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UGONG VOL 1 ISSUE 1, August 2014
Hamon ng Kasalukuyan Sa ika-25 na kaarawan ng Kontra-GaPi, inihahandog ng mga miyembro nito ang UGONG, Ang Opisyal na Lathalain ng Kontemporaryong Gamelan Pilipino. Naglalaman ito ng karanasan ng mga miyembro na sa tingin namin ay kapupulutan ng inspirasyon. Harabas ang pagsupil sa kulturang Pilipino lalo na sa larangan ng wika, musika, sayaw at iba pang sining. Nararapat lang na igiit ang natitirang mga buhay na kultura ng ating bansa para hindi mawala ang ating pagkakakilanlan. Sabay na matatawa at malulungkot ako kung sa paghaharap ng mga bansa sa isang kultural na kumbensyon ay wala nang maipapagmalaki ang mga Pilipino. Ang usapin ng globalisasyon ay hindi katanggaptanggap na dahilan para maging gaya-gaya na lamang tayo sa mga nauuso sa ibang bansa- mga bansa na naging maunlad dahil na rin hindi nila kinalimutan ang sariling kultura. Totoo, mahirap sabihin na may iisang boses o kultura ang mga Pilipino dahil sa arkipelahiko at bulubunduking oryentasyon nito. At dahil na rin sinadya tayong hatiin ng mga kolonisador para madali nila tayong supilin. Pero ang pagkaka-iba-ibang ito ang isa sa matatawag na katangi-tangi sa Pilipinas. Maaaring mahirap pagisahin ang Pilipinas sa usapin ng pulitika pero hindi sa sining. Ito ang paniniwala ng Kontra-GaPi. Isang uri ng pag-aklas at paggiit sa larangan ng kultura. Isang panawagan sa natatago at muntik nang makalimutang pagka-Pilipino ng mga Pilipino. Sana ay ikalugod ninyo, mga kapwa kayumanggi, ang munti naming ambag, hindi lang sa musika at sayaw, kundi pati sa panitikang Pilipino. Iwagayway ang kulturang Malay, malay at malaya.
Taks Barbin Tagapagsalita UP Kontemporaryong Gamelan Pilipino
TABLE OF CONTENTS
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Current Events
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Presenting the Past and Performing for the People
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Lakbay-Tanghal
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Tugtugan sa Cagayan
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Music Without Borders
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Kontra-GaPi sa Aklan
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Lipat-Buhay
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Mga Kaganapan sa ika-25ng Anibersaryo
August 2014 VOLUME I ISSUE 1 Ang mga opinyong nakasaad sa mga artikulo sa mga awtor at hindi kumakatawan para sa buong organisasyon. Para sa mga komentaryo at katanungan, mag-email sa ugongnewsletter@gmail.com
Grupong Patnugot: Taks Barbin Kevin Camarao Nicky San Pedro Sabrina Tan Lyn Soquila Steph Guiang Kai Fabian
Disenyo/Layout: Sabrina Tan Lyn Soquila Rafael Reyes Steven Burce Pasasalamat kina: Prof. Edru Abraham Jaimar Palispis
Sining sa Pabalat: Lito Amalla Camahalan
UGONG VOL 1 ISSUE 1, August 2014
ETHNIC MUSIC IN THE SENATE: Senate Secretary Oscar Yabes (right) hands over a plaque of appreciation to Professor Pedro Edru Abraham, founder of the music group Kontra-GaPi and a faculty member of the Arts studies in the University of the Philippines, for entertaining Senate officials and employees with ethnic music and dance Thursday afternoon. (PRIB Photo Alex Nuevaespa単a/February 27, 2014)
PERFORMING FOR PEACE: Kontra-GaPi brought music and dance in celebration for the long sought peace in Southern Mindanao during the signing of the Comprehensive Agreement on the Bangsamoro at the Kalayaan Grounds of Malacanang Palace. (March 27, 2014)
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Presenting the Past and Performing for the People
BY NICKY SAN PEDRO
A quarter of a century is a long time. Twenty-five years is no small amount of time for an organization to stay intact, much less a performing group with a membership base that fluctuates and changes as people come and go. Yet 2014 marks the twentyfifth anniversary of Kontra-GaPi and it has accomplished so much since its humble beginnings as an ad-hoc group scoring music for a theatre play. Maybe you’ve only recently heard of Kontra-GaPi; maybe you got curious after seeing one of our shows; or maybe you’ve already known Kontra-GaPi for a long time and simply need a reminder; maybe you only learned about our existence through this newsletter. So before we can appreciate and celebrate the 25 fruitful years of Kontra-GaPi’s existence, we should ask: what is Kontra-GaPi all about, anyway? Founded by Professor Pedro R. Abraham Jr. in 1989, the Kontemporaryong Gamelan Pilipino is the UP Diliman College of Arts and Letters’ resident performing group for ethnic music and dance. In this age when a vast majority of artists rooted firmly in European and American styles are the only ones who gain popularity, Kontra-GaPi champions those styles in music and dance that were created and developed here in the Philippines, mainly styles dating back to pre-colonial times. The gamelan is the prominent type of musical ensemble in SouthEast Asia; one can think of it as our own version of the European orchestra. We call ourselves contemporary because we do not limit ourselves to the strictly traditional way of performing Filipino ethnic music and dance but rather, we take inspiration from these traditions and use them to create new songs and new dances that celebrate the old while moving forward towards the new. We also respectfully mix these styles together into a single composition or dance, embodying the way the Philippines brings together many different cultures under one flag. In this way, we are more than just a professional performing group based in UP. We are also a connection to the past. Kontra-GaPi is about bringing these often neglected and forgotten parts of our history into the consciousness of the present generations. We often forget about our rich musical history, ignoring it for the international artists who dominate popular radio today, a consumer-based non-lasting and non-creative approach to art. Globalization should not entail abandoning our identity; it should involve sharing that identity to
