10 Kundiman Songs You Should Know

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The Philippines has a beautiful relationship and history with music. Kundiman, the Philippine art song, emerged around the late 19th and early 20th centuries during a movement against western musical traditions. The genre, which expresses courtship and irrevocable affection, was a platform for reclaiming nationalist Pilipino identity. Key composers like Francisco Santiago and Nicanor Abelardo acted as pioneers, writing songs that borrowed elements from traditional folk music and texts to protest Spanish and American imposition. When natives' patriotic expression was deemed taboo under Spanish rule, the kundiman emerged as a retaliation embodying the Pilipino's love for the country. The kundiman is marked by passionate, sweeping symphonies and romance. It is believed that the romantic object of affection in kundiman songs are symbolic of the country.

According to Nicanor Tiongson in The Encyclopedia of Philippine Art, Vol. 6, the kundiman plays up these essential roots of Pilipino psyche: "sentimentality, [...] yearning for freedom from want and deprivation, and the aspiration for a better future."

Dive into the beauty of original Pilipino music with 10 songs to add to your playlist now. This isn't a definitive or "best-of" list - just a start!

1. Minamahal Kita (1940) Mike Velarde Jr.

http://www.youtube.com/watch?v=2W4RX1S6jUU

2. Dahil sa Iyo (1937) Mike Velarde Jr.

http://www.youtube.com/watch?v=vAdQZMI5Yno

3. Bituing Marikit (1926) Nicanor Abelardo

http://www.youtube.com/watch?v=Gp6-0x9JlME

4. Pakiusap (1921) Francisco Santiago

http://www.youtube.com/watch?v=fiNjvB1M7_c

5. Ang Maya (1905) Jose Estrella

http://www.youtube.com/watch?v=ENHl2jfEWfA

6. Usahay

http://www.youtube.com/watch?v=fCKRbUDsFzk

7. Mutya ng Pasig (1926) Nicanor Abelardo

http://www.youtube.com/watch?v=T75O72u8j24

8. Madaling Araw (1938) Francisco Santiago

http://www.youtube.com/watch?v=8_Jpx8HhoBk

9. Buhat (1939) Mike Velarde Jr.

http://www.youtube.com/watch?v=iKkCTRx4qHI?list=PLD5D4598EF9E2ACC5

10. Irog Ako Ay Mahalin Ric Manrique Jr.

http://www.youtube.com/watch?v=wpIlQlv3LfQ?list=PLD5D4598EF9E2ACC5

Filipino Arts Renaissance: Kilusan Bautista

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Among other art forms, "Universal Self" features martial arts and break dancing. Kilusan Bautista looks as comfortable on stage as others would be in their living rooms. His voice rises up and down in rhythmic acrobatics: flipping sounds into the air, letting stories free fall, catching each word in his natural cadence. He presses the microphone to his lips so that each “p” sound punches the air.

Deep down in my soul I pray to the universe with my flow I am a child of the wild metropolitan jungle.

This is the beginning of his one-man show Universal Self, an autobiographical theatrical performance combining his life experience with spoken word, dancing, martial arts, and hip-hop music. The production revolves around Kilusan’s struggles with identity as a Filipino-American at the intersection of two cultures, family issues, and in his words, “social justice.” The show is a coming-of-age story, set in the 1980s and 1990s of Kilusan’s native San Francisco. Using every inch of the stage, he break dances, lyrically moves, performs spoken word while doing Pilipino martial arts, and disappears into different characters.

“Theater to me is like my jacket. It allows me to bring everything together,” he said. He speaks fluidly and uninterrupted save for carefully chosen dramatic pauses. When presented the word “stability,” Kilusan takes time to chew on the word.

“What IS stability?" He then drifts off into the importance of education, talks about writing, and goes into anecdotes about his father, uncles, and friends for several minutes.

“Stability was not financial, not just having a roof over my head… For me, stability came from the arts.”

It’s possible Kilusan wouldn’t have become an artist without his dad's struggles. He grew up in a turbulent household with a drug-addicted father; 12-year-old Kilusan would sometimes tag along to attend Alcoholics Anonymous and Narcotics Anonymous meetings. He kept himself out of the house as much as possible, finding solace in break dancing, theater, and martial arts.

Kilusan Bautista, creator of one-man show "Universal Self."

“[Art] revolutionized my whole identity, my expression, my voice, and as an adult and professional artist, my expression is full body. My identity has a lot to do with movement.” His name – Kilusan–means “movement” in tagalog. Originally born Jeremy Tagle Bautista, he changed it in 1999 after hearing it used by teachers and artists in the Philippines on a study abroad visit, doing research for what would eventually become “Universal Self.”

