Philippine Popular Culture

Popular culture can be traced

back to the Spanish period of
the Philippines. It was
employed and brought by the
Spanish to the native Filipinos
through literature and plays
to capture their hearts; thus
emphasizing the colonial
origins of popular culture in
the
Philippines.
 It began as a replacement of the
native culture with a Christian
and European tradition
through the children of the
native elites. They became
the means for appeasing the
natives through vernacular
literary forms. One such
popular form was the
representation
of Jesus Christ’s suffering and
resurrection through plays or
drama. This form served as
a vessel for the spread of
Christianity while the songs and
comedy were vessels for the
Spanish monarchy.
Philippine Popular Culture

Popular culture can be traced

back to the Spanish period of
the Philippines. It was
employed and brought by the
Spanish to the native Filipinos
through literature and plays
to capture their hearts; thus
emphasizing the colonial
origins of popular culture in
the
Philippines.
It began as a replacement of the
native culture with a Christian
and European tradition
through the children of the
native elites. They became
the means for appeasing the
natives through vernacular
literary forms. One such
popular form was the
representation
of Jesus Christ’s suffering and
resurrection through plays or
drama. This form served as
a vessel for the spread of
Christianity while the songs and
comedy were vessels for the
Spanish monarchy.
Philippine Popular Culture
Popular culture can be traced back to the Spanish period of the Philippines. It was employed and
brought by the Spanish to the native Filipinos through literature and plays to capture their hearts;
thus emphasizing the colonial origins of popular culture in the Philippines. It began as a
replacement of the native culture with a Christian and European tradition through the children of the
native elites. They became the means for appeasing the natives through vernacular literary forms.
One such popular form was the representation of Jesus Christ’s suffering and resurrection through plays
or drama. This form served as a vessel for the spread of Christianity while the songs and comedy were
vessels for the Spanish monarchy.

Popular culture was

introduced to the Philippines
to win the Filipino populace
to the
ideology of the Spanish regime.
It was created to promote the
Church and the State’s
interest.
When the Americans came to
colonize the Philippines, the
appropriately-called popular
culture was introduced to the
Philippines. The printing press,
radio, television, and film
paved the way for the speedy
circulation of popular culture
forms. Hollywood films
reigned over the Philippine
market.
Popular culture was introduced to the Philippines to win the Filipino populace to the ideology of
the Spanish regime. It was created to promote the Church and the State’s interest. When the
Americans came to colonize the Philippines, the appropriately-called popular culture was introduced to
the Philippines. The printing press, radio, television, and film paved the way for the speedy
circulation of popular culture forms. Hollywood films reigned over the Philippine market.

According to Bienvenido Lumbera, popular literature is considered a commodity and it is intended for a
mass market. As a commodity, it was seen as a threat to “serious artistic work” because the writers
favored the desires of publishers and editors who were more concerned with sales rather than
aesthetics. Additionally, popular culture is not caused by the populace but instead, it is caused either by
the ruling elite or members of a chose few who are under the employ of those elite for the consumption
of the populace. Popular culture in the Philippines is a concern. Popular culture is in question because
of the following reasons.

1. The Philippines is a third world country.

2. The Philippines has many indigenous ethnic groups that are still not urbanized.

3. The Philippines has a long history of two major cultural influences: Spanish and American.

4. The Philippines is still predominantly agricultural in its present socio-economic status.

5. The Philippines is still dependent on foreign economies.

The definition of popular culture in the Philippines is not just “of the people” but “of the mass”, which is
basically construed to be urban and industrialized.

Popular culture in the Philippines is a culture generated by mass media that consists of film, radio,
television, and press. They were introduced in the twentieth century but are still exclusively urban. The
earliest form of popular culture research in the Philippines is mass communication research. It is
concerned with content analyses and effects on the audience. In the mid 70s, literature scholars began
examining film, television, radio, and comics as modes of fiction and drama. Their main concern was the
cultural values and the way the transmission of these values are being done. This concern was brought
up by the so-called “serious” literature, which are the novel, the short story, the poem, and the play
because these were not reaching the majority, not even the urban masses, and definitely not the rural
masses.