the rest of the world. Before we can do that, though, we have to remember who we are: our indigenous cultures and traditions. While composition, choreography, and mindsets are a little abstract, we famously have tangible manifestations of the past: our instruments. Instead of using the usual string sections of European orchestras, the electric guitars of modern rock bands, or the keyboard and laptop combinations of today’s electronic artists, we perform with traditional instruments of various ethno-linguistic groups from around the Philippines. And though the “gamel” part of “gamelan” can roughly be translated as “to strike”, we are never limited to percussion instruments. The strummed notes of a hegalong and the soft melodies of a tongali can be as beautiful, if not more so, than those of a classical guitar or concert flute. The best part is the joy that comes from listening and playing these instruments. Put a saronai and a pair of sticks in front of a KG musician and forbid them to play the instrument: it will take all their will to follow your instructions. And the distinct sounds they make are not only a breath of fresh air in a musical landscape dominated by European and North American instruments, they also remind you of the Philippines’ storied history of musical instrument-making too often glossed over or forgotten. It is a shame that very few of us bother to delve into this rich and endlessly interesting history. One proof of our inventiveness can be found in the sheer number of instruments Filipinos have made from bamboo alone. It is
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amazing that a single type of plant is all one needs to construct instruments as diverse as the bungkaka, the kubing, the kulitong, and many others! Just as our instruments are varied, so too are our members. We come from different backgrounds, have different personalities and perspectives. The twin mottos of “unity in diversity” and “diversity in unity” are usually used to explain our bringing together of instruments, dances, and musical styles from all over the Philippines, but these can also describe our membership. Among our undergraduate members, it is extremely rare to find one who majors in music or dance. Hang around our tambayan at UP Diliman’s Faculty Center and at one moment you might hear a student from civil engineering discuss politics with one from tourism. At another, you might hear a computer science major and a journalism major chat about anime. But like the distinct instruments heard in a gamelan, we do not clash; we harmonize and blend with each other, connected by our shared passion for the Philippines, its traditions, and its culture. That connection, and the friendships that spring from it, allow us to complement and support each other in performances, and to learn from each other about subjects within and outside the focus of our organization. With that in mind, Kontra-GaPi is a learning experience, and not just for the audiences. Even as a fairly new member, I have learned many new ways to combine musical and dance styles from around the Philippines into a unified whole. I have also been exposed to ways of modifying them to express present-day sentiments and appeal to contemporary sensibilities. Of course, these techniques also stress the importance of respecting the source material. It goes without saying that members also learn how to perform in those styles. But Kontra-GaPi also develops skills not directly related to those art forms. When we are not performing, we are organizing concerts or similar events, negotiating with outside organizers, or collaborating with other groups that do not necessarily focus on music and dance. Though I am sure most of us would love to, many of us may not stay performing for the rest of our lives. KontraGaPi has given us skills that are useful even in corporate settings. Education doesn’t stop in UP: one of the most exciting parts of Kontra-GaPi, for the members, fans, and those who don’t even know they are fans yet, are the tours. About a year after my own recital, some of the senior members and many of the alumni
went on tour across Europe to perform at all sorts of venues and events, including some major music festivals. I myself have only been on local tours. They are not exactly relaxing weekends at a quiet beach, but who still wants that in this day and age anyway? I would rather attempt to hurriedly transcribe local drum patterns, listen to a group of little children sing in secluded mountain villages, or taste local wines, which, apologies to the connoisseurs, I much prefer over the expensive European stuff . There is always so much to learn and experience, always so many adventures to be had. Newer members like myself may initially want to go on tours to get away from the monotonous scenery of the city, but it is more than just a vacation. Though we do get to visit our fair share of fancy tourist destinations, our downtime is not just spent being herded from one scenic area and its respective gift shop to the next. We engage with the locals and join in their experience of their home. We come home with not only memories and