami.

N: How do you feel for those victims?
Si: We grieve so much for the loss of these people, we are also so disturbed but we are angry. We have to be indignant about these atrocities. Hindi lang dito sa bayan natin nangyayari ang ganito. Arroyo and world leaders like Bush and Blair are responsible for wholesale murders of peoples around the world. Nakakapangilabot at nakakahumindig ang bangis ng imperyalismo. But in this corner of the world, we must not lose hope and courage. Isulong natin ang struggle for change. The album may yet stir people’s sensibility and sensitivity to do something about our situation.

For SILAY, though they are not full time singers or composers, they have been able to encourage activists and organizers from various sectors to form a group that loves protest music. They continue to share this with others in rallies, forums, and concerts, which they consider their accomplishment. “Ang sarap ng pakiramdam lalo na noong buo pa kami na after a day of meetings or organizing work, we would just get together and jam, review old protest and revolutionary songs and found different voices and instruments to give life to these again. Tapos babanat ng old songs din from old Jingle mags,” Luchie concludes.

SOTANA

From its foundation up to the present, Seminarians for Transformation and Nationalism (SOTANA) became popular for its pro-people, nationalist and anti-imperialist stance. It has established linkages among church people and non-government organizations. They have participated in mass mobilizations as spearheaded by seminarians of the Roman Catholic Church, Episcopal Church of the Philippines (ECP), Protestant and other religious congregations of nuns.

Nordis (N): How did SOTANA start?
SOTANA (So): The remnant Iglesia Filipina Independiente (IFI) members of the Ecumenical Seminarians Fellowship (ESF) conceptualized the group in the early days of 1987. At that time they saw the necessity of uniting the IFI seminarians into ‘Christ-oriented and pro-people’ individuals.

N: How have you expanded?
S: We have three established chapters at the two major seminaries of IFI in Urdaneta City. It is called the Aglipay Central Theological Seminary (ACTS). In La Paz, Iloilo, there is the St. Paul Theological Seminary (SPTS). The other is in Quezon City, the St. Andrews Theological Seminary (SATS), an ECP seminary.

N: Is it compulsory to all seminarians to be a member of the group? As a mass organization, when did you start doing cultural presentations?
S: No, but we encourage everybody to join. Among the three seminaries, 90 to 100% are bonafide members. It has been a practice of SOTANA, particularly the ACTS chapter to do cultural presentations wherever and whenever we go to gatherings. Although it has always been a misconception that we are a cultural group, this (performing) is just a part of the general plan of the chapter for the cultural enrichment of the members.

N: So where do you usually perform?
S: We perform in mobilizations, forums, symposia and ‘parangal’ (tributes made for martyrs). The capabilities of the members to act, sing, play musical instruments, etc. are enhanced. Our continuous integration with the masses gives us the inspiration to develop more not only in the cultural aspect but also our vocation and ministry as a whole.

N: What convinced you to be part of the Karbengan Album?
S: To be part of an album is a breakthrough for SOTANA. This is our very first time. When friends from DKK and Salidummay informed us about the plan to launch an HR album, our group never had second thoughts in grabbing this opportunity to show in a wider range that we, the church people, are actively promoting the peoples’ democratic rights and welfare. Hopefully, through this album, fellow church workers from other religious denominations will also partake in the advancement of rights of the oppressed and exploited.

N: What song did you render for the album? Why this?
S: It is entitled Taong Simbahan (Church People). It was composed and arranged by one of our priests. This song calls to the church workers to unite deeply with the agony and pain of the masses and to help them uphold their rights.

N: You are united with the album’s disposition. Anything else you could say.
S: Our concern is not just to pray for the salvation of the soul, but to take the experiences of the oppressed people of God as our own experience and to take part in their struggle in achieving the fullness of life. Actually, the government now attacks even the church, particularly the members of the IFI and the United Church of Christ in the Philippines (UCCP), wherein Arroyo’s regime tagged us as ‘Enemies of the State’.

N: So what is your response to such tagging?
S: We say that Arroyo’s government is one true fascist, after the brutal killings and torture of our priests and lay leaders. Who could forget Rev. William Tadena? He lived by the prophetic character of the church.