Let us go through some of the major areas of Philippine popular culture. Komiks. “Kenkoy” was the
first Filipino comic strip. Its first appearance was in 1929. Its main character was created by Antonio
Velasquez. It was only made with four frames and was used as a filler for a weekly popular magazine
Liwayway. In 1931, Kenkoy was joined with other characters and they are:

1. Kulafu. He roamed the mountains of Luzon similar with Tarzan who did Africa.

2. Huapelo. He is a Chinese store owner.

3. Saryong Albularyo. He is a barrio doctor with a last name that actually meant “quack”.

4. Goyo and Kikay. They are the local counterparts of Jiggs and Maggie. Jiggs and Maggie are the
main characters in an American comic strip named Bringing Up Father.
5. Dyesebel. She is a mermaid created by Mars Ravelo, the same legendary cartoonist who created
Darna.

6. Darna. She is a Filipino super heroine created by the legendary cartoonist Mars Ravelo.

7. Valentina. She is the arch enemy of Darna, also created by Mars Ravelo.

8. Petra. He is a horse-bodied character.

9. Karina. A magical agent of good with a flying kariton (pushcart).

10. Phantomanok. A character who is a combination of a phantom and a rooster.

During the Martial Law, the komiks have been used by government agencies to deliver message of
development like the Green Revolution, family planning, and housing programs. The content of the
komiks reflects dreams, hopes, values, vision of life, escape from reality, and problems and solutions.
All these make komiks definitely a popular culture. Komiks is created by artists who favor the public
voice and dreams. Komiks has an extensive reach and grasp which makes them entirely “of the people.”

