Abigail R. Leguera
| I Mr. Gino with some of the Tribu Paghidaet’s staff |
| IITribu Paghidaet’s float in Dinagyang 2015 |
The Chanting and its Origin
The Iloilo province is very rich in festivals. If you’re a person interested in these cultural events you might have observe the evolution of music they use in the festivals yearly. For example, you might have heard the voices singing this line “Pwera sudya ahhh, pwera sinda ahhh”[1] in the first three minutes of this year’s Tribo Paghidaet performance in Dinagyang Ati-tribe competition. This line is an example of chant and the art associated is called chanting.
| III Mr. Santillana, standing in the front of Tribu Paghidaet’s drummers. |
Chanting is one of the evolutions that has been happening in festivals since 2008. The chant above was associated in the scene where a ‘babaylan’ was conducting its ritual. As a whole the line is a part of the ‘Panghawan or clearing chant. It whole purpose is to clear off bad spirits from the place of their ritual.
The information I just discussed is just a spec of what chanting is really all about.
If you got intrigued with chanting then this research will supplement your curiosity.
The facts that I’m going to present came from Mr. Gino Santillana. He is considered to be one of the pillars of today’s chants used in the festivals of Iloilo. I set up a Question and Answer (Q&A) format in this text so that I won’t leave any information he relayed about chanting.
Q: When did it all started?
A: The integration of the chants can be traced back in 2008 Banaag festival of Anilao, Iloilo. We introduced the chorale format of chanting in festivals and then eventually after 2008 all the other tribes caught on. Although other festivals are already into it, it was properly used in Anilao and then it came out in Dinagyang last 2010 which is already a combination of chorale format plus chants, singing and woodwinds
Q: When you say properly used, is chanting already present in the past?
A: In some cases it was used, it’s minimal unlike today the chant that we are doing became critical in the performance
Q: Where do these chants originally started?
| IV The Panay Bukidnons/ Panayanons |
A: It properly started integrating in Anilao but if we base it on its true origin, we must trace it from its roots here in Panay Island. The Panayanons or the Panay Bukidnons started it first, they inspired us and we arrive with this concept. In 2003, we work it with a production called Tarangban[2]. This traditional kind of production is a mix of jazz and neoclassical usage of music and performance. We toured it to Manila and it proved to be wonderful. I would sincerely say that these chants sparked because of Tarangban and Tarangban’s inspirations the Panay Bukidnon.
Q: How do you make the songs?
A: We take it from the story line; we base it from what the festival is and the current theme. There are also instances that we base the song on the experiences of the people in those specific festivals. Then after series of brainstorming with my colleagues, we fit it with the right music, according to what the story would dictate. We consider that if this chant is combined with a specific scene, the message of the scene will be felt already. Making a good tone is favorable, but what we emphasize here is how it blends in the drama or scene.
We also got inspirations from local people. We go to every barangay and listen to
them and ask, especially the elders we: “So this is the tune, can we do it like this? Would it destroy what your culture is?” We are very sensitive on how these people brought it up, about how it was engrained to them.
Q: Where do you get your chanters?
A: We get the singers either from the Dunang Manggad Youth Chorale[3], but then I would prefer or love to train the children of that specific barangay or festival because it’s a passing on of knowledge. It’s also a sign of trust that these kids will eventually be the one to carry the tradition that they have. If their children can’t do it, this time we’ll call the back up. I already trained the locals’ children and so far they all acquire the way of singing.Q: How you train these students?
A: The process starts from the usual way of singing then later you start to inject the process on how they do the chant. Eventually the students will get shocked and will realize that they already acquired the basics of chanting. But then there are student that already have that skill, all the teacher needs to do, is to guide them towards that point.
Q: How you analyze the capacity?
A: When they know how to listen. In singing let just say in everything that you do, the first that you have to learn is to listen. Listening is the name of the game. If you don’t know how to listen, you can’t learn.
| V Mr. Santillana in the performing in USA little theater |
Q: What are the people’s reactions when they hear the chants?
A: The tourists are amaze. They will comment that the performance is enhanced because another depth is created. When others got to hear about it, already blending with the performances, they liked it. If it’s just the chant alone, it sounds weird.
For the locals, they respect us as artists. They give us the free hand as long as we don’t degrade their culture.
