GEE 3: Philippine Pop Culture

Lesson 5 Lecture Notes

Forms of Popular Culture in the Philippines

The Philippines, a vibrant archipelago situated in Southeast Asia, is a nation renowned

for its rich cultural heritage, diverse traditions, and a captivating blend of indigenous and foreign
influences. Within this colorful tapestry, the realm of popular culture has played an integral role
in shaping the collective identity of the Filipino people. Popular culture, a dynamic and
ever-evolving domain, has been a reflection of the societal, political, and economic changes
experienced by the Philippines throughout its complex history. In this lesson, we embark on a
journey to dissect and appreciate the multiple forms of popular culture in the Philippines,
specifically focusing on music, dance, cinema, entertainment, and literature, each of which
contributes uniquely to the country's cultural tapestry.

The purpose of this academic endeavor is to shed light on the distinctive features and
nuances of these art forms, as well as to understand their historical, social, and cultural
contexts. By delving into the various expressions of popular culture in the Philippines, we can
gain insights into the nation's identity, its people's values, and the ways in which they have
creatively navigated the complex currents of modernity and tradition.

Philippine Music
The Philippines, an archipelago of 7,100 islands, can be divided into three major
regions: Luzon, the Visayan islands, and the Mindanao islands. Its diverse population can be
categorized into three religious groups: Christians, indigenous religions, and Muslims.
Christians, the largest group, reside in the lowlands of Luzon and the Visayan islands, while
indigenous religion groups are found in upland northern Luzon, Mindanao, and Palawan. Muslim
communities are concentrated in Mindanao, the Sulu islands, and southern Palawan.

Despite its East Asian location, the Philippines' music has been strongly influenced by
the West due to 333 years of Spanish colonization and 45 years of American rule. While music
in highland and lowland areas with indigenous cultures retains Asian elements, urban music
exhibits significant Spanish and American influences. Philippine music can be broadly
categorized into three divisions: (1) indigenous music with Asian influences, (2) religious and
secular music influenced by Spanish and European forms, and (3) American/European-inspired
classical, semi-classical, and popular music.
The Indigenous Traditions
The recorded history of Philippine music predates the arrival of Magellan in 1521.
Subsequent accounts from friars, civil servants, and travelers provide insights into the musical
traditions of the Philippines. These historical documents describe a variety of instruments
crafted from bronze, bamboo, and wood. They include gongs of varying sizes and shapes,
drums, flutes, zithers, lutes, clappers, and buzzers. Additionally, the indigenous vocal genres
encompass a wide range of expressions, from epics that narrate the genealogies and heroic
exploits of gods and heroes to work songs linked to activities such as farming, fishing, and
rituals. These rituals include songs aimed at warding off evil spirits or invoking blessings from
benevolent spirits, as well as celebratory songs for events like weddings, births, victories in
warfare, or the resolution of tribal conflicts. Furthermore, there are mourning songs for the
departed, courting songs, and songs designed for children's games. It's important to note that
many of these musical traditions persist among indigenous groups to this day.

The Spanish-European Influence on Filipino Music

When the Spaniards arrived in the Philippines, they brought with them a rich
Spanish-European culture that significantly impacted Filipino music. This cultural exchange,
which occurred from the 17th to the 19th centuries, was closely intertwined with religious
conversion. It led to a transformation in the way Filipinos approached music, resulting in a
unique blend of indigenous and Hispanic elements. This fusion gave rise to both religious
music, connected to Catholic liturgy, and secular music that was influenced by European
traditions. This influence is evident in the folk songs and instrumental music of the Philippines.

Gaano Ko Ikaw Kamahal, a ballad composed by Ernani Cuenco in 1979, with lyrics by Levi
Celerio, both National Artists for Music, is an example of a kundiman which is a traditional Filipino
love song that emerged during the Spanish colonial period. It reflects the influence of Spanish
romantic music. The lyrics often express themes of love, courtship, and longing, with a
melodious and romantic melody.