factoids about a place’s local culture, but with a more concrete picture of the Philippines as well. Suddenly, these places are no longer simply names you can point to on a map: they become the food you enjoy, the sights you marvel at, the people whose amazing stories you hear during memorable conversations. Born and raised in Metro Manila, the Philippines has just always been a vague assemblage of regions and peoples to me. The scholar Benedict Anderson has said that a nation is an “imagined community” because you will never really get to see all of the people who you call your countrymen; they will forever be just a part of your mind. Yet going to these places and talking to these people has moved at least some of them from the realm of imagination to that of reality. We always hear about the injustices and natural disasters happening around the Philippines, yet unless they happen in our home provinces, we usually just file them away in our minds as mere “news” or “statistics.” But when you have been to a place far from home, lived off the deep generosity of its people, and created great memories with and of them, how can you stay indifferent? You start to care more. You start to realize how beautiful the Philippines and its people are, how important it is to work for a better future for your country. With the greater knowledge that comes from touring the Philippines comes a greater patriotism, and a greater love for its people. But if it feels great to gain knowledge, it feels even better when you get a chance to share it with others. Whether with other members or applicants,
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being able to share the joy of learning something new is a joy in itself. Firstly, that sense of fulfillment that only comes from bringing happiness to others. On a less emotional level, you tend to learn or see new aspects of an idea when talking about it with someone. This is especially true when teaching someone how to perform a music piece or dance step. And then there is the pride of being a teacher. The member who was in charge of teaching my coapplicants and I had apparently cried when giving a speech about us during our Applicants’ Recital, though we were, unfortunately, changing our costumes at the time and were unable to witness it first-hand. I can relate to him now. Few achievements make us feel like we have done our jobs well more than watching those we taught to do a job well. And it is always inspiring to watch and help a person grow better at a task, from being unaware of even the most basic steps to being able to perform it with professionalism and passion. It reminds you of the human being’s limitless capability to learn and improve. In the context of Kontra-GaPi, it is comforting to see the music and dance dear to your heart being expressed, kept alive, and even improved. Watching talented new members who you know are dedicated to Philippine culture and our Kontra-GaPi’s ways of enriching it is downright inspiring. Showing others the beauty of our traditional music and dance, along with a contemporary perspective of it, does not have to mean months of rigorous training though. Some of our performances are followed by workshops, where we teach interested members of the audience a simplified version of one of our dances, or the basics in playing
Filipino percussive instruments in an ensemble. One of my great memories as a member in KontraGaPi, and I have so far had many despite my short time here, takes place during one such workshop. Save for a couple of adults, all of the participants were little children. While the twenty minute training session did not exactly bring them up to professional levels, it was obvious that they were having fun, enjoying in the way that seemingly only kids can. It was obvious that many of them had never tried their hand at performing music, yet they were able to play simple patterns on our instruments after a little tutoring. Though I may never see them again, I sincerely hope at least one of those children get into music, particularly traditional Filipino music and the present day styles it has birthed. In the end, I think that is what Kontra-GaPi is about: we are just a humble group of performers who want to show our fellow Filipinos, and the rest of the world to a lesser extent, just how sublime our indigenous culture can be, and also how it can be modified and used to express the feelings of a modern age. We really just want to thank our siblings from all over the Philippines for being a part, and the source, of such a beautiful tradition of music and dance. Without the people, there would be no traditions to keep alive, no cultures to celebrate, none of the music and dances we have so deeply fallen in love with. Being a member of Kontra-GaPi is hard work, but I think seeing an audience genuinely awestruck and dazzled by what is essentially their art is enough pay. Sometimes, I think it is a shame that the lights and cameras are pointed at the stage; the most creative minds and loveliest smiles are to be found in the audience.
GAMELAN Ang salitang gamelan ay mula sa wikang Javanese. Ang salitang-ugat nito ay gamel na ang ibig sabihin ay paghampas o pagpukpok, partikular sa mga instrumentong perkusyon. Ito ang tawag sa orkestra ng Timog-Silangang Asya. Makikita ito sa mga bansang gaya ng Indonesia, Cambodia, Malaysia, atbp. Karaniwang umaabot ang bilang ng mga musikero nang daan-daan. Samantala, sa Mindanao, may kahawig ito na mayroon lang apat na tagatugtog. May isang tumutugtog sa Agong, isa sa Kulintang, isa sa Babandir , at isang taga-tambol sa Dabakan.