On the negative viewers, some will say it’s inappropriate especially the first timers. Even my students laugh at it. If this happens, the teacher’s task will enter. It need patience in showing that this kind of art is wonderful. Usually, they’ll realize how good it is after the performance.
Chanting in its artist point of view
Q: Do you consider this art as outside the canon?
A: It’s outside the canon of classical and pop, let us just put that Dinagyang itself is a different form of musicality develop into different form of art, it’s a live street performance. The music itself is a unique blend of many instruments with influence of different styles. It is the canon because right now, with continuous changes, the Dinagyang is evolving. The amusing part is when the older ones would think that Dinagyang is not Dinagyang anymore.
Q: What do you think is the significance of these chants?
A: It enables us to voice out, back then people love to talk and chanting is a form of talking, and it just has its twist in artistic ways. There is different form of chants but for the chant itself, it is wonderful.
Q: What is your reply in the criticism of chanting being used in the festival?
A: Other artists say that you cannot mix classical in neo ethnic or chanting on jazz. Music has no bounds; it can go wherever it can hence we have this term called jazz fusion- fusing music from all over the world. About multi genre, I appreciate it; in chanting you cannot stick to one genre, if it’s not effective try again.
Artists like me; I don’t treat them as competitors. They have their own level and styles. But it’s sad to say some never tried to look into the roots or the origin of these forms. I would get frustrated as one of the first runner of this form to hear that they try to blend it with the music of mangyans or from the Luzon parts, to think that ours is also rich. If you could listen to that you can derive another style or technique. The ugly part about some artists, they use the same chant of a certain festival and they try to fit it to this tribe, originality is gone. They do not create, it’s sad that the music stay the same.
| VI Mr. Santillana In Dinagyang Festival 2015 waiting for the tribe’s performance |
| VIII The Banaag Festival of Anilao |
| VII Mr. Santillana with the dancers in Pintados festival |
What are the festivals?
Q: What are the festivals you already joined and their significance?
A: I’ve had so many. I’m a mainstay in Anilao for Banaag Festival. I also go to Passi for Pintados, Bayluhay of San Joaquin, Bantayan of Guimbal, Tubong- tubong of Tubungan, Hinirugyaw Suguidadonay of Calinog and Tangyan of Igbaras.
For me the one of the significant festival in the region is the Pintados. It talks about the heritage of Passi. They adorn themselves with tattoo of victory. It shows who they are. They set that trend.
The Hinirugyaw Suguidadonay of Calinog performances are always inspired by the 13 books of the epic of Panay. This epic has been taken from the oral chants of the Panay Bukidnons. The two festivals I already mentioned tells us about the pre-colonial times.
For the colonial era the significant festival is two. First is the Bayluhay of San Joaquin. It talks about the barter of Panay where the ten datus led by Datu Puti came to island and bought the island from the Aetas for a Golden Salakot and Humangos. After that, in the Spanish colonization time one festival stands out, the Bantayan festival of Guimbal. It about the moro raids. Those moro are not necessarily from Mindanao, there were amalgam of Chinese raiders and also Pilipino raiders that have gone bad. There were so many raiders that came to Guimbal and all coastal areas in the whole Western Visayas including Palawan. They ravaged, kidnapped and turned into slaves the ones that they took. These point are very significant on the life of the Panayanons that lead them to build towers to warn them of the raiders.
After that we have the modern times, the Anilao’s Banaag Festival, they celebrate life with color, music and light.
These festivals tell us how beautiful our culture is, how beautiful the Panayanon lineage is and the reason we have to be proud of it because it’s there, you just have to look at it, see it and love it.
Chanting in the point of view of a youth
To get a voice from the youth I interviewed Ms. Jholina Salvador. She already performed as a chanter in the festivals like Banaag, Bantayan and Dinagyang.
Q: How can you describe chanting?
A: Chanting is different from the trends of today’s way of singing, I find chanting weird and unique the first time I encountered it. It was first hard, since it is a different attack. Chanting is like singing , from the deepest of your heart. I just followed what Mr. Gino teach me, even though I can’t understand the lyrics, but once I already performed, and see the blending of my voice with the drums plus the dance of the performers, I will understand what’s happening.
Q: How it helped you?