The American Influence on Philippine Music

During the American colonial period from 1898 to 1946, Philippine music experienced
significant changes.

1. Music Education: The American regime introduced music into the public school
system, initially at the elementary level and later in high schools. At the tertiary level, music
conservatories and colleges were established. Graduates from these institutions marked the
emergence of the first generation of Filipino composers who began to create music in Western
styles and forms. Their compositions, as well as those of subsequent generations of Filipino
composers, form the foundation of the classical art music tradition in the Philippines that thrives
to this day.
 2. Semi-Classical Repertoire: Alongside classical music, a lighter form of music
emerged. This semi-classical repertoire encompassed stylized folk songs, theater music, and
instrumental pieces. The sarswela tradition, in particular, contributed a significant body of music,
including songs inspired by opera arias and instrumental overtures.

3. The Band Tradition: The tradition of bands, dating back to the Spanish colonial
period, continued to flourish during the American era. It produced exceptional musicians,
composers, and performers. Additionally, the rondalla, an instrumental ensemble, gained
popularity and replaced the earlier cumparsa ensemble, which drew inspiration from Mexican
murza and Spanish estudiantina groups.

4. Pinoy Pop: American lifestyle and pop culture played a pivotal role in shaping Filipino
music. It led to the creation of music by Filipinos using Western pop forms, collectively referred
to as "Pinoy pop." This genre encompasses a wide range of musical styles, including folk songs,
dance tunes, ballads, Broadway-style compositions, rock 'n' roll, disco, jazz, and rap.

These three primary musical streams—indigenous, Spanish-influenced religious and

secular music, and American/European-influenced classical, semi-classical, and popular
music—combine to form the diverse and rich landscape of what we recognize today as
Philippine music.

Philippine Dance
Spanish Influence on Filipino Dances
During the Spanish colonization of the Philippines, various Western influences were
introduced, affecting religion, social customs, clothing, dance, and music. European dances like
the waltz, mazurka, the Spanish jota, paso doble, and fandango were adapted to the local
climate and cultural sensibilities. The ornate costumes of 16th-century Europe were modified for
formal events among the wealthy and for government functions. These outfits later evolved into
the "Maria Clara" attire for women and the "Barong Tagalog" for men.

Rural Countryside Dances

Life in the Philippine provinces reflects the simplicity of those who live close to the land.
The landscape is characterized by small towns, villages, coconut groves, bamboo thickets, and
the lush green or golden hues of rice fields.
Many rural dances mimic natural movements, imitating birds, animals, trees, and the sea. Some
dances portray various occupations or are created for religious celebrations. Bamboo is a
common element in these dances.
Rituals of the Indigenous Tribes in Northern Luzon's Cordilleras
The BIBAK tribes, including the Benguet, Ifugao, Bontoc, and Kalinga-Apayao people,
inhabit the mountainous regions of Northern Luzon. Isolated in these highland villages, they
have preserved their tribal identity, culture, and traditions.

Dances among the BIBAK tribes are rooted in their nature-based beliefs. These dances
celebrate key life events like births, weddings, deaths, and bountiful harvests. They dance to
honor their ancestors, seek divine intervention for various purposes, and connect socially. Some
dances illustrate agricultural activities, their primary livelihood. These performances are
accompanied by percussion instruments like Gangsa gongs, drums, bamboo instruments, and
flutes.

Dances and Music of Indigenous Tribes in Mindanao and Sulu

Archipelago
In the southern Philippines, specifically on the islands of Mindanao and the Sulu
Archipelago, the cultural influences of Hindu, Arabic, and Indo-Malayan civilizations are evident.
This region is home to Filipinos who embraced Islam as early as the 14th century. These
people, referred to as Moros by the Spaniards, resisted Christianization.

Dances in this area, particularly those of the Maguindanao, Maranao, and Tausug, are
primarily ceremonial and often accompanied by traditional percussion instruments such as
Kulintang gongs and drums. Kulintang music has a history dating back to the 3rd century A.D.,
preceding the arrival of Islam and Christianity. It is celebratory music used for weddings,
festivities, healing rituals, and warding off evil spirits. However, it is not played during funerals or
Islamic ceremonies.