“I took up on that name as a constant reminder for myself that I’m not just an individual but I represent a larger history," the artist, a third generation Filipino-American, said.

At 16 years old, Kilusan left home, as he was fed up with his father’s drug abuse. Two tickets out of town hooked him: poetry and education. Through the Education Opportunity Program benefiting first-generation college students and minorities entering college, Kilusan enrolled in the University of California, Santa Cruz. A scholarship and housing offer convinced him to pursue higher education. To make money, he toured around the globe as part of the Bay Area-based spoken word collective, 8th Wonder.

After graduating from UC Santa Cruz, he took on a slew of community organizing roles, by reaching out to public schools through gang prevention group, United Playaz, in San Francisco and teaching Hip Hop courses around the Bay Area. He moved to New York in 2008. Currently, he’s a teaching artist with NYC’s Department of Education, working at Downtown Brooklyn Access GED and using parts of “Universal Self” as prompts for students to create their own works. Many of the students Kilusan works with share the same gang, drug, and violence-ridden surroundings he experienced while growing up. The mutual understanding allows him to connect with them easily.

“You have to ask the question: Why are the students sharing? Why do they want to be heard? Why do they want to connect and relate to others, you know?” Kilusan spit these questions with a steady rhythm.

“My answer to that is because we’re all still trying to understand who we are and reflect back on it This is a lifelong process.”

Universal Self is constantly shifting. Kilusan claims it will reach a final version the day he arrives on Broadway. He hopes to get a production on the scale of fellow one-man-show, minority background and personal story-driven performer John Leguizamo. When he started out, he scoured every borough for venues that would take an unknown, eventually racking up venues such as the Nuyorican Poet’s Café, Bowery Poetry Club, Smithsonian Folklife Festival, and even the Sahbhaga festival in India.

The typical artists’ woes–finding success, finding an audience, and making money–don't faze him.

“I think as an artist we have to make a choice. And when you make that choice and say yes to it –there’s no looking back. You know, it’s one hundred percent. It’s all or nothing."

Photo credits: Kilusan Bautista and Gerson Abesamis

Pilipinos in Persian Limbo: My Experience with the OFWs of Kish Island

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Filipinos stranded on Kish Island, waiting to return to the UAE for work. Author's note: this is the  first, of hopefully several, in a series that provides a glimpse of Pilipino communities around the world through my own travel experiences.

One of my most favorite hobbies out there is to collect stamps. I would travel far and cross countries just to receive an exotic one. I would try to hop around a few nations just so I could help bolster my collection further. Admittedly though, the stamps that I collect aren't ones that you paste into envelopes but are ones that you receive in your passports.

Admittedly, the condition of mine is not at it's best and I've had issues on occasion for it's authenticity (last June I had not one, not two, but five Chinese immigration officers in Shenzen inspect it, much to the annoyance of passengers behind me) but it's almost filled up to the point where I can feel worthy enough to request a replacement. Each stamp inside it can easily evoke memories of trips long past, but there is one that I've valued since receiving it five years ago: the stamp that I received upon entry to Kish Island, Iran. And while the original purpose of my trip was to collect that stamp and say that I visited Iran, I ended up running into a group of overseas Pilipinos who live in legal limbo.

I booked my ticket at a travel agency in the relatively old Bur Dubai district of this otherwise dynamic emirate. An agent greeted me with a "Hello, Kuya. How can I help you?" She is one of the many overseas Filipino workers (OFW) that make up the diverse expatriate population of Dubai - expats make up about 90% of the emirate's population. I proceeded to her desk and joined her friend, a fellow OFW, who was hanging out with her during his break. It was on this day that I made my reservations for a flight to Kish and marks how I found out more of the Filipinos who don't reside, don't work, but wait in that island.

Not wanting to be left behind by the explosive growth going on in the Gulf, the Iranian government designated Kish Island as a free trade zone in hopes of catching some foreign investment flowing into the region. One incentive to encourage growth was that, unlike mainland Iran, Kish didn't have a visa entry requirement. This incentive, however, attracted foreign workers of neighboring countries whose visas were close to expiration. Instead of paying an expensive airfare back to their home countries, they would take a short and cheap flight into Kish, take advantage of the visa waiver, and wait it out until their visas are renewed. Some wait for days, some weeks, and some for months. Ate Travel Agent made sure to emphasize that last point for me when she handed me my ticket:

"Remember, while you may be able to visit for just a day, there are hundreds still waiting to come back to Dubai."

