Professional Documents
Culture Documents
Folklore
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 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.
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.
Maceda, José. 1971. Means of Preservation and Diffusion of Traditional Music: The Philippine
Situation. Asian Music 2, bil. 1: 14-17
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
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.
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.
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
Dorson, Richard . 1966. The Question of Folklore in a New Nation. Journal of the Folklore Institute 3,
bil. 3: 277-298
Eugenio, Damiana . 1987. Folklore in Philippine Schools. Philippine Studies 35, bil. 2: 175-
190