The n its folklore.

This is only to be
expected, for it is in folk traditions that one finds an authentic
expression of the natio

The collective voice and authentic expressions of the GABRIELA through the song Maria reflect the
value of folklore and traditional music in Philippine society. The nature and the mode of transmission
of folklore are the reasons for its lack of single authorship and non-individual quality Compare to
written history where original documents are recorded, there are no records on the source of the
folklore since it is communicated verbally. Because of this, the permanence of the original version
depends on the memory of the listener and the deviations committed when transmitting the
traditional songs. (Newell 1906, 5-6). As a result, the representation of the folklore is grounded on the
collective identity of the community from where it originated rather than the individualistic identity.
As a form of communication, behavioral and cultural patterns are embedded in the traditional songs
(Lomax 1967, 213). Thus, it is a reliable index for the values, ambitions, and social problems of a
culture (Elbourne 1976, 464).

During the emergence of nationalism in the nineteenth century, folklore became the expression of
national identity among the Filipinos (Eugenio 1987,175). Though the circumstances vary from
country to country, the rise of nationalism is intimately linked to the interest in traditional folklore.
The distinct cultural heritage of the traditional folklore reinforces the growing interest in a national
language and patriotism (Dorson 1966, 277).

With its origins as traditional love songs, the kundiman folksongs

were used by the members of the Katipunan as a symbolic protest
against the oppressions of Spanish coloners during the Philippine
Revolution in 1896 (Maceda 2007,410)
. The Kundiman originated as love songs from the Tagalogs in the
Batangas province in the early 19th century. With themes revolving
around love and devotion, kundiman is usually performed by suitors
under the windows of their lover. Rather than the heroic figures of
the native folktales and epics, the Western ideals of knighthood and
chivalry were evident in the songs which shows the influence of the
Spanish cultural heritage in the development of kundiman(Maceda
1971,16). Though there are several theories on the origins of kundiman
song in the pre-Hispanic era, it is often traced to the Kumintang,.
The KUmintang is a war dance song from Balayan,Batangas which
performed during village festivities to honor the victorious
warriors.Though it was origanally war song(canto guerrero), it
developed into a courtship song, bridal song, accompaniment song to
awit, and narrative song on folktales. Kumintang have themes on love,
friendsip, and social criticism (Nicolasora 2014,13-14)

Both kumdiman and kumintang are written in a 12-syllable,four-line

stanza and have a triple meter.Often sung to accompany a dance, both
songs utilized harmonic minor as its melodic formula.The key
difference between kundiman and kumintang is found in their hamrony
and structurw with the Western tonal system in Kundiman(Nicolasora 2014,4)
By way of Spanish colonization, Western elements were introduced and
assimilated in the kundiman. In another response, this time in
opposition around the end of the 19th century, the kundiman took on a
nationalistic turn. The woman, once the object of devotion in a
kundiman, became a symbol for the country; the unreciprocated love
became the unattainable freedom

With the opening of the country to foreign trade and the influx of
liberalist ideas in the middle of the eighteenth and beginning of the
nineteenth century(Constantino 1975, 129), Filipinos realized the
importance of making their folksongs in preserving their customs,
traditions, and identity. The first kundiman folksongs that focused
on the Filipino culture was "Kundiman Ng 1800" by an anonymous
composer in 1800. With the ongoing oppression from the Spanish
colony, kundiman folklore became the outlet for revolutionaries to
express their ambitions and to inspire nationalism among their fellow
countrymen(Anderson 2015,1 ). In September 1896, Dr. Jose Rizal wrote
“Kundiman” which depicts his strong love desire for freedom for his
country. The theme of unrequited love and yearning became symbolic
defiance of Filipinos against the oppressions of Spain(Anderson
2015,12 ). Kundiman songs became the inspiration for Filipinos to not
only fight for their freedom and justice against foreign rule but
also to gain their own national identity.