Komiks are reading materials

that are cheap and accessible
for Filipinos and are a
substitute for serious literature.
It has such an extensive reach
and grasp because they
are being swapped between
neighbors and workers and their
relatives. That is a form of
circulation in itself and it is
not expensive. Komiks has
different roles suitable as a
phenomenon of popular
culture. Komiks is a
“purveyor of entertainment
and moral
lessons, disseminator of values
and attitudes, and a source of
practical knowledge on
farming, government policies,
medicine, and science.”
Film. Cinematrografo are
short-featured films that were
first shown in the Philippines.
The first feature films that were
produced locally were in 1909,
featuring the life of Jose
Rizal. Jose Nepomuceno’s
“Dalagang Bukid” was the first
full-length feature film shown
in 1919. “Ang Aswang” was
the first talking picture made in
1932 by Musser.
There were a total of 214
movie houses in the Philippines
in 1924. In 1939, the Philippine
movie industry became fifth in
world rank when it came to the
number of talkies produced.
The Philippine movie industry
moved from the big-studio
syndrome to the present
proliferation of small
independent producers with
challenges such as high taxes,
high
production costs, raw material
scarcity, no aid from the
government, little or no
professional training for actors
and technical staff, and the
greatest challenge was the
competition from foreign
movies. Despite all of these
challenges, the Filipino film did
have
an audience. The movie houses
were filled especially with stars
like Dolphy, Nora Aunor,
Vilma Santos, Sharon Cuneta,
Fernando Poe, Jr., and a lot
more.
However, there are no film
archives in the Philippines, not
even film libraries. There are
no film archives even in the
former Big Four film studios
namely Sampaguita, Premiere,
LVN Studios, and Lebran.
Instead, the films are only seen
in television runs where they
serve as an “archive” for
Filipino films that survive.
These films have been the
subject of
much discussion and criticism
because of their content. One
such body is a film critics’
circle known as Manunuri ng
Pelikulang Pilipino. The
members are film buffs and
writers
who come from the academe
and journalism. They view the
contents of those films as
bakya because of the
unelevated taste the films
reflect specifically the
melodrama,
fighting, weeping, formula
romances, and characters that
are stereotypical. The word
bakya is a derogatory term used
by Filipino directors in the late
fifties to characterize such
films. Bakya is a wooden
shoe worn by the lower
classes in the Philippines that
symbolizes low taste or low
quality. Much debate has
happened about who really are
bakya, whether the directors
and producers or the audience.
The directors and producers
are the “taste makers” while the
general audience can accept
commendable films when
presented in a language familiar
to them.
 Literature about Filipino films
is limited. Some of it is mainly
film reviews, feature articles,
commentaries in magazines or
newspapers. Academic studies
are engrossed with film
history like the works of
Nicanor Tiongson and
Bienvenido Lumbera.
Komiks are reading materials that are cheap and accessible for Filipinos and are a substitute for
serious literature. It has such an extensive reach and grasp because they are being swapped between
neighbors and workers and their relatives. That is a form of circulation in itself and it is not
expensive. Komiks has different roles suitable as a phenomenon of popular culture. Komiks is a
“purveyor of entertainment and moral lessons, disseminator of values and attitudes, and a source of
practical knowledge on farming, government policies, medicine, and science.” Film. Cinematrografo
are short-featured films that were first shown in the Philippines. The first feature films that were
produced locally were in 1909, featuring the life of Jose Rizal. Jose Nepomuceno’s “Dalagang Bukid” was
the first full-length feature film shown in 1919. “Ang Aswang” was the first talking picture made in 1932
by Musser. There were a total of 214 movie houses in the Philippines in 1924. In 1939, the Philippine
movie industry became fifth in world rank when it came to the number of talkies produced. The
Philippine movie industry moved from the big-studio syndrome to the present proliferation of
small independent producers with challenges such as high taxes, high production costs, raw
material scarcity, no aid from the government, little or no professional training for actors and
technical staff, and the greatest challenge was the competition from foreign movies. Despite all of these
challenges, the Filipino film did have an audience. The movie houses were filled especially with stars like
Dolphy, Nora Aunor, Vilma Santos, Sharon Cuneta, Fernando Poe, Jr., and a lot more. However, there
are no film archives in the Philippines, not even film libraries. There are no film archives even in the
former Big Four film studios namely Sampaguita, Premiere, LVN Studios, and Lebran. Instead, the films
are only seen in television runs where they serve as an “archive” for Filipino films that survive. These
films have been the subject of much discussion and criticism because of their content. One such body is
a film critics’ circle known as Manunuri ng Pelikulang Pilipino. The members are film buffs and writers
who come from the academe and journalism. They view the contents of those films as bakya because
of the unelevated taste the films reflect specifically the melodrama, fighting, weeping, formula
romances, and characters that are stereotypical. The word bakya is a derogatory term used by Filipino
directors in the late fifties to characterize such films. Bakya is a wooden shoe worn by the lower
classes in the Philippines that symbolizes low taste or low quality. Much debate has happened about
who really are bakya, whether the directors and producers or the audience. The directors and
producers are the “taste makers” while the general audience can accept commendable films when
presented in a language familiar to them. Literature about Filipino films is limited. Some of it is
mainly film reviews, feature articles, commentaries in magazines or newspapers. Academic studies are
engrossed with film history like the works of Nicanor Tiongson and Bienvenido Lumbera.

Radio. Radio stations in the 20s were owned and operated by an electrical supply company and
organized by an American named Henry Hermann. These stations were for demonstrations primarily
and provided music for two years. In the 30s, radio stations were owned by department stores for
advertisement of their commodities. In 1932, radio advertising was began by companies other than the
radio station owners. In the Second World War, during the Japanese occupation, all radio stations
were closed except for KZRH, which was then renamed to PIAM. Short-wave reception was prohibited
but many have risked their lives to listen to the broadcasts of “The Voice of Juan de la Cruz” and the
“Voice of Freedom” from Corregidor and the Voice of America. Underground newspapers relied
greatly on such hidden radio sets for information about the war. At the end of the Second World War,
came the birth of Philippine radio. There were 30 operating radio stations five years after the war. The
Bolinao Electronics Corporation was formed in 1961. It was the largest broadcasting chain in the
Philippines which then became the Alto Broadcasting System, then the Chronicle Broadcasting
Network, which then became the Kanlaon Broadcasting System after the Martial Law.