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Lakbay-Tanghal
Abra 03.09
Taiwan 05.14
Tacloban 05.25
Tarlac 06.12
Subic 01.14
Kontra-GaPi Events
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Sa Hilagang kanluran ng Pilipinas, sa kadulu-duluhan ng probinsya ng Cagayan ay makikita ang mga bayan ng Aparri, Buguey, Santa Teresita, at Santa Ana. Dito ginanap ang cultural tour ng Kontra-GaPi kasama ang UP Filipiniana Dance Group (UP FDG) at UP Office of the Initiatives for Culture and the Arts (OICA) sa tulong ng Department of Tourism(DOT) Region 2 at ni Dir. Bless Diwa at ng mga lokal na pamahalaan ng mga bayang nabanggit. Matapos ang halos kalahating araw na biyahe mula sa Maynila, kami ay nakarating sa bayan ng Aparri sa Cagayan nang gabi ng Mayo 25. NI KEVIN CAMARAO
Tugtugan Sa Cagayan Unang Araw – Aparri- “Th e Aramang Capital of Northern Luzon”
Ikalawang Araw – Buguey- “The Crab Capital of the North”
Umaga ng Mayo 26, kami ay bumiyahe mula sa tinutuluyang hotel patungong munisipyo ng Aparri upang magbigay pugay sa kanilang mayor at bumisita sa plaza, simbahan at sa pampang. Sa hapon din ng araw na iyon ay nagtanghal kami sa gym ng bayan sa harap ng mga estudyante. Pinaghalinhinan ng Kontra-GaPi at Filipiniana ang mga piyesa sa programa upang mabigyan ng kakaibang karanasan ang mga manonood. Tahimik ngunit nakikisaya din ang mga bata dahil nangangapa sa bagong karanasan sa aming sining. Pagkaraan ng halos isang oras ay amin ding ginanap sa gym ang workshop sa musika ng Kontra-GaPi at sa plaza naman ang workshop sa sayaw ng KontraGaPi at Filipiniana. Dinumog ng mga bata ang parehong workshop at hindi magkandarapa ang mga miyembro ng grupo dahil nga sa dami ng mga bata at mga gurong sumali sa mga workshop. Pagod man at namamaho sa pawis, sulit naman ang paghihirap ng grupo dahil sa pinakitang interes ng mga guro at lalo na ng kabataan sa kanilang sining. Matapos iyon ay nagkaroon ng oras ang grupo upang magtampisaw sa dagat at maglibot-libot sa Aparri. Kami naman ay pinakain ulit ni Rev. Fr. Joel Reyes sa kumbento ng Lyceum of Aparri matapos maghapunan sa tinutuluyang hotel. Boluntaryo ring ipinahiram ni Father Joel ang bus ng eskuwelahan upang magamit ng grupo sa nalalabing mga araw ng tour.
Mula sa bayan ng Aparri, kami naman ay dumako pa-kanluran papunta sa bayan ng Buguey kung saan kami naman ay nanuluyan sa Crab Hotel, isang hotel na pinangangalagaan ng pamahalaang bayan para sa mga opisyal na bisita nila. Para sa pananghalian, kami'y hinandugan ng mga alimango na siyang ikinatuwa din ng mga miyembro ng grupo. Nang hapon ding iyon ay nagtanghal ang grupo sa isang mababang paaralan sa bayan ng Buguey sa harap ng mga estudyante at mga guro. Matapos ang pagtatanghal ay nagkaroon din ng dalawang workshop sa sayaw at dalawang workshop sa musika. Inanyayahan din ang grupo na magbigay ng isang maliit na pagtatanghal sa isang barangay upang maibahagi rin sa taumbayan ang kanilang sining. Pagbalik sa hotel ay nagsibihis na ang mga miyembro at dali-daling nagsilangoy sa dagat. Kinagabihan ay bumuo ng maliit na grupo at nagtanghal sila para sa mga mamamayan ng barangay.