Philippine Cinema
Philippine Theater Before the Advent of Cinema
Long before the emergence of cinema in the Philippines, the country had a rich history of
theater rooted in its early societies. These performances, often integrated with rituals, utilized
imitative dances to appease supernatural forces and ensure the prosperity of the community. By
the turn of the 19th century, zarzuela (a traditional Spanish one-act comic opera) and vaudeville,
featuring singing, dancing, and comedy acts, gained popularity at town fiestas, drawing viewers
from various provinces.

The Spanish Operetta, introduced by Don Narciso de Escosura and later championed by
Don Alejandro Cubero, found a home at Teatro Filipino. Meanwhile, the Tagalog zarzuela
thrived at Teatro Zorilla, contributing to the nascent silent motion picture.
The Advent of Cinema in the Philippines
Cinema officially arrived in the Philippines in 1897, when Pertierra, a Spaniard, screened
the first four movies, including "Un Homme Au Chapeau" and "Une scene de danse Japonaise,"
using a 60mm Gaumont Chrono-photograph projector at Salon de Pertierra. Though other
countries claimed early motion picture showings, the credit for the Philippines' first cinema
experience rightfully belongs to Mr. Pertierra.

The Arrival of Lumiere Cinematograph

In 1897, Antonio Ramos, a Spanish soldier, imported a Lumiere Cinematograph from
Paris and began showing films in Manila. The Lumiere Cinematograph quickly became a
sensation, attracting audiences to films like "Les Boxers" and "La Place de L’ Opera."

The First Movie Shot in the Philippines

In the absence of new content, Ramos created the first Philippine films in 1898 using the
Lumiere as a camera. These early films captured scenes of Manila, Quiapo Fiesta, Puwente de
España, and street life. Subsequently, other filmmakers, like Burton Holmes, Kimwood Peters,
and Raymond Ackerman, documented their visits to the Philippines.

The Establishment of Movie Houses

The first exclusive movie theaters, Cine Walgrah and Gran Cinematografo Parisien,
opened in 1900 and 1902, respectively, while the first Filipino-owned theater, Cinematograpo
Rizal, was established in 1903.

First Feature Film Produced in the Philippines

The first story film made in the Philippines- Rose of the Philippines may have been
produced on location in Manila in 1909 by the IMP Company– Carl Laemmele’s Independent
Moving Picture Company, out of which grew the Universal Pictures Corporation. Some film
historians dispute this contending it must have been a slide show. But the IMP released this 760
foot film (eight minute’s screening time) in the U.S. theaters in January, 1910. When it was
released in Manila in 1911, Rose of the Philippines, was advertised in the Manila Times as
“among the first films produced locally-a dramatic story from the days of the Empire.

The Arrival of Sound in Philippine Cinema

In 1910, the first sound-equipped film, utilizing the Chronophone, made its way to
Manila. However, it's crucial to note that silent movies were never truly silent from the beginning,
dating back to the first show in 1897. These early screenings always featured accompaniments
such as gramophones, pianos, quartets, or, in the case of Caviria at the Manila Grand Opera
House, a 200-member choir.

By 1930, talking pictures, or "talkies," had been in the Philippines for a year with the
screening of Syncopation, the first American sound film, at the Radio Theater in Plaza Santa
Cruz. This marked the beginning of fierce competition among local producers and filmmakers,
all vying to create the country's first talkie.

On December 8, 1932, Graphic magazine published an article featuring the film "Ang
Aswang" (The Vampire) as the country's first talkie. However, in reality, this film didn't turn out to
be entirely a sound film. It appears that the credit for producing the very first proper talkie
belongs to Jose Nepomuceno. His film "Punyal na Guinto" (Golden Dagger), which premiered
on March 9, 1933, at the Lyric Theater, is recognized as the Philippines' first fully
sound-equipped movie.