After the Second World War, programming in radio was mostly American. However, DRZH
launched the first local shows. In those early times, a recipe for Philippine radio was developed based
on satires, comedies, and variety shows. It consisted as well of soap operas, popular music program,
public service, “advice-to-thelovelorn” programs, and news. Radio sets have become a common
household item especially in the urban centers. The transistor radio became a revolution in 1959 and
President Carlos P. Garcia asked CARE for the donations of such radios to the barrios to fight subversive
elements. The transistor radio brought news of the government and of the city as well as pop music,
thus bringing popular culture into the rural domain. Two central forms of popular culture
communicated by radio are popular music and the radio soap opera.
Popular Magazine. The
Philippine Magazine was the
first magazine circulated in the
Philippines in 1905. However,
it was not popular yet because it
was in English, since the
teaching of English has just
begun in 1901, so it has not
reached the majority just yet.
On
the other hand, perhaps it was
the Philippines Free Press
which should be named the
first magazine. Although it was
in English, it was printed on
cheap newsprint and it was
read by the English-speaking
Philippine public by the time its
publication ceased in 1972.
A real popular magazine would
have been printed in the
vernacular and the one “true”
popular magazine was
Liwayway. Its publication
began in 1923. It had sister
publications
in different vernaculars,
namely Bisaya for Cebuano
Visayan, Hiligaynon for
Ilonggo,
Bannawag for Ilocano, and
Bicolnon for Bicolano.
Liwayway short stories, poems,
and
novels are part of literary
studies, not popular culture
studies.
There are also women’s
magazines in the discipline of
popular culturist. They are seen
as “escape literature” by
housewives, clerks, office girls,
school girls, teachers, and for
the other types of women.
Popular Magazine. The Philippine Magazine was the first magazine circulated in the Philippines in 1905.
However, it was not popular yet because it was in English, since the teaching of English has just begun in
1901, so it has not reached the majority just yet. On the other hand, perhaps it was the Philippines Free
Press which should be named the first magazine. Although it was in English, it was printed on cheap
newsprint and it was read by the English-speaking Philippine public by the time its publication ceased in
1972. A real popular magazine would have been printed in the vernacular and the one “true” popular
magazine was Liwayway. Its publication began in 1923. It had sister publications in different
vernaculars, namely Bisaya for Cebuano Visayan, Hiligaynon for Ilonggo, Bannawag for Ilocano, and
Bicolnon for Bicolano. Liwayway short stories, poems, and novels are part of literary studies, not
popular culture studies. There are also women’s magazines in the discipline of popular culturist.
They are seen as “escape literature” by housewives, clerks, office girls, school girls, teachers, and for the
other types of women.

Popular Music. At the beginning of the 70s, Philippine pop music was certainly American.
However, Philippine popular music was also present in the form of kundimans, love songs, zarzuelas,
street songs, and children’s nonsense songs but these were not sung on stages or even played in the
airwaves. Philippine pop culture was basically American, from pop, to rock, and even Broadway, to
variety shows in television. Pinoy rock emerged in 1973 through Joey Smith. It has a Western rock
sound but in Pilipino lyrics. Hot Dog came, which is another group, with a slow and melodious beat in
Taglish lyrics. The Pinoy trend emerged when Rolando Tinio, a poet, translated an album of
American songs into Pilipino for Celeste Legaspi. Radio stations were required to play three Filipino
songs every hour, proving that the dominant music culture was certainly American. Some radio
stations went all the way by having all Filipino songs in their programming, thus Pinoy pop had
arrived. The Metro Manila Pop Song Festival, or also known as Metropop Song Festival, is one of
the songwriting competitions in the Philippines that cater to the promotion of Filipino music. It has
launched the careers of singers and songwriters in the country.

Literature of Popular Culture. Popular culture literature consists primarily of the following:

1. Reportage and feature stories in daily newspapers and weekly magazines;

2. Reviews of films, TV shows, pop concerts or performances, radio programs;

3. Studies done by mass communication undergraduates, thesis writers, and scholars;

4. Studies done by literature students and scholars;

5. Studies done by scholars who are interested in popular culture as a field of research.

There are challenges presented by the given literature above. They are done in isolation. They do not
have a clear perspective. They are unlocated in a definite context. There is no collective effort of
defining Filipino through his popular culture and consolidating findings to determine the effects of
such culture on him.