THE ROLE

ACTIVITY 9 - COMM11
OF RADIO IN
CULTURAL
AND SELF
EXPRESSION
DAIZ, JOHN PATRICK P.
CARADO, AYNNA
01
“Talking Politics: The
Komentaryo on Cebu Radio”
Morajes, Resil (1998)

02
“Pagpapasahimpapawid ng Lokal
na Musikang Country ng mga
Kankana-ey, Ibaloi, at Ilokano sa
mga Istasyon ng Radyo sa Lunsod
ng Baguio”
Telles, J.P. (2017)
 01

“Talking Politics: The

Komentaryo on Cebu
Radio”
Morajes, Resil (1998)
 ABOUT THE
ARTICLE
The article is about the Commentary on
Cebu Radio regarding Politics
 Filipinos and the
Commentary

-Philippine radio has different segments from political talk to music, news report, panawagan, humor,
gossip and general information.

- Sometimes, a party program in disguised to slant over a favored candidate

-common komentaristas, which is the key figure in a komentaryo are lawyers, business men