Film Marketing in the Philippines

In 1912, New York and Hollywood film companies established agencies in Manila to
distribute their films. By 1915, Filipino audiences in Manila and the provinces were enjoying the
best European and U.S. films.

During World War I (1914-1918), European studios' production dwindled, leading Manila
theater managers to turn to the U.S. for new films. American production-distribution-exhibition
combinations quickly dominated the Philippine film market, a trend that continues today.

The Golden Episodes in Philippine Cinema

In 1937, the first Filipino movie to gain international acclaim was "Zamboanga," starring
Fernando Poe and Rosa del Rosario. Hollywood director Frank Capra praised it as the most
exciting and beautiful depiction of native life he had ever seen. Manuel Conde's "Genghis
Khan," released in 1950, received accolades at the Venice Film Festival in 1952 and was shown
in Paris in 1954 after being dubbed in French. Hollywood later remade "Genghis Khan," with
John Wayne as the lead, but audiences found it lacking in authenticity compared to Conde's
original.

The 5th and 6th decades marked the Golden Age of Philippine cinema, with films like
"Kandelerong Pilak," "Ifugao," "Anak Dalita," "Badjao," and "Anak ng Dagat" earning awards at
international film festivals in Cambodia, Asia, and Berlin. The Philippines was recognized as the
leader in the Asian film scene during this period, even at the annual Asian Film Festival (now
the Asia-Pacific Film Festival with 18 countries participating).

The First Color Film in the Philippines

In 1911, a British film crew visited the Philippines, capturing scenes, including the
Pagsanjan Falls, in kinemakolor. Oriental Films, led by Bert Yearley, commissioned this
production and stirred excitement by offering six months of free movie passes to the lucky
patron who could guess the arrival time of the steamship "Empress Russia" carrying the
processed film from London. During the 1950s, Filipinos were introduced to Hollywood's first
full-length Technicolor film. Local producers also attempted to create their own color films, such
as "Prinsipe Amante," although these initial efforts suffered from technical limitations. Filipino
technicians quickly adapted to evolving technology, and by the 1960s, they successfully
presented full-length Eastmancolor films, like "Ito ang Pilipino" starring Joseph Estrada. By the
1970s, black and white films became a thing of the past.
Censorship and Taxes on Philippine Cinema
The government established the Board of Censors for cinematographic films in 1912,
which later evolved into the Movie and Television Review and Classification Board (MTRCB) in
1986. Taxes on films were first imposed in 1915, along with income taxes. These taxes were
levied on various picture-projecting devices. Despite protests from film producers and
distributors, the Bureau of Internal Revenue began collecting film taxes in 1916.

The First Film Producers Association

In 1911, the first association of motion picture producers and distributors was formed by
American, Spanish, and Filipino producers, as well as theater managers. Initially, they united to
combat impending censorship, and later, to oppose taxes. Over time, film production became a
major industry in the country, contributing substantial revenues to the national government.
However, as the filmmakers' enthusiasm to fight censorship waned, their hope of eliminating
taxes also faded.

The Establishment of the Film Academy

Recognizing the significant role and contributions of the film industry to the government,
a Presidential Decree gave rise to the Film Academy of the Philippines. This institution brought
together various organizations and guilds within the film industry, including:

● MOWELFUND (Movie Welfare Fund)

● KAPP (Katipunan ng mga Artista ng Pelikulang Pilipino)
● KDPP (Kapisanan ng mga Director ng Pelikulang Pilipino)
● DGPI (Directors Guild of the Philippines, Inc.)
● SGP (Screenwriters Guild of the Philippines)
● FEGMP (Film Editors Guild for Motion Pictures)
● PDGP (Production Designers Guild of the Philippines)
● STAMP (Sound Technicians Association for Motion Pictures)
● ADPM (Assistant Directors and Production Managers)
● FSC (Filipino Society of Cinematographers)
● UFIMDAP (United Film Music Directors Association of the Philippines)
● OSFILM (Organization of Specialized Filmmakers)
● AFW (Actor’s Workshop Foundation)
● PMPPA (Philippine Motion Picture Producers Association)
● MPDAP (Movie Producers & Distributors Association of the Philippines)
Film as a Potent Medium
Jose Nepomuceno, a pioneering figure in the early Philippine film industry, recognized
cinema's potential beyond entertainment. He viewed cinema as a powerful medium for
documenting the country's development.