A: There are many incentives in chanting, aside from the experience and techniques that I acquired, I also earned from it. It’s really not that big, but still it’s a good assistance on my school needs
Q: As a youth is this significant?
A: Yes it is, because it brings us back to the past. History will always be significant to us and chanting is a part of history
Q: How was the experience so far?
A: It’s satisfying. I was exposed. This exposure gave me confidence. I am also very thankful to chanting, because I regained the belting technique in singing. Most of the parts of chanting really requires you to use your throat, it needs power. The repeated exertion of power I had in the past festivals, gave me the ease to perform belting or the “birit” as we call it.
Q: What‘s your future plans about your talents?
A: Since, I am on my 2nd year as music major, I plan to teach after I passed the board exam. If given a chance I would like to coach chanting in the future generation.
| IX: Ms. Salvador singing in aher relative’s wedding |
| XI Ms. Salvador together with DMYC in Sikat Ka Iloilo |
| X Ms. Salvador is a member of the WVSU chorale group, they just won in a competition in this picture. |
Words from Mr. Gino Santillana
.
| XII Mr. Santillana singing with his siblings in DMYC mini concert last December |
If you’re not a fan: Put yourself in the shoes or not better yet try to sing this form of music, technique. You will realize what you have now is actually just a little part of the world. If you know how to sing classical, pop but you don’t know how to sing traditional chanting, it’s your lost because it is who we are and it dictates where you’re going to eventually.
For the fans: Enjoy, and never listen to anybody that stops you. If you want to learn something go ahead and learn because you are the only one that can stop yourself from learning more. Even me, I still consider myself as a student when I reflect, especially during night time. I will always want to learn new things.
If you want to explore the limits of your voice, what you really can do and achieve then try doing this, the chant. It is not just a form or an art; it also teaches you what your capacity is. It can point you at the right directions sometimes. A lot of my students have learned a lot and because of their chanting they became scholars, they realize that their voices can evolve, they can do more. If you learn something new, it is so much better.
| XIV Mr. Santillana, in a recording studio |
| XV Mr. Gino giving a speech last December 2014, in DMYC concert on San Miguel Guimaras |
| XIII, Via Crucis 2015 in Lady Assumption Parish Bo. Obrero |
| XVI DMYC lead by Mr. Santillana in their performance at Amigo Plaza Mall |
Informant’s details:
Name: Gino Santillana
Email: ginosantillana@gmail.com
Name: Jholina Salvador
Facebook account: http://facebook.com/jholinas1
| About the Author: |
Abigail R. Leguera is a girl where 3 quarters of her blood is ‘taga Iloilo city’ and a quarter is ‘taga Badiangan, Iloilo. She’s currently taking up Bachelor of Science in Accountancy at University of Philippine Visayas, Iloilo Campus. She’s now at the first stage of the retention period on her course. She will face the first stage’s judgment day on May of 2016, so help her God.
Aside from being a student Abigail is also a passion performer. She’s quite addicted to singing. She already experience having a concert. She is also being invited to sing for events, like proms, wedding, school programs, family reunion and dance contests. You can watch her sing in the upcoming Rhapsody Concert this April of 2016.
Abigail also dreamed to become a renowned beauty queen. It’s her hidden dreams for now because her academics are strict and they won’t allow her to join.
Abigail always likes to emphasize passion in everything that she does. She has this motto ‘the more passion you invest, the more successful you become”. She used to like color violet but now she’s into cream.
Abigail would like to share more information about her, but she’ll end here for now.
Abigail says thank you for taking time to read her research! J
[1] “Pwera sudya” literally means “hindi kami pagpakalain o tagaan sang lain nga buot” (don’t give us hatred) meanwhile “pwera sinda” means “hindi kami paghalitan” (don’t give us difficulty).
[2] Tarangban is a production of University of San Agustin Little theater depicting the journey of Humadapnon in the epic of Panay
[3] Dunang Manggad is a chorale in Lady Assumption Parish in Bo. Obrero, Iloilo City, and Mr. Gino Santillana is their adviser.
s find shells, dead jellyfishes and drift wood. Some may look at this as trash but others may see much higher value than it is. Like my grandfather Mexico Dignadice he used these wooden pieces to produce art. It is commonly called as driftwood art.
humadiscoveries 