An Satong Kakanon sa Aroaldaw, 2015

An Satuyang Kakanon Sa Aroaldaw/Ang Ating Biyaya sa Araw-Araw is a collection of poems in several Bikol languages featuring 25 contemporary poets.

Edited and translated into Filipino by Kristian Cordero. Published by Komisyon sa Wikang Filipino with funding grants from the National Commission for Culture and the Arts.

Second-rate, Trying-hard

Joey Ayala at Cafe Terraza, Roxas City, Capiz

ROXAS CITY—Wala nang original sa mga Pilipino artist ngayon. Pare-pareho na lang ang tunog nila; gaya-gaya lang sila. This was the essence of what Joey Ayala said during my conversation—well, informal interview—with him in October last year here.

The Mindanao-born artist also known as the “Karaniwang Tao” (from one of his hit songs ) was hinting at the consciousness of the Filipino music artists nowadays —and how their work is rather determined by Western influences. 

Through the auspices of the Capiz Provincial Tourism and Affairs Office (PTCAO) headed by Mr. Alphonsus Tesoro​, I had the chance to personally meet with Ayala during the Heritage Camp sponsored by Capiz PTCAO. And as per Tesoro, with the assistance of the National Commission for Culture and the Arts (NCCA), Capiz had the chance to see Joey Ayala for the second time.

Speaking before some 300 student participants at the Capiz National High School during the students semestral break, Ayala practically brought the house down with his rapport with the young learners and leaders who represented their respective municipalities across the province. 

Among other things, Ayala underscored how a nation’s history, heredity, culture, lifestyle and a sense of identity give rise or bear on the consciousness of the individual. For him, the consciousness of the Filipino is determined by his present dispositions acquired gradually through a generation of cultural influences.

In other words, the way we think is influenced by what only prevails in our culture and environment. So, if a Filipino child has long been taught that commodities from the United States are “original’ and therefore “cool” while all products made in the Philippines are “local,” such consciousness will hardly change in his lifetime. He will grow up looking to, patronizing and, yes, worshipping anything that is estetsayd (State-side).

So shouldn't we wonder why many Filipinos would love to pursue their own American dream? For one, not too many in our batch in high school remained in our locality. Subconsciously, it has been made clear that to be successful is to go out of the hometown and make it big in the bigger city where supposedly all the perks of t

echnology; a promising, high-paying job; a successful career; and probably a better life await.

As for the Filipino music artists, Ayala’s claim at the beginning of this piece rings true, indeed, even as growing up, we have come to hear our very own Filipino singers being carbon copies of the Western sensibility.

Upon hearing Ayala’s verdict, I easily recalled how my own favorite alternative bands Cueshe, Hale and a host of similar other bands who rose to prominence in the Tunog Kalye scene in 2000s, indeed, only resonated the vocals and acoustics of Creed, 3 Doors Down, and what-have-you.

You also have the likes of Arnel Pineda and Jovit Baldovino being hailed for singing just like Journey’s Steve Perry and other rock artists who could reach high notes. I also recall hearing over an FM station eons ago how Ilonggo Jose Mari Chan is said to be the Cliff Richard of the Philippines—because of his balladeer sensibility.

I also recall reading one review in the Philippine Collegian back in the 1990s, saying how Cookie Chua’s then-upcoming group Color It Red sounds very much like Natalie Merchant’s 10,000 Maniacs. 

Later I would read about Gary Valenciano being our very own Michael Jackson, owing to the dance moves of the perennial superstar; Regine Velasquez belting it out like Mariah Carey—though the latter later referred to the former as “A BROWN MONKEY WHO CAN SING;” then the list goes on.

I also recall my high school classmates Alfredo and Delfin (who are Roxette and Madonna die-hards, respectively) constantly berated the musical pieces of Original Pilipino Music (OPM) artists who, along with their U.S. Billboard chartmakers, also enjoyed airtime on FM radio stations at the time.

Talk of colonial mentality at its worst—talk of Western parameters always being used to critique Filipino artistry and originality.

So, are contemporary Filipino music artists, indeed, unoriginal—only rather best at copying what they hear? Or is their mentality so westernized already that they cannot help but sound like anything they hear from other countries—especially United States? Is it our consciousness that is so jaded enough to not anymore believe in what the Filipino artist can achieve?

My brief conversation with Joey Ayala has not given me answers; it only raised more questions.