A film reviewer in "The Citizen," after seeing Nepomuceno's "Dalagang Bukid" in 1919,
acknowledged that local films had the potential to represent the Philippines to the world. The
reviewer noted:

"Our country is largely unknown to most of the world. To expand foreign commerce and
attract tourists, it is essential to enlighten the world about our situation. We aim to present the
Philippines as the 'Garden of the Far East' to the global commercial community. Motion pictures
are crucial for achieving this goal. By showcasing various aspects of Philippine life and customs
in countries like China, Japan, India, America, Australia, and Europe, we can provide a true and
positive image of our nation. Developing this vital industry will help establish the Philippines as
an enlightened, progressive, and industrious nation."

Seventy-five years later, and continuing into the present day, the aspiration of this
forward-thinking reviewer remains a central objective of the Philippine film industry.

Philippine Literature
Philippine literature is literature associated with the Philippines from prehistory, through
its colonial legacies, and on to the present.

Philippine Literature: A Fusion of History, Culture, and Language

Philippine literature, a product of the nation's history, mythology, culture, and foreign
influences, has evolved across different periods while embracing prevalent literary philosophies
and movements. It encompasses a wide array of literary forms, including poetry, prose,
proverbs, and more. These works are written in various languages, including Tagalog, Bisaya,
and local dialects, as well as Spanish and English.

Noted journalist Nena Jimenez points out the consistent elements of Philippine literature,
characterized by concise and deeply personal sentences. Themes of family, unwavering love,
and determination run through these narratives. The use of commas, conjunctions, and the
fusion of English, known as Filipino-English or Taglish, are prominent features. It's worth noting
that these elements have left a lasting impact on the broader literary landscape.

Pre-Colonial Period
Before the arrival of colonizers, the Ilocano people stood out as prolific storytellers in the
Philippines. They thrived in the highlands, leading nomadic lives that inspired tales of epic
adventures. Ilocanos employed a unique form of storytelling known as the "dallot," which was
essentially an improvised, verse-filled, and often impromptu epic poem delivered in a melodious,
song-like fashion. One of the most renowned dallots was the epic "Biag ni Lamang."

Spanish Period
The Spanish colonization of the Philippines introduced European literary traditions
heavily influenced by the Spanish language and Catholicism. Notable traditions included poetry
like tanaga, ladino, corridos, and awit; religious dramas like moriones, santacruzan,
panunuluyan, and senakulo; and secular dramas such as comedia, duplo, and karagatan. This
period saw the rise of Filipino authors like Francisco Balagtas, known for "Florante at Laura,"
and Huseng Sisiw, author of "Singsing ng Pagibig."

The first daily newspaper, "La Esperanza," was published on December 1, 1846, in the
Philippines, with other early newspapers like "La Estrella" (1847), "Diario de Manila" (1848), and
"Boletin Oficial de Filipinas" (1852). The first provincial newspaper, "El Eco de Vigan," emerged
in 1884, while "El Boletín de Cebú" was published in Cebu City in 1890. Another influential
Spanish-language Filipino newspaper was "El Renacimiento" (1901), printed in Manila by the
Guerrero de Ermita family until the 1940s.

The Philippine Revolution spurred nationalist literary works, with many writers
advocating for Filipino interests, betterment, or independence from Spanish rule. Prominent
figures in this movement included Pedro Alejandro Paterno, the author of the first Filipino novel,
"Nínay" (1885); Graciano López Jaena and Marcelo H. del Pilar, who edited and published the
pro-Filipino newspaper "La Solidaridad" (1889); and the national hero, José Rizal, renowned for
his Spanish novels, "Noli Me Tángere" (1887) and "El Filibusterismo" (1891)

American Period
The American occupation and colonization of the Philippines ushered in new styles and
literary genres. In contrast to the more structured literature of the Spanish era, the American
period witnessed the rise of "free verse," enabling flexibility in poetry, prose, and other forms of
expression. The introduction of the English language held equal significance, becoming one of
the primary languages employed by Filipino writers during this era and continuing to be
influential today.

