A Descriptive Essay by Genius Danica P.

Guinid

Submitted to Miss Louise Jashil R. Sonido English 1

Cradlesongs

Three of Karl Ramirezs songs, namely Elian, Oyayi and Balang Araw, had their way to my playlist lately. These songs acutely opened my ears to listen beyond Ramirezs gentle, patriotic serenades. From the lightness of typical strums that identify the natural acoustic blend of a Filipino artist, Elian particularly reminds any full-blooded Filipino of the tiring toils that society forces on him. Although the lyrics do not directly speak out the continuous struggle of Filipinos as a people in the new generation, the texture, harmony and melody of this song conspire to yield a live picture of the recent social state of the Philippines. It is toned not in a ruthlessly provoking style, but it arouses meek sensibility to the unpleasant truth. As the rest of the song deepens, it alleviates the initial harrowing feeling, and whispers serenity to the restless spirit just as the sand on a shore eagerly slows down raging sea waves. It suggests the slightest respite that can rise to dreams better than reality when embraced by the Filipino soul. Oyayi gives listeners nearly the same mood of Elian, however, through stronger and less subtle words. Oyayi sends off sound to listeners that mostly resonates the plucking of an acoustic guitar. Ironically, its mildly riotus lyrics match the stillness of the melody. The lyrics clearly offer devotion to the bequest of previous Filipino workers and farmers whose labors were deprived of impact in the past. This songs composition is a suitable hint of the kind of revival Ramirez advocates both as an activist and an artist. Through this song, he ignites a revolution as calm as the texture and harmony of the song but as steadfast and concise as the song lyrics.

Among these three songs, Balang Araw, breaks through the rest. This song speaks the most in solid and unbroken pattern. The unrelenting resonance of chords and more amplified continuity of the acoustics stretch the quality of the music into a more penetrating sort. Its lyrics complement those of the earlier two and can even be interpreted as the conclusion of the three. Hope is forced on a Filipino who hears this song and leads him to realize that someday, the Philippines will just be an incredibly better and different place to set foot on. Walang makakahadlang sa ating pangangarap. This opening declaration sets out for the influence that Ramirez wants to bridle with this song. Thus, he simply sings out that unless this vision and hope is pursued by every Filipino, balang araw, Filipinos will only suffer worse. There is true substance in each of Ramirez songs and never fails to trace its way to the emotions and mind of a Filipino. Elian, for instance, is a sweet lullaby for the next generation of Filipino youth who are yet to be exposed to the conditions of their nation. Elian, however, most significantly appeals to the Filipinos of the current generation and make them realize the kind of future they would be leaving for the next children. It is more of a rhetoric question, Wont we do what it takes to let them face a bright future when they wake up? Oyayi applauds the heroic acts of the workers who were barely recognized for their works. This song calls to the hearts of Filipinos for unity to step o until their endless cry is heard and lightened. Balang Araw has almost the same call and yet louder with a vague future presented which will only be a clear view if something gets done for the people and the nation. Simple yet profound. That is the way Karl Ramirez creates his music. There are more songs in contemporary genre by Ramirez but all of them add up as well to his intimate hunger for national transformation. Whether or not he sings with only a reserved guitar playing in the

background, or with the aggressive drumbeats and strikes of lower strings, he brings the uniform tone of outlook for change. As for me, Elian, Oyayi and Balang Araw were enough to stir my mind and to repose my soul to sleep. So by all means, I will slumber and conquer ang magagandang panaginip. I, too, can sing along with Ramirez and hush myself saying, kayrami pang umaga na hinintay ka, kaya matulog na muna