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'Fiesta', Affirming Cultural Identity in a Changing Society: a Study of Filipino Music in C

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'Fiesta', Affirming Cultural Identity in a Changing Society: a Study of Filipino Music in C 792 ./+$ '&'$ &&* !&*, &'*!" ! '% $%&'$+3228- &%%%'&& ' & !&$#'$ &% ! %&$!$&% '% && ($%&*! &$'$* * ! ,33623457 $ "'"$(%!$, !%! %%%& &'"$(%!$,$! & !# ($%&*! &$'$*+$%&'$+ ) $'$*3229 Table of Contents Item page Acknowledgements i Abstract ii Introduction 1 Research Method and Methodology 5 Outline of Chapters 9 1 Chapter One: Social and Cultural Structure of Filipino 11 1.1. Introduction 11 1.2. Barangay: The Extended Family 12 1.3. Hispanicization, Christianization: An Increasingly Complex Society 13 1.4. Starts and Stripes Forever: Attitudes and Behaviour as a Result of 15 American Colonialism and Globalization 1.5. The Great Divide: The Reality of Poverty in Filipino Society 17 1.6. Migrant Community: Microcosm or Mole-hill? 18 2 Chapter Two: The Hispanic Influence on Filipino Culture 19 2.1. Introduction 19 2.2. Magellan’s Cross: Christianization, Colonization and the Creation of a 20 Nation 2.3. Tower of Babel: Spanish Language in the Philippines 25 2.4. Education 27 2.5. Music and Dance 29 2.6. The Future 32 3 Chapter Three: Music in the Philippines 33 3.1. Introduction 33 3.2. Pre-Hispanic Malaysian Genre 34 3.2.1. Pre-Hispanic Malaysian Genre in Christchurch 2008 41 3.3. Hispanic Genre 44 3.3.1. Introduction - Perla del Mar de Oriente 44 3.3.2. Fiesta 46 3.3.3. The Christian Calendar and Filipino Para-liturgical Musical Genres 47 3.3.4. La Vida Loca: Romance and Music in Filipino Life 52 3.3.5. Hispanic Contribution to Filipino Organology 55 3.3.6. Classical Music and Music Theatre in the Spanish Period 59 3.4. Filipino Folk Dance 62 3.4.1. Introduction 62 3.4.2. North-South Division 63 3.4.3. Spanish Dances 66 3.4.4. Music and Dance 69 3.4.5. Folk Dance Today 69 3.5. Contemporary Popular Filipino Music 71 3.5.1. Introduction 71 3.5.2. Filipino Response to Americana 73 3.5.3. English, Tagalog, and Taglish 84 3.5.4. Ritual and Participation: The Paradox of Karaoke 87 3.5.5. Filipinos and Popular Music in Christchurch 2008 93 3.6. Contemporary Religious Music 98 4 Chapter Four: Patterns of Filipino Migration to New 103 Zealand 1969-2008 4.1. Introduction: The Impulse Driving Filipinos to Work Overseas 103 4.2. Worldwide Patterns of Filipino Migration 104 4.3. New Zealand as a Choice for Filipino Immigrants 105 4.4. Christchurch as a City of Choice for Filipino Immigrants 107 4.5. ‘Nothing to Declare’: Migrant Music 110 5 Chapter Five: The Filipino Community in Christchurch 112 5.1. Introduction 112 5.2. Filipinos Inactive Within the Filipino Community 113 5.3. Passive Participation 116 5.4. Active Participation 117 5.5. Main Filipino Groups in Christchurch 119 5.5.1. The Philippine Society of Canterbury Incorporated 119 5.5.2. Philippine Culture and Sports 124 5.5.3. Couples for Christ Music Ministry 126 5.5.4. Philippine Sports At Iba Pa 129 5.5.5. Sinulog Fiesta 130 5.5.6. Filsoc 131 5.5.7. Philippine Flamingo All Rounders 132 5.6. Constructive Action Between and Beyond the Groups 133 5.7. Fringe Groups 137 5.8. Barriers to Unity and Community Cohesion: The Splinter Group 139 6 Chapter Six: Strategies for Affirming Cultural Identity 142 6.1. Introduction 142 6.2. Strategy One 143 6.3. Strategy Two 146 6.4. Strategy Three 148 6.5. Strategy Four 150 6.6. Strategy Five 153 6.7. Strategy Six 154 6.8 Unrealized Potential: The Future 155 7 Chapter Seven: Fiesta 156 7.1. Introduction 156 7.2. Fiesta in New Zealand 158 7.3. Fiesta One: Santacruzan 161 7.3.1. Procession 171 7.3.2. The Evening Meal 175 7.3.3. Entertainment: Types of Song and Dance 175 7.4 Fiesta Two: Araw ng Kalayaan 182 7.5. The Party Continues: Halloween, Christmas and Beyond 196 7.5.1. Halloween 196 7.5.2. The Christmas Period 198 7.5.2.1. Carolling 198 7.5.2.2. The Philippine Society of Canterbury Christmas Party December 20, 2008 202 7.5.2.3. Simbang Gabi 203 7.5.2.4. New Year, Sinulog Fiesta and Rumours of Kuh Ledesma 204 8 Chapter Eight: Preparation and Performance of the 206 Liturgical Song: 'Panalangin sa Pagiging Bukas-Palad' 8.1. Introduction: Joining the Choir 206 8.2. Attending a Rehearsal 208 8.3 Panalangin Sa Pagiging Bukas-palad 216 9 Chapter Nine: Preparation and Performance of the Hispanic 219 Dance: 'La Jota' at Culture Galore Festival 9.1. Introduction: Celebrating Cultural Diversity at Culture Galore 219 9.2. Preparation and Performance of ‘La Jota’ 229 9.2.1. La Jota Moncadeña 230 9.2.2. Performance 233 10 Chapter Ten: 'Findings Juxtaposed' Linking the Christchurch 235 Situation to Questions about Filipino Music and Identity 10.1. Filipino Music(ality) 235 10.1.1. The Medium: Physically Mediated Musicality 235 10.1.2. An Emphasis on Ensemble 237 10.1.3. The Musical Smile: Masigla! [Lively!] 