The first English novel written by a Filipino, "The Child of Sorrow," was penned by Zoilo
Galang in 1921. Early English writings were marked by melodrama, vivid language, and a
strong emphasis on local color. Short stories also gained popularity, with numerous serials and
stories published independently or in newspapers. Among these, Manuel Arguilla's anthology,
"How My Brother Leon Brought Home a Wife and Other Short Stories" (1940), stood out,
winning first prize in the Commonwealth Literary Contest.
 During this period, there was a resurgence of interest in Filipino mythology and folklore,
resulting in many works being published. The most notable of these focused on the folk
character Juan Tamad (1919). Additionally, poetry in the Philippines reached new heights, with
poet Jose Garcia Villa making a lasting impact on poetry history by introducing the comma
poetry style and the "reversed consonance rhyme scheme."

Late 20th Century

With the Philippines gaining its sovereignty from America, patriotism once again took
center stage in Filipino literature. In addition to stories about Filipino mythology and history,
there was a surge in narratives portraying the simple lives of everyday Filipinos. These stories
typically unfolded in rural settings, depicting ordinary Filipino activities such as church-going,
farming, courting, and cockfighting.

One of the most well-known examples was the short story "My Brother's Peculiar
Chicken" by Alejandro Roces. Other prominent mid-20th century writers included Carlos
Bulosan, Nick Joaquin, Bienvenido Santos, Lualhati Bautista, and Rolando S. Rinio. Carlos
Bulosan, in particular, published the novel "America Is In The Heart" (1946), offering an early
glimpse into the lives of Asian-American immigrants in the West. F. Sionel Jose also tackled
social injustice and elitism in his "Rosales Saga" (1973-1984).

This period also witnessed the emergence of a golden age of Filipino comics and
sequential art. Many Filipino comic books, strips, and graphic novels gained immense
popularity, featuring artists like Mars Ravelo, Francisco V. Coching, Carlo J. Caparas, and Gilda
Olvidado. Subsequently, political and protest literature became prominent, especially during the
Martial Law era. At this time, the focus shifted towards critiquing and satirizing the state of the
Philippines, rather than solely celebrating the nation. Notable works from this period include
Amado V. Hernandez's powerful "Mga Ibong Mandaragit" (1969) and Primitivo Mijares's
"Conjugal Dictatorship" (1976).

21st Century
The advent of mass printing and digital technology brought greater accessibility for
Filipino authors seeking to publish their work. The internet emerged as a revolutionary platform
for Filipino authors to connect with readers beyond the Philippines. Publishing houses like
PSICOM thrived, and self-publishers and platforms like Wattpad gained popularity. Notably,
Danny R.'s webnovel "Diary ng Pangit" (2013) was among the first to achieve this.

During this period, numerous Filipinos delved into contemporary literary trends,
addressing modern issues of diversity and mental health while introducing international readers
to Filipino culture. Two of the most prominent Filipino writers of the early 21st century are Rin
Chupeco, renowned for her Young Adult fiction inspired by Filipino mythology, and Louis
Bulaong, an influential figure in pop culture literature who popularized the use of international
Filipino terms like "kilig" in his stories.
 The 21st century also witnessed the rise in popularity of several Filipina writers. One of
the most celebrated is Ivy Alvarez, a Filipino-Australian author acclaimed for her poetry
collection "Disturbance" (2013), which explores themes of domestic abuse. Yvette Fernandez, a
children's book author from Summit Media, produced books addressing history and morality.
Other contemporary Filipina writers include Marites Vitug and Merlie M. Alunan.