Folk dancing is another way Filipino culture is transmitted across generations and cultures. Here on Maui, I am part of La Galeria, a Philippine folk dance troupe. We have learned folk dance fundamentals, that has elements of Spanish and indigenous Filipino cultures.
Another dance Sapatya reveals traces of Spanish and indigenous Filipino. Sapatya originates in Pampanga, Luzon. The dance is presented to farmers as an offering for good harvest. The name is Sapatya may have originated from the Spanish term, Zapateado.
Spaniards settled in the Philippines between 1565 and 1815, to expand the Spanish colonial trade in the Asia-Pacific. Many Spaniards were said to come from Andalusia, while others were Castillian and Basque. Its interesting to note that Andalusia has more of the "moro" or "muslim" influences because it is located in Southern Spain. This area was considered the "moor" section, governed by Muslim kingdoms, before the Castillians dominated the whole country in 1492, under the reign of Queen Isabela and King Ferdinand. However, the cultural influences from the moors are still alive in the Flamenco dances, with their tapping steps and twirling. And, Sapatya also has traces of these cultural influences through the tapping feet and twirling. In the back the rondalla plays the tune, a guitar like instrument that was also imported from Spain.
Anyway, these Spanish settlers came to the Philippines working as soldiers, missionaries, government officials, and settlers, transforming the indigenous Filipino societies into tribute zones for Spain's King Philip. That is how the islands became known as the Philippines. This colonial society was racially stratified. Many Spaniards mixed with the indigenous Filipinos, creating a mestizo class. But don't be fooled: mixing was also caused by rape and other arranged marriages between tribes and Spanish settlers, to ensure that lands would be transferred to the new powers.
However, there were also mixes with people from Mexico, such as other Spanish officials, mulattos, mestizos, and indigenous Amerindians. Many indigenous and colored people from across the Pacific came as slaves, crew and servants, allowing cultural exchanges as well. For example, the words "palenque" is a Nahuatl word that is used for "market" in the Philippines.
Usually the purer-blood indigenous Filipinos were relegated to lower castes, while the more Spanish blood were in middle to upper classes. This was the ensure that the indigenous Filipinos would be kept down by the colonial government that was exploiting their natural resources for Spanish empire's trade.
Through the music and dances of Sapatya, a rich history of the Spanish empire is told. However, it is also important to ask questions of the meaning of Sapatya, in order to ask questions of Philippine's history. It is clear that Philippine's history is connected to that of Spain and Mexico.
Back to the dance: Did the Spanish settlers teach the indigenous Pampangenos Sapatya as way to pacify them, when their lands were being taken away under the encomienda systems? After all, Pampanga was established as a province in 1571.
Was dancing used as a past time to distract the Filipinos from resisting their enforced labor as tenant farmers to their Spanish landlords? Or, was dancing used to transmit the subjugated culture of Moors to the indigenous Filipinos who were also being subjugated by the Castillian Spanish empire?
Perhaps these critical questions can help to bring a deeper meaning to why Philippine dance is more than a sight to see. It can tell stories that are silenced under history.
Here's an example of how Sapatya is danced....
Sunday, August 9, 2009
Friday, August 7, 2009
Barrio Fiesta: A way Maui's Filipino Immigrants Preserve and Share their Culture
Just by googling, you can find what Ilokanos on Maui are doing. The Barrio Fiesta is a way that Filipinos on Maui share their cultural practices. This event began in the 1970s as way for Filipino immigrants to come together as a community, to preserve their culture, and transmit it to the younger generations born on Maui.
The early Barrio Fiesta organizers would go to Hana and harvest bamboos, to build the bahay kubos at the War Memorial Stadium, where the Barrio Fiesta would be held. Today, you will see the martial arts that young Filipinos and others are learning, as an example of Filipino cultural preservation on Maui.
Check out other websites where Filipino cultural preservation is happening on Maui!
The early Barrio Fiesta organizers would go to Hana and harvest bamboos, to build the bahay kubos at the War Memorial Stadium, where the Barrio Fiesta would be held. Today, you will see the martial arts that young Filipinos and others are learning, as an example of Filipino cultural preservation on Maui.
Check out other websites where Filipino cultural preservation is happening on Maui!
Friday, July 17, 2009
Messengers of the Afterlife
Maria stood at the bedside of her dying husband Juan. As he breathed through tubes going into his nostrils, she watched his chest rise and fall lightly. With eyes tired of crying, and the weight of sadness upon her chest, she went to sit on the couch. A few moments later, she doze off and fell asleep.