The kundiman song “Bayan Ko”,originally written in 1928 by the

Jose Corazon de Jesus and composed Constancio de Guzman, became the
symbol of the Filipino struggles and desire for fredom under the
American regime.During the Marcos distadorship, the rendition of
“Bayan Ko” by Freddie Aguilar became the anthem of protesters. The
kundiman gave the militant activists the sense of power in face of
violent dispersal of the military during protests. Aside by being
sung by protests on the streets of Manila, the songs was being aired
on radios and played on the speakers mounted on jeepneys which
solidifying its influence and popularity among Filipino(Maceda
2007,390-391)

The dynamics of folklore and protest songDyanamics of folklore,

protest song, and popular music
Anderson, Quiliano Niñeza. "Kundiman love songs from the Philippines: their development from folksong to art song and an
examination of representative repertoire." (2015).

Maceda, José. "Means of Preservation and Diffusion of Traditional Music: The Philippine Situation." Asian
Music 2, no. 1 (1971): 14-17. Accessed June 24, 2021. doi:10.2307/833808.

Nicolasora, Michelle. Kundiman: A Musical and Socio-Cultural Exploration on the Development of the Philippine Art Song. The
University of Memphis, 2014.

Maceda, Teresita Gimenez. "Problematizing the popular: the dynamics of Pinoy pop (ular) music and popular protest music." Inter‐Asia
Cultural Studies 8, no. 3 (2007): 390-413.
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Maceda, Teresita Gimenez. 2007. Problematizing the popular: the dynamics of Pinoy pop
(ular) music and popular protest music. Inter‐Asia Cultural Studies 8, bil. 3: 390-413

Nicolasora, Michelle. 2014. Kundiman: A Musical and Socio-Cultural Exploration on the

Development of the Philippine Art Song. United States: University of Memphis.

Anderson, Quiliano Niñeza. 2015. Kundiman love songs from the Philippines: their
development from folksong to art song and an examination of representative repertoire.
United States: University of Iowa.

Constantino, Renato. 1975. The Philippines: A Past Revisited. Manila: The Foundation for
Nationalist Studies

The Good and the Beautiful in Folksong Author(s): Alan Lomax Source:
The Journal of American Folklore , Jul. - Sep., 1967, Vol. 80, No.
317 (Jul. - Sep., 1967), pp. 213-235 Published by: American Folklore
Society Stable URL: https://www.jstor.org/stable/537870
Lomax, Alan. "The Good and the Beautiful in Folksong." The Journal of American Folklore 80, no. 317
(1967): 213-35. Accessed June 23, 2021. doi:10.2307/537870.

Elbourne, Roger. "A Mirror of Man? Traditional Music as a Reflection of Society." The Journal of
American Folklore 89, no. 354 (1976): 463-468. Accessed June 23, 2021. doi:10.2307/539297.

Individual and Collective Characteristics in Folk-Lore

William Wells Newell
Newell, William Wells. "Individual and Collective Characteristics in Folk-Lore." The Journal of American
Folklore 19, no. 72 (1906): 1-15. Accessed June 23, 2021. doi:10.2307/534758.

Dorson, Richard M. "The Question of Folklore in a New Nation." Journal of the Folklore Institute 3, no. 3
(1966): 277-98. Accessed June 23, 2021. doi:10.2307/3813802.

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Nineteenth Century Philippines." Philippine Sociological Review 63 (2015): 137-68. Accessed June 24,
2021. http://www.jstor.org/stable/24717163.

Lerner, Gerda. 1975. Placing Women in History: Definitions and Challenges. Feminist 
Studies 3, bil. 1/2: 5-14

Lomax, Alan. 1967. The Good and the Beautiful in Folksong. The Journal of American Folklore 80,
bil. 317: 213-235

Elbourne, Roger. 1976. A Mirror of Man? Traditional Music as a Reflection of Society. The Journal of
American Folklore 89, bil. 354: 463-468

Newell, William Wells. 1906. Individual and Collective Characteristics in Folk-Lore. The Journal of
American Folklore 19, bil. 72: 1-15

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Eugenio, Damiana . 1987. Folklore in Philippine Schools. Philippine Studies 35, bil. 2: 175-
190

Folklore in Philippine Schools

Author(s): DAMIANA L. EUGENIO
Source: Philippine Studies , Second Quarter 1987, Vol. 35, No. 2 (Second Quarter 1987),
pp. 175-190
Published by: Ateneo de Manila University
Stable URL: https://www.jstor.org/stable/42633002