The following morning I found myself in Terminal 2 of Dubai International Airport. Unlike the more glamorous parts of the larger Terminal 1 (along with Terminal 3 which opened after I visited), Terminal 2 was a no-frills building for low-cost carriers and smaller regional carriers that serve destinations I'd typically hear in the news. My most favorite memory out of that place was watching a family with little kids that looked dressed for a day in Disneyland board a flight... to Kabul. The gate of my Kish Island flight was filled with the passengers that make up the demographics of Dubai's working class foreign labor: individuals from Africa, the Indian subcontinent, and Southeast Asia were seen. I'd hear dialects that I never heard before, which at times was so overwhelming that I saw comfort when I heard a Tagalog speaker floating in the crowd.

The Kish Airlines Fokker 50 has a colorful history.

Now the flight itself was the epitome of unconventional. While our boarding passes gave us a designated seat assignment, it was apparently thrown out once we entered the cabin in a Southwest Airlines-esque free-for-all for onboard seat selection. The Fokker 50 we were on board certainly had a colorful history: overhead signage was in English and Spanish while parts had a smattering German thrown in for diversity, a prime example of Persian resilience despite trade embargoes, which prevent the likes of it's local aviation industry from acquiring spare parts.

I ended up sitting next to a young Pilipina who was about to join the kababayans in limbo at Kish. She hailed from Cagayan; she had left the comforts and familiarity of her home in order to provide for her parents by becoming one of the many OFWs in the region. OFWs there are not strangers to the difficulty of adjusting to the culture shock, the backbreaking hours put in, the rights that they had (or rather didn't have), the crowded conditions of living with six other OFWs in a studio apartment, and more. The list goes on.

As we were chatting and I learned more of my seat mate's history, I remembered the words that Ate Travel Agent gave me the day before and I suddenly broke into tears. The epiphany of how realizing  much I was blessed with as a Fil-Am became more hard-hitting. It made me realize more how much of a bubble I lived in, more so than from my encounters in the Philippines. Yes, I had heard about other overseas Pilipino communities and occasionally bits on their struggles. But to hear it from themselves was nothing short of powerful.

Now arrival and passport control at Kish was an experience in of itself: as long as the lines were, it nonetheless moved and it moved fast, that is, until I came up. Upon seeing my US passport, I was escorted to the side while the officers took care of the remaining passengers. Eventually, I was all by myself in the immigration hall, growing more concerned, and eventually scared, as the minutes passed. What didn't help was that I was sharing the hall with Iranian soldiers who looked like they were enjoying the fear that I was emanating. Eventually, one of them looked directly at me and hand gestured his index finger, moving it across his neck. I began repeating to myself, "I'm gonna die today, aren't I? Am I going to be the next Robert Levinson?!"

In the end, their shenanigans were in jest, and they eventually came up to me to take a gander at my iPod (which was blasting Return to Innocence to calm my nerves, and whose music video inspired me to do a backtrack on my own life at the same moment) and to pick up a few extra English phrases. Disregarding their dark humor, they ended up being friendlier than most CBP officers I usually have to bear with when returning to the US! I was then ushered to a private room where I was given the Iranian equivalent of CBP's secondary screening. Understandably, it seemed suspicious for an American to stay in Kish for just a day and wanted to verify my intentions before sending me off. WikiTravel didn't exist when I visited but it's Kish entry gives a disclaimer that I wish I had received prior to visiting:

Beware: if you are Western, you may be sternly questioned as to the purpose of your visit.

Eventually I managed to join the rest of the expatriates in the town itself. I wandered around the areas where they would spend their days while waiting to return to their intended workplaces. I heard of a story of two Pilipinas who were unable to have their visas renewed, didn't have enough money for a fare to return to the Philippines, and ended up committing suicide. I never did follow up on it for authenticity, but there was one story that I remember earlier this year where another one did unfortunately choose to take her life.

Biding their time at the billiards in the Farabi Hotel.