A half hour passed and Maria woke up to the sound of hooves clapping on the sidewalk cement. She rose from her nap and looked out out the screen door. Nothing was there. She went back to her couch to sit down, thinking she was dreaming. But as silence settled back in, she heard the sound of hooves even closer than before, in her cement driveway. Looking out the screen door again, nothing was there.
The weight of sadness became overwhelming, and tears filled her eyes. She turned around and saw her husband's chest rising and falling, but at even longer intervals than before. She ran over to his bedside, panicking, and the sound of hooves were clapping around in her garage, as if invisible horses were walking in circles.
Looking toward the garage, in fear, sadness, and panic, she covered her husband with her body. Crying in grief, she laid her head on his chest. His heart stopped beating. His chest emptied with his last breath, and he was gone. Maria wailed with deep sadness, and she heard the hooves clap out of her garage, down her driveway, and down the sidewalk. The sounds growing more distant as if they were going farther away.
With deep loss that seemed to never end despite the tears flowing out of eyes, she knew that the hooves were the horse and carriage of Juan's parents. Their spirits had come to take Juan to the afterlife.
A half hour passed and Maria woke up to the sound of hooves clapping on the sidewalk cement. She rose from her nap and looked out out the screen door. Nothing was there. She went back to her couch to sit down, thinking she was dreaming. But as silence settled back in, she heard the sound of hooves even closer than before, in her cement driveway. Looking out the screen door again, nothing was there.
The weight of sadness became overwhelming, and tears filled her eyes. She turned around and saw her husband's chest rising and falling, but at even longer intervals than before. She ran over to his bedside, panicking, and the sound of hooves were clapping around in her garage, as if invisible horses were walking in circles.
Looking toward the garage, in fear, sadness, and panic, she covered her husband with her body. Crying in grief, she laid her head on his chest. His heart stopped beating. His chest emptied with his last breath, and he was gone. Maria wailed with deep sadness, and she heard the hooves clap out of her garage, down her driveway, and down the sidewalk. The sounds growing more distant as if they were going farther away.
With deep loss that seemed to never end despite the tears flowing out of eyes, she knew that the hooves were the horse and carriage of Juan's parents. Their spirits had come to take Juan to the afterlife.
Casemera the Sophisticated
Casemera Bucaycay arrived at the immigration office. She was excited to be in America, for a chance to work, and send money back home. Casemera had aspirations to be a fashion designer because she was the best sewer in her ili. The Donas of her ili would thank her for the beautiful kimonas she designed and embroidered.
As Casemera sat in the chair, the Caucasian immigration officer said, "Okay, Miss Cays-mera Bu-kay-kay, can you tell me how old you are?"
"Excuse me sir," she replied, "my name is Casemera Bucaycay. I am 27 years old."
"Pardon me, Ms. Bukay-kay..."
"No, Bu-cay-cay," she replied.
"Well, miss.. Bu-whatever.. Your name is difficult to say. We may have to adjust it, since you are in America."
Perplexed at the language limitations of the immigration officer, she decided to give into his request and take an inspiring name."
"Okay then, call me.. Cashmere Bouquet!"
As Casemera sat in the chair, the Caucasian immigration officer said, "Okay, Miss Cays-mera Bu-kay-kay, can you tell me how old you are?"
"Excuse me sir," she replied, "my name is Casemera Bucaycay. I am 27 years old."
"Pardon me, Ms. Bukay-kay..."
"No, Bu-cay-cay," she replied.
"Well, miss.. Bu-whatever.. Your name is difficult to say. We may have to adjust it, since you are in America."
Perplexed at the language limitations of the immigration officer, she decided to give into his request and take an inspiring name."
"Okay then, call me.. Cashmere Bouquet!"
Labels:
caucasian,
ilokano-american,
language,
migration
The Hikers and the Full moon
There once was a pair of hikers, an ilokano and caucasian man. As they carried their heavy loads through the mountain trails, they realized they were getting lost. It was also getting dark. Since it would be too dangerous to hike in the dark, the pair decided to camp out for the night. At least the full moon was out, keeping the forest bright through the darkness.
After they laid out their campsite, the pair began to relax. Luckily, the ilokano man brought a few can foods of sardines in his sack. Even though he was very hungry, he laid it in front of them, but did not open them. It was his custom to wait for his companion to take the food first. Although they were of different cultures and languages, the caucasian man thought to start a conversation.
"Ahhhhh. Look at the moon!" he said.
The ilokano man looked at the caucasian man with a perplexed face. How strange, he thought, he's not going to open his first.
So, the ilokano man opened his sardines can, and ate his fill.