238 10.1.4. Language and Identity in Filipino Music 239 10.2. The Historical Legacy 243 10.2.1. Americanization and Philippine Music in Christchurch 243 10.2.2. Hispanic Musical Elements in the Christchurch Filipino Community 247 10.2.3. The Integration of Disparate Influences: Searching for a Thread 251 10.3. The Teaching of Filipino Music in Christchurch 254 10.3.1. Identifying Important Cultural Agents 254 10.3.2. Processes of Instruction and Dissemination 256 10.3.3. Beyond Dance: Rondalla and Filipino Language 260 10.4. The Christchurch Filipino Community in Process 262 10.4.1. The Influence of Increased Population on Music Making 267 10.5. Fiesta! 271 10.5.1. The Application of Music in the Fiesta in Christchurch 273 10.5.2. Adaptation to the New Zealand Environment 277 10.6. Affirming Cultural Identity in a Changing Society 285 10.6.1. Us and them: Variations in Musical Behaviour and Performance for Insider and 288 Outsider Audiences 10.6.2. Affirmation of Identity and Integration into New Zealand Society 289 11 Conclusion 292 12 Bibliography, Discography, Filmography 296 12.1. Bibliography 296 12.2. Discography 305 12.3. Filmography 306 13 Appendices 307 13.1. Philippine Choir Guitarists Lyric Sheets 307 13.1.1. Panalanging sa Pagiging Bukas-palad 308 13.1.2. Sa Kabila Ng Lahat 309 13.1.3. Santo 310 13.1.4. Papuri-Luwalhati sa Diyos 311 13.1.5. Pag-aalaala 312 13.1.6. Alleluia 313 13.1.7. Luwalhati sa Diyos 314 13.1.8. Ama Namin 315 13.1.9. Nasaan Kaya Ako 316 13.1.10. Kordero ng Diyos 317 13.2. Newspaper Articles 318 13.2.1. Filipino nurses living eight to flat 318 13.3. Community Correspondence 319 13.3.1. E-mail Message from Arlene Wilkins 319 13.4. Programmes 320 13.4.1. Cultures Galore Stage Performance Schedule 321 13.4.2. Santacruzan 2008 322 13.4.3. Philippine Society of Canterbury Incorporated Independence Day Celebration 324 13.4.4. Philippine Culture and Sports Independence Day Celebration 225 13.4.5. DJ Jupiter Bignotea's Play List 327 13.5. Example DVD Track Information 328 13.6. Example DVD Raw Data 329 13.7. Tabulated Interviews 330 13.8. Glossary 331 13.9 Human Ethics Committee Approval Letter 343 13.1 Information Sheet for Interviewees 344 List of Figures Figure 1 Bamboo instruments from the collection of Sean Linton displayed on his desk at the 42 University of Canterbury April 24, 2008. Photo by Kim Rockell. Figure 2 Delia Bradshaw teaching the use of chopsticks to approximate percussion sticks to 42 adolescents from the Philippine Society in Our Lady of Fatima Church Hall April 22, 2008. Photo by Kim Rockell. Figure 3 Delia Bradshaw and dancers from the Philippine Society of Canterbury perform Pandango 68 sa Ilaw at the 2008 Santacruzan. Photo by Ed and Cel. Figure 4 Fig.4 April Pollock, a member of the Philippine Society of Canterbury, sings at a home 87 karaoke party. Photo by Ed and Cel. Figure 5 Greg and Edna Sancho, important musical agents in the Filipino Community sing karaoke 87 at the Our Lady of Fatima Choir Christmas party. Photo by Ed and Cel. Figure 6 Warm up at post-choir dance practice at Our Lady of Fatima church hall October 3, 2008. 95 Photo by Ed and Cel. Figure 7 Mike, a member of the Philippine Society of Canterbury, teaching Latin dance at post-choir 95 dance practice in October, 2008. Photo by Ed and Cel. Figure 8 Guitarists seated around the organ at Mass in Our Lady of Fatima church. Photo by Ed and 101 Cel. Figure 9 Delia Richards, the founder of Philippine Culture and Sports, modelling a costume from the 124 Southern Philippines at the Global Extravaganza February 10, 2008. Beside her is Chelsea Ruiz. Photo by Ed and Cel. Figure 10 Sergio Ruiz corrects a guitarist’s chord sheet during a choir practice at a private home in St. 133 Albans May 30, 2008. Photo by Ed and Cel. Figure 11 Sergio wears a traditional Filipino barong Tagalog at the Global Extravaganza February 10, 134 2008.On the left is his wife Gene Ruiz. Photo by Ed and Cel. Figure 12 Sergio relaxes during break time at choir practice at a private home on April 21, 2008. Photo 134 by Kim Rockell. Figure 13 Multiple guitarists seated in a rondalla-like row during Mass at St. Teresa’s church January 145 12, 2008. Photo by Ed and Cel. Figure 14 Saint Teresa’s church hall stage decorated for the Santacruzan party May 6, 2008.
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