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Ikatlong Araw – Sta. Teresita at ang Lawa ng Sta. Teresita Sa bayan naman ng Sta. Teresita ang sumunod na pinuntahan ng grupo. Kami ay tumuloy sa isang gusali ng munisipyo, hindi man kasing ganda ng isang hotel, ito ay aming tinanggap ng buong puso dahil ito ang abot ng kanilang kakayahan. Sa gym din ng munisipyo kami pinakain ng lokal na pamahalaan, kung saan nagbigay din ng munting pagtatanghal ang mga tagamunisipyo upang kami ay aliwin habang kami ay kumakain ng lechon at iba pang putaheng kanilang ini-handa. Pagkatapos mag-siesta ay nagtanghal na rin ang grupo sa ilan daang mamamayan ng Sta. Teresita. Dinagsa rin ang mga workshop ng grupo, mapa-sayaw man o musika. Pagkatapos ng mga aktibidad ay dinala ang grupo sa lawa ng Sta. Teresita kung saan makikita ang mga bakong. Kami ay tumawid sa mahabang tulay na gawa sa mga kawayan upang marating ang isang isla sa gitna ng lawa. Hindi kami pinayagang lumangoy sapagkat wala kaming sapat na kagamitan noong panahong iyon. Ikaapat na Araw – Spelunking sa Sta. Teresita at ang bayan ng Sta. Ana Sa umaga ay pumunta kami sa isa sa mga kuweba ng bayan ng Sta. Teresita bago tumungo sa Sta. Ana. Matapos ang mahaba-habang lakaran ay nakarating din kami sa bukana ng kuweba. Makalipas din ang ilang minuto ay nasa daan na kami patungong Sta. Ana. Amin munang binigyang pugay ang mayor ng
bayan bago ibinaba ang mga instrumento sa pagtatanghalan at pumunta sa aming tutuluyan. Sa hapon ay aming idinaos ang pagtatanghal kung saan naging panauhin din ang mayor ng bayan. Nagkaroon naman ng dalawang workshop sa musika na siyang sinalihan naman ng kabataan ng Sta. Ana. Pagkatapos ang palabas ay libre na ang mga miyembro upang lumangoy sa dagat na siyang sinundan naman ng katakam-takam na hapunang may kasamang sugpo. Matapos ang kainan ay nagsipagayos na ang mga miyembro para pumunta sa isla ng Palaui kinabukasan. Ikalimang Araw – Ang Isla ng Palaui Maaga pa lang ay handa na ang grupo papunta sa isla ng Palaui, na ang beach ay pinarangalan ng CNN bilang isa sa mga pinakamaganda sa buong mundo. Kailangang sumakay ng bangka upang makapunta sa isla, pagdating doon inakyat ng grupo ang parola kung saan makikita ang mga karatig isla at ang kabilang bahagi ng isla ng Palaui. Nagtampisaw naman sila sa isang talon bago sumakay ulit sa bangka upang libutin ang isla at lumangoy sa isang parte kung saan mababaw ang tubig at walang mga dikya. Walang kapagurang lumangoy ang mga miyembro bago tuluyang umahon. Nananghalian ang grupo sa isang hotel at makalipas ang ilang oras ay tuluyang na ring sumakay sa bus pabalik ng Maynila at namaalam sa isang magandang pakikipagsapalaran sa Lambak ng Cagayan.
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BY BAKI CANAY PHOTOS BY HILDE BJORKUM
Picture this: 3 fair-haired Norwegians wearing their colorful bunad, one wielding a sprightly fiddle, another a sonorant accordion and the third a powerful, singing voice. But they weren’t in any fjord nor log house — not even anywhere near their lush country of Norway! Instead they were sharing a stage with musicians dressed in richly patterned sarong and tubaw who were seated cross-legged in front of metal gongs that boomed and tinkled. The eclectic assembly performed an exclusive concert that was received with thunderous applause on a balmy night in Bandung, Indonesia. This was a fitting finale for Førde Traditional and World Music Festival’s (Førdefestivalen) The Talent Project 2013. Almost one year in the making, the project finally wrappedup neatly and explosively on 20–27 April 2014. There were tears, undeniably. But greater felt was a sense of optimism for what has been accomplished by the participants and what the experience may lead to in the future. Talent Project 2013 brought 10 musicians with diverse cultural backgrounds into one musical melting pot where raw talent was challenged to create harmony. From Norway came Elisabeth Ellingsen (vocals), Sivert Holmen (fiddle) and Ole Nilssen (accordion); from Indonesia Nendar Kusnadi (kendang), Reka Nopiyandi (suling) and Yani Isidiani (kacapi) and from the Philippines Jaimar Palispis (kulintang), Shadin Kitma (hegalong), Bernadete Canay (dabakan) and Sabrina Tan (dance – Igal). The musicians first met in Førde, Norway back in July 2013 as part of Førdefestivalen’s collaborative project for Norway’s young, emerging talents. “The Talent Project” aims to encourage musical discourse between Norwegian musicians and their counterparts from other parts of the world as a way of fostering international camaraderie. Part of the
project’s activities is a return trip aimed to further expose the musicians to different cultures. For the members of Talent Project 2013, this meant reuniting in Indonesia for another engaging collaboration. As one of those blessed with the opportunity to join the project, I realized after the return trip that the Talent Project has been more than just about experimenting with and making exotic music. It was about meeting people, learning their backgrounds and showing them who I am and where I come from in order to understand and bridge differences. I consider myself and the 9 other participants a veteran in the music-making process: it is not easy to meld Norwegian, Indonesian and Philippine music together. Yet we made it possible in Førde and it was simply a matter of recreating them in Bandung. There was one grand exemption to the return trip, however. The former 10-man concert has been tripled in number thanks to additional performers and dancers from Indonesia and Philippines. We were no longer being asked to simply create and perform collaborative pieces: we were expected to bring the house down with a 3-hour show!