Before heading back to the airport, I made a tour around the island which can be easily done within just a few hours. As I was inquiring about doing the tour, I noticed a flyer advertising the services in Tagalog, a break from all the Farsi that I was overwhelmed with. The island itself is beautiful, with peaceful beaches, ancient underground aqueducts, and a slower pace for those that want to take a break from the hustle and bustle of Middle Eastern economic growth. But ever since this humbling experience, I'm reminded that it is also an island were many overseas workers still wait for their chance to return to job opportunities in order to provide for their families at homes.

http://www.youtube.com/watch?v=MekvELPcprs

And among those are Pilipinos who are thousands of miles away from home. I only managed to catch a quick glimpse of it, and admittedly it's small compared to what Malou Garcia experienced in her week there, Leah Quilongquilong who spent thirty three days, and the thousands of others who continue to wait in that limbo. Even my own half-brother--estranged until a couple years after my visit--had experienced Kish as an OFW (and admittedly quite frequently which unfortunately raised eyebrows with Israeli immigration officials later on as he went through a land border crossing from Jordan!).

A spring in the Underground City.

As I shake my head, having to work with Argentina's expanded reciprocal fee, waiting for another passport extension at the local office, or having to make a couple trips down to the Chinese consulate to process my visa, I try to remind myself that such inconveniences are petty compared what the Pilipino community in Kish goes through, alongside the greater struggles of millions of OFWs experience.

Seeing a familiar language was a sight for sore eyes, especially when I caught this at the hotel's front desk!

Ate Travel Agent's words still echo through my trips, and have helped me appreciate the freedom and ability that I have to travel. I may have been given an extra treatment by Iranian immigration but it pales to what much of the world has to do to get an American visa, and even then entry into the US is not guaranteed, as what was seen with Carina Yonzon Grande who was denied entry in Seattle by CBP after a longhaul flight from Manila and an extensive secondary screening process that made my 30 minute immigration backroom interview made Iranian officers seem like peanuts. (At least the Iranians were polite and courteous, that is with the joke about cutting my head off notwithstanding.) I was able to essentially go in and out of Kish as I pleased whereas many OFWs still hang in that legal limbo, waiting for the day when they can return to their exhausting jobs and providing valuable remittances that make up ten percent of the Philippine GDP.

And this experience is amongst several that I use encourage fellow Americans, Fil-Am and otherwise--to not only express--but also appreciate that same freedom. Hopefully through such appreciation and expression, we can be inspired to help out and become more involved with issues that involve Pilipinos at home, in the Philippines, and in the many communities across the world.

Photo credit (top photo): Gulf News

Luzviminda Camacho: Making Stride for Pilipinas

 “Woman must not accept; she must challenge. She must not be awed by that which has been built up around her; she must reverence that woman in her which struggles for expression.” - Margaret Sanger

Luzviminda Camacho after taking her oath in the Philippine Senate in September 2013.

On October 28, 2013, the Philippines made headlines as reports of their seventeenth peace-keeping mission to Haiti decorated both written and internet news publications. The Pilipino contingency is a part of a larger pacifist effort called the Multinational Interim Force. Conceptualized by United Nations in 2004, it was the reaction to the bloody confrontation that occurred between the Haitian government and insurgents that same year. They continue today as a means to maintain peace in Haiti, a country torn by violent anti-government revolts.

As a participant in this initiative, the Armed Forces of the Philippines provides perimeter surveillance, administrative and logistics service to UN diplomats. They ensure the safety of these figureheads as they move forward in their attempts to stabilize Haiti’s still transitional government and prevent any acts of violence that would only increase the amount of blood already spilled.

This ongoing campaign is praiseworthy without help, however, that is not the reason why it was plastered on newspapers and websites in bold print. The reason is Luzviminda Camacho. Camacho is this year's commander of the Philippines' peacekeepers. She is also a woman, the first woman the Philippines has ever sent on such a mission. This is an enormous stride for both Camacho and Pilipino women, and it is not the first she has made. In fact, she is quite familiar with the notoriety that surrounds a 'first woman leader'. She was the first female to command ships in the Pilipino Navy (four naval vessels over a period of three years). Assigned to traditionally male-occupied positions, Camacho is both carving out a larger space for women in the Pilipino military and proving that the intellectual skills of strategy and leadership do not elude women as much of society may think.

Gender Equality in the Philippines

Heavily influenced by Spanish colonialism, the Philippines is a society that, in its early years, centered itself a patriarchal ideal. Men were breadwinners and women homemakers. However, with the ascent of female President Corazon Aqunio, the Philippines saw major changes that allowed women to shatter the "glass ceiling" in the Philippines. Not only was a women assigned to the most influential seat of power in the nation, but Aquino released a revised the constitution so that it guaranteed Pilipinas impartiality in the eyes of the law and protection in the workplace. The following 30 years brought even more progress, enacting legislation that counteracted gender discrimination in political representation, reception of land, and entrance into military schools.  Women were also protected, by law, from sexual harassment, rape, and partners seeking mail-order-brides. As a result, the Philippines, today, boasts the title of the best performer of gender equality in the Asia-Pacific, ranking number six in on the list of most gender-equal nations.