After they laid out their campsite, the pair began to relax. Luckily, the ilokano man brought a few can foods of sardines in his sack. Even though he was very hungry, he laid it in front of them, but did not open them. It was his custom to wait for his companion to take the food first. Although they were of different cultures and languages, the caucasian man thought to start a conversation.
"Ahhhhh. Look at the moon!" he said.
The ilokano man looked at the caucasian man with a perplexed face. How strange, he thought, he's not going to open his first.
So, the ilokano man opened his sardines can, and ate his fill.
Thursday, July 16, 2009
Our Tradition to Honor our Ancestors
When a family member dies, mom says that funerals are part of Ilokano tradition. Even though we are away from our family in Narvacan, we send money home to continue our tradition.
First, the long hearse drives up to the ili's church. When the bell toll its solemn ring for the first time, the birds fly away across the hot sky. At the church door, the pall bearers enter, carrying the casket in. Trail of weeping women follow, wearing black, lace veils. Children follow their mothers, hand in hand. And their men walk beside them with their heads hung low.
When everyone is seated, the voice of the pade echoes in the stone church.
The weeping is a quiet undertone to the solemn speech of the pade.
The family begins their rounds around the casket, saying their last words. Others follow, and when they finish their last words at the casket, they leave a flower, and shake hands with the grieving family sitting at the pew.
After the service, the pallbearers carry the casket out, and the church follows behind. The casket is carried into the hearse again. The hearse leads the way to the cemetary. Women follow behind the pallbearers, holding their umbrellas.
The tomb is uncovered, and the casket is lowered. Prayers, tears, flowers hold down the tomb cover, so the spirit may not wander, in sadness or anger of an improper burial, in the afterlife.
First, the long hearse drives up to the ili's church. When the bell toll its solemn ring for the first time, the birds fly away across the hot sky. At the church door, the pall bearers enter, carrying the casket in. Trail of weeping women follow, wearing black, lace veils. Children follow their mothers, hand in hand. And their men walk beside them with their heads hung low.
When everyone is seated, the voice of the pade echoes in the stone church.
The weeping is a quiet undertone to the solemn speech of the pade.
The family begins their rounds around the casket, saying their last words. Others follow, and when they finish their last words at the casket, they leave a flower, and shake hands with the grieving family sitting at the pew.
After the service, the pallbearers carry the casket out, and the church follows behind. The casket is carried into the hearse again. The hearse leads the way to the cemetary. Women follow behind the pallbearers, holding their umbrellas.
The tomb is uncovered, and the casket is lowered. Prayers, tears, flowers hold down the tomb cover, so the spirit may not wander, in sadness or anger of an improper burial, in the afterlife.
Labels:
death,
funerals,
ilokano-american,
Narvacan,
tradition
The Hospital God's Intermediary
There was an immigrant woman from Ilocos Sur, who was at the hospital in California. She was in labor, giving birth to her first child. She was alone, for her husband was still back in the Philippines, caring for his aging parents.
With beads of sweat on her forehead, she squirmed and moaned with pain. The Caucasian-American nurse took pity on her. The nurse wiped the woman's forehead with a towel and told her, "Everything will be okay." She added, "just let me know if you need anything."
The Ilocano woman looked up at her with her glistening brown eyes, filled with uncertainty and frowning with the panic of sharp labor pains.
"Ay, Apo Dios! Apo Dios!" The woman cried.
The nurse bent closer to her, and asked, "What was that?"
"Ay, Apo Dios! Apo Dios!" The woman cried again.
The nurse replied, "Oh, is that what you want... Okay, I'll be right back." When the nurse returned, she had Apple Juice in her hands, eager to satisfy the needs of the laboring immigrant woman.
The Ilocano woman looked up at her in disbelief and frustration.
With beads of sweat on her forehead, she squirmed and moaned with pain. The Caucasian-American nurse took pity on her. The nurse wiped the woman's forehead with a towel and told her, "Everything will be okay." She added, "just let me know if you need anything."
The Ilocano woman looked up at her with her glistening brown eyes, filled with uncertainty and frowning with the panic of sharp labor pains.
"Ay, Apo Dios! Apo Dios!" The woman cried.
The nurse bent closer to her, and asked, "What was that?"
"Ay, Apo Dios! Apo Dios!" The woman cried again.
The nurse replied, "Oh, is that what you want... Okay, I'll be right back." When the nurse returned, she had Apple Juice in her hands, eager to satisfy the needs of the laboring immigrant woman.
The Ilocano woman looked up at her in disbelief and frustration.
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