They are only not of service to their church, but of truthfully being one with other people of God. They serve their purpose and the people as guided by our teachings from the church. Their songs would perpetually last; their melodies would be heard as if sent from the heavens to direct other people in the way of a more just life.

Tabak-Baguio

You may have once passed by them; caught a glimpse of at least one of their street plays; watch them perform at rallies; saw one of their full-length productions. You may know them as the Tanghalang Bayan ng Kabataan sa Baguio (Tabak-Baguio), the theater organization based in the University of the Philippines Baguio, but now you could experience their music, coming from its founders and present members.

Nordis (N): Who are the band members?
Tabak (T): It’s not actually a band. The organization is subdivided into different pools according to the different interests of the members. May movement pool (for acting and dancing), may writers pool, may visual arts pool. Tapos yung music pool ang kasama dito sa album.

N: So who are in the pool?
T: Hindi kasi lahat ng members ng pool sumama sa album. Yung ilang kasama sa singers, si Camille Tijamo, Hanna Callora, Mylce Mella, May Martinez, Jamie Tomboc, Sharline Cruz, Gelo Guison, Val Balita, at ako (Stan Robias). Sa guitar, si John Voltaire (JV) Dalangin, sa percussion si Blou-Jean Melegrito.

N: How did you get started with your music?
T: Bong Ramilo, one of our organization’s founders, is a great composer and songwriter. Yung isa niyang kanta, yung Awit ng Peti-burges, ginamit sa movie ni Maricel Soriano, yung Mila. So with that background, we get the inspiration to continue formulating hymns and melodies about the exploited masses.

N: How do you classify your music?
T: Progressive, with many influences from mainstream and alternative music. Though we’re in the process of learning indigenous music instruments kasi na-e-explore pa lang namin guitars, keyboards, percussions, yung k-hon (a beat box), tska syempre yung sa voice ng mga singers.

N: What convinced you to be a part of the Karbengan?
T: When we first launched Himig ng Alyansa in a mobilization organized by Youth DARE (Youth Demanding for Arroyo’s Removal), the audience were somehow delighted on the fresh and light concept of the song, through this, DKK (Dap-ayan ti Kultura iti Kordilyera, one of the album’s organizers) thought of inviting us to include Himig in the Karbengan album.

N: So Himig was the song you performed for the album. Anything more you can say about it.
T: Himig was written and arranged by Blou, Gelo and me. And for the album, Hanna and JV rearranged it. It depicts the situations and the ongoing struggles of the different sectors in the society. As the song implies, “Makibaka, lumaban at magkapit-bisig/ Mararating din natin ang paglaya.”

N: Obviously, you are one with the album’s views on human rights. What else do you do regarding the human rights and violations against them?
T: As part of the nationalist theater movement oriented to the service of the Filipino masses, pati na rin sa pagtataguyod ng alternatibong malikhaing kultura na nakaangkla sa tunay na kalayaan at demokrasya, we arouse the masses to take action and fight for our human rights through arts, pag-arte, at sa mga kanta pang mabubuo namin. As we always say, “Sining para sa Masa, Tungo sa Masa.”

They are currently in the process of creating their own album, due next year in time with the celebration of their 21st year on January 30. They juggle time, efficiently dealing with their academics, daily practices for the album and for mini plays for rallies, and rewriting and re-conceptualization for a major production they would perform in February 2006.

People often misconstrue this kind of youth. “When they grow old, they’d forget about what they fought for,” you might think. But when I talked to them, the determination is in their eyes. They fully understand their principle. Lasting and stable, I’d say. Tabak-Baguio would surely go forward as they sail in the midst of challenging new art trends, and their principle would never go passé.

Before the curtains close

The Karbengan Album will be launched on December 9 at the Ayuyang Bar, below the Baden Powell Inn at the Governor Pack Road. The same artists who took part in the album are to perform live at its launching. Proceeds of the album will go to the major fact-finding and medical missions within the Ilocos and Cordillera regions where human rights abuses are rampant due to militarization. #

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