As noteworthy as this accomplishment is, there are still instances, albeit reduced, of workplace exploitation, and violence against women. These instances are proof that there are still obstacles hindering complete gender equality; although the "glass wall" has been broken, shards of it remain. Luzviminda Camacho is, then, more than just the first Pilipino female to command a naval fleet and more than just the first Pilipina ambassador to Haiti. She is an example of women who refuse to let their brilliance be repressed. She is not a woman who will bashfully reject compliments, but rather eagerly accept the well-deserved rewards of her excellence.

As a naval captain, ready to confront the dangers of  protecting foreign diplomats, she has not limited herself to "making puddings and knitting stockings." She is as physically capable as any man. As a single mother, constantly leaving her son for foreign seas and countries, she does more than "[play] on the piano and [embroider] handbags." Her emotional and intellectual capacities are as far-reaching as that of her male counterparts. Although she may not know it, Camacho is an active warrior evening the playing field between the sexes, working to close the gap that has deceivingly defined men as society's "more privileged creatures."

[I]t is narrow-minded in their more privileged fellow-creatures to say that [women] ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than custom has pronounced necessary for their sex.” ― Charlotte Brontë, Jane Eyre

Photo credit:

Passing on the M.E.A.L. Plan

It is a running joke in my family that my siblings and I did not take up the "M.E.A.L." career plan championed by every parent. M.E.A.L.–that is, Medicine, Engineering, Accounting, and Law professions–is the golden standard, the life paths parents cross their fingers for as soon as their toddlers start school. M.E.A.L. jobs are hard-earned titles, widely respected, financially stable, and of no interest to my siblings and I. Trust me, I often wish I grew up with dreams to be a doctor like so many of my admirable friends, but my restless mind led me to a different calling–a calling that too often generates furrowed-brow-wrinkled nose-reactions at Pilipino family parties.

"A writer? But, why? Are you sure you don't want to take up nursing?"

Cue: sigh.

From left to right: my two older brothers, me and my younger sister.

I have three siblings. My oldest brother studied linguistics, traveled around the world teaching English for several years, then returned to be a high school Mandarin and French teacher. My other older brother studied Film and Television, had a run as an NBC Page, and now works in production at Discovery Communications. I'm studying journalism–a career my heart was set on since I was 14. My 15-year-old sister doesn't know what she wants to be yet, but the M.E.A.L. plan isn't on her radar either.

Our parents never imposed any M.E.A.L. dreams on us. They let us discover our true passions, only bolstered by being raised in a city where opportunity sits at your fingertips. I was only 12 when my mom gave me a door sign that read "Future Award-Winning Author at Work."

My mom encouraged creative pursuits with gifts like this sign.

Why did we not pursue more traditional careers? Why did we choose the risk of uncertain paths with no set plan or mode of study? Despite my parents' undying encouragement and gung-ho dive into uncertainty alongside their kids, I still have felt guilt. Sometimes, I've wished they could boast about their daughter-the-doctora. I have felt the succeed-or-else urgency unique to second generation kids, and have been reminded of the struggles often associated with parents who leaving the Philippines in order to provide for their families.

I recently read an article in The Atlantic titled "All Immigrants Are Artists," profiling one of my favorite writers, Edwidge Danticat. It put into perspective the creative pursuits of my siblings and I perfectly.

"First-generation immigrants often model artistic behavior for their children... I realize now I saw artistic qualities in my parents’ choices—in their creativity, their steadfastness, the very fact that we were in this country from another place. They’re like the artist mentors people have in any discipline—by studying, by observing, by reading, you’ve had this model in the form of someone’s life. My mother could not have found time for creative pursuits with four children and a factory job. But she modeled the discipline and resourcefulness and self-sacrifice that are constant inspirations in my own life’s work. The things she did, the choices she made, made the artist’s life possible for me. I didn’t know it, but she taught me that being an artist makes sense."

If stringing words together, painting meaning from language, and capturing life's moments with pen and paper fulfill me both personally and professionally–I do not need to apologize. The M.E.A.L. plan wasn't for me, and it doesn't have to apply to others who have felt guilt as like I did. Besides, there are young Pilipino girls and boys with creative dreams like mine, and they need a role model to look to. Why not me?