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By the leadership of multi-instrumentalist and composer Ismet Ruchimat of Indonesia and flutist, fiddler and composer Steinar Ofsdal of Norway, we set to recreate the music we made in Norway and to produce new pieces that fit with the concert’s theme: Music Beyond Borders. Creating the new musical piece took time and repetitive practice. But after two days we were ready for the concert at Indonesia’s premier school for traditional arts Sekolah Tinggi Seni Indonesia (STSI) in Bandung. The delegates from Norway and the Philippines not only brought music to Indonesia. Hilde Bjørkum of Førdefestivalen, Anne Moberg of Concerts Norway, Steinar and Jaimar also led a lecture-demo on Norwegian and Philippine music tradition: a 2hour program that showed Indonesian students the rudiments of the musical cultures of the two countries. There, the students of STSI were given an opportunity to ask questions about Norway and the Philippines and tackled a range of topics from religion to rock music. The question-and-answer portion was symbolic of what the return trip of Talent Project 2013 was all about: the analyzing and sharing of knowledge from one person to another, from a renowned professorartist of Oslo to a professional musician of Manila to a young Javanese student of Bandung. The knowledge crossed half the globe from teacher to student — that same knowledge could be passed from the student to his friends, colleagues and people who will cross his path in the future! We were not simply there to entertain and have a good time. We were giving each other an opportunity to see and appreciate our music and culture. We were like ambassadors of our country, opening our hands to all who were interested in knowing more. The theme of the return trip, Music Beyond Borders, was appropriate for Talent Project 2013. During our week’s stay in Bandung — which I was happy to see looked a bit like my own home city of Manila! — I got to experience the hospitality of Indonesians, taste delicious food, play the kendang and learn words like selamat pagi (good morning), siap(ready) and kenyang (stuffed). The week also reminded me that trolls lurked behind Norwegian songs and that I must try to avoid dancing with a Norwegian to the pols because I would end up dizzy and losing my lunch. Our music brought us together from across borders; our music also led us to erase those borders. I am thankful to be part of Førdefestivalen and I would also like to thank Hilde and Anne who made it happen. I thank Steinar and Ismet not only for
teaching Norwegian and Indonesian music but for showing that music can sustain and can still surprise me as the years go by. I thank Elisabeth, Sivert, Ole, Nendar, Reka and Yani for the crash course in popular culture. I also thank my fellow Filipino talents Jaimar, Shadin and Sabrina for exploring these foreign lands with me. I will carry the experiences of Talent Project 2013 with me and keep Norway and Indonesia in my mind and heart. Maraming salamat! Hatur nuhun! Tusen tusen takk!
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Kontra-GaPi sa Aklan ni Carl Kevin Camarao
(Ika-24 hanggang 30 ng Abril, taong 2014)
Mula sa imbitasyon ni Atty. Allen Quimpo, presidente ng North-Western Visayas Colleges(NVC) at isa ring alumnus ng Unibersidad ng Pilipinas, ang Kontra-GaPi ay napadako sa mga isla ng Visayas upang maipakita ang natatanging kultura ng Pilipinas. Pitong araw ang inilaan ng grupo para sa tour na ito, kasama na ang dalawang araw na pagbiyahe. Limang araw ang naibahagi para sa mga pagtatanghal at mga workshop. Sa loob ng anim na araw, kami ay nanirahan sa Aklan Training Center kung saan ginagawa ang pagsasanay ng mga estudyante sa HRM at iba pang kalapit na larangan.
Unang Araw – Aklan Day Umaga ng Abril 25, kami ay idinala sa lumang bahay ng pamilya ng mga Quimpo upang kumain ng almusal at tunghayan ang Aklan Day Celebration at makita ang iba't ibang organisasyon at institusyon, maging ang mga bandang nakasuot ng mga makukulay na mga kasuotan. Pagkatapos, aming pinuntahan ang kanilang Trade Fair kung saan itinanghal ang mga produkto ng aklan. Naroon ang mga pagkain na tunay nga namang nakakagutom tignan, mga telang gawa sa abaka, mga gamit pambahay tulad ng mga silya at kama, mga aksesorya at mga gawang sining tulad ng mga painting, at litrato. Agaw-pansin naman ang mga itak at ang isang babaeng naghahabi ng telang abaka. Matapos ang isang oras na pagbili, paglilibot, at pagkain, kami ay nananghalian at pumunta sa Bakhawan Eco-Park. Doon kami'y nagtanghal at nagbigay ng workshop sa musika at sayaw para sa mga estudyante ng MAPEH sa NVC at iba pang paaralan, at mga pinuno ng mga tribu ng Barangay. Nakatutuwang isipin na nagugustuhan ng kabataan ang etnikong pagtatanghal dahil na rin siguro sa kanilang kultura ng Ati-ati. Amin ding nasubukan ang isang jamming kasama ang mga pinuno ng tribu dahil sila rin ay nagdala ng mga tambol upang iparinig sa amin ang ilang mga tugtog na ginagamit sa pagsayaw ng Ati-ati. Kinagabihan, kami ay pinakain sa Bakhawan Eco-Park ng mga pagkaing Aklanon, kabilang dito ang tahong at ang tamilok, isang uod na nabubuhay sa kahoy, na sinasawsaw lang sa suka at kinakain ng buhay.
Ikalawang Araw – Pangunahing Pagtatanghal Sa umaga ng araw na ito, kami ay nagtanghal naman para sa mga guro ng MAPEH mula sa DepEd at ibang paaralan, mga opiser ng turismo, at mga estudyante ng NVC. Sapagkat may mga guro sa manonood, ang programa ay binago upang ito ay makapagturo sa mga manonood ng kultura, sining, musika at mga
instrumento ng iba't-ibang grupong etniko sa Pilipinas, na siya ring ginagamit ng Kontra-GaPi. Kasama din ang workshop sa musika at sayaw sa pagbibigay ng mga bagong impormasyon sa mga guro at estudyante. Nang kinagabihan, kami naman ay nagtanghal sa Goding Ramos Park para sa mga mamamayan ng aklan. Mahirap buhayin ang diwa ng mga manonood na iyon sapagkat sila ay abala sa pagkain at iba pang bagay. Ngunit nagawa naming agawin ang kanilang atensyon mula sa simula hanggang pagtatapos ng aming programa.
Ikatlong Araw – Bakhawan Eco-Park at ang Bayan ng Balete Aming pinuntahan ang Bakhawan Eco-Park sa umaga upang ito ay libutin. Ang parkeng ito ay inilunsad noong 1990 bilang isang proyektong pinamunuan ni Atty. Allen Quimpo upang maging proteksyon sa mga baha at storm-surge. Kinalaunan ay naging communitybased ang parke na siyang pinangangalagaan mismo ng mga mamamayan ng barangay kapalit ng insentibo upang makatulong sa kanilang pamumuhay. Hindi alintana ang pawis, aming nilakbay ang mahigit isang kilometrong walkway na gawa sa kawayan habang nagbibigay naman ng mga impormasyon tungkol sa lugar si Atty. Allen. Sa dulo ng walkway ay makikita ang karagatan na sa unang tingin, makakapagpawi ng iyong pagod at pawis. Kinahapunan ay kami'y naglakbay patungo sa bayan ng Balete. Pagdating, kami'y dinala sa Basura Garden, isang hardin na nagpapakita ng mga likhang sining na gawa sa kung anu-anong lumang gamit o basura, mapa tsinelas, hawakan ng payong, bote, o tansan man. Nagtanghal kami sa mga estudyante at mga guro sa bayang ito at may kasama ulit na mga kinatawan ng isang bandang tumutugtog sa Ati-ati. Marahil sa tuwa sa aming pagtatanghal ay nagkaroon ulit ng pagtatanghal sa simbahan na ibinoluntaryo naman mismo ng kanilang pari. Amin namang pinasaya ang mga mamamayan ng Balete sa aming mga musika at
UGONG VOL 1 ISSUE 1, August 2014 sayaw. Lubos-lubos ang pasasalamat ng pari na siyang nakatutuwa dahil na rin sa kanyang simpleng katauhan na umupo lang din sa sahig at nanonood kasama ang mga bata.
Ikaapat na Araw – Medina at ang mga Aklan-Bukidnon Maaga pa lang ay bumiyahe na kami patungo sa bayan ng Madalag na siyang sakop ang barangay ng Medina, naroon ang isa sa mga natitirang grupo ng mga AklanBukidnon, isa sa mga grupong etniko sa Aklan. Matapos ang isang oras na biyahe ay narating din namin ang bayan ng Madalag at kami'y nagbigay pugay sa kanilang mayor bago lumipat sa isang trak papunta sa Medina. Tinahak namin ang matarik at mabatong kalsada bago ulit bumaba at lumipat naman sa habal-habal sapagkat ang daan patungong Medina ay makipot. Tig-tatlong tao ang pwedeng sumakay sa bawat isang habal-habal bukod pa sa dala nilang mga kagamitan. Matapos tahakin ang gilid ng bundok, gubat at ilog ay aming narating ang barangay Medina, isang maliit at tahimik na barangay na pinagkalooban ng yaman ng kagubatan. Noong araw palang iyon ay mayroon silang graduation ng mga estudyanteng nag-aaral sa isang proyekto ng DepEd at NVC upang matulungan ang mga mamamayan ng Medina sa pag-aaral sapagkat milya pa ang layo ng pinakamalapit na paaralan. Amin ding natunghayan ang ilang natatanging pagtatanghal mula sa mga matatanda at kabataan ng medina. Naroon ang isang sayaw na kung saan may tinutugtog silang isang maliit na gong na tila ba isang Babandir at isang kawayan na para bang isang malaking Tongatong, at isang sayaw na nagpapakita sa paghuhuli ng isda. Nagpakita rin sila ng ilang mga sayaw-kolonyal, kasama na ang isang sayaw na animo'y ibinabalibag ng lalaki ang babae sapagkat ito raw ay sinasayaw nang lasing. Matapos ang graduation at ang kanilang pagtatanghal ay amin silang sinuklian ng aming mga sayaw at musika. Amin din silang hinikayat sa chanting at palakpakan. Matapos ang programa ay nagsalu-salo kami kasama
ang mga mamamayan ng Medina sa pagkain ng tanghalian sa mababang paaralan ng Medina. Simple man ang pamumuhay ng mga tao doon ay kanilang ibinigay ang lahat ng kanilang makakakaya upang mapagsilbihan at mapakain kami. Matapos kumain ay isinagawa na namin ang mga workshop sa sayaw at musika. Pagkatapos ng mga workshop ay dali-dali na kaming tumakbo papunta sa ilog at nagtampisaw. Umuwi man ng pagod sa biyahe at tugtog ay hindi maipagkakaila na nasiyahan ang mga miyembro sa araw na iyon.
Ikalimang Araw – Ang mga Ati at Boracay Sa umaga ng araw na iyon ay aming binisita ang isang grupo ng mga Ati sa barangay ng Cubay sa bayan ng Malay sa Aklan. Bilang pasasalamat sa pagiging simbolo ng pagbibigay buhay sa kulturang Pilipino at sa pagiging inspirasyon sa Ati-ati at sa sayaw ng Kontra-GaPi na Ati-atihan sa Diliman, pinasaya namin sila sa pamamagitan ng isang pagtatanghal sa kanilang komunidad. Sa programa ay nakipaghalinhinan kami sa mga bata sa aming programa at sa kanilang pagtanghal ng ilang mga kanta. Nahihiya man sa umpisa, kinalaunan ay nakisama na rin sa pag-chant at pagpalakpak ang mga mamamayan. Bago umalis ay kami'y inanyayahang bumili ng mga produktong gawa nila sa Cubay, dahil na rin sa pagkahumaling sa mga bagay na etniko at sa tulong na maibibigay ay nabili ang karamihan sa mga produktong ibinebenta. Sa hapon ay pumunta naman kami sa isla ng Boracay. Pagkadating sa aming venue ay mayroon kaming ilang oras ng paglilibot at pagtatampisaw, may ilang naghanap ng mabibiling aksesorya, mayroon namang nagpa-henna tattoo at may mga nagtampisaw sa dagat. Kinagabihan ay nagtanghal kami sa mga turista bilang huling pasabog sa aming pagdayo sa Aklan. Maganda ang pagtanggap ng mga turista sa amin dahil na rin sa etnikong katangian ng aming sayaw at musika.
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ni Taks Barbin Bumaba ka mula sa paraisong bundok, Nang angkinin ito ng baril at batas. Nang bundok nyo’y kalbuhin at butasin, Wala nang nagawa kundi lumuwas Karga ang anak at ang gangsa, At ang katangi-tangi mong saplot, Binaybay nyo ang kagubatan ng syudad. Natulirot at nanibago sa komplikasyon ng buhay, Kung saan lahat ay umiikot sa salapi, At giting ay base sa yamang kamal. Malayo sa kinagisnan mong payak, Kung saan pagkai’y handog ng lupa, Kumakain para mabuhay Lumililok, naghahabi, tumutugtog Umiindayog sa pagiging tao. Pero dahil ninakaw ang paraiso, Damit mo’y inangkin ng pabrika, Pinasayaw ka para sa turista. At ang tunog ng gangsang hudyat ng pagdiriwang Ngayo’y sa panlilimos na lang binabatingaw.
UGONG VOL 1 ISSUE 1, August 2014
Aug 12 - Opisyal na Kaarawan ng Kontra-GaPi
Aug 19-22 - Recruitment Booth CNB and AS Walk Aug 26 – Oryentasyon para sa mga Aplikante Galleria 1, Faculty Center, UP Diliman
Sep 8-12 – PILAK: the 25th Anniversary Exhibit Galleria 1, Faculty Center, UP Diliman
Sep 27-28 – Ang Hiwaga ni Gamhan with La Salle Contemporary Dance Company, DLSU Taft
Nov 7 – Epiko with Teatro Mulat, Engineering Theatre, Melchor Hall Nov 12-14 – Lito Camahalan Exhibit with Sulatkamay Poetry, Vargas Museum
Nov 20 – Art Collaboration with CSB painting students Galleria 1, Faculty Center
Feb 2015 – PILAK: Silver Anniversary Concert March 2015 – New Album Launch April 2015 – Kontra-GaPi Coffee Table Book Launching
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UGONG VOL 1 ISSUE 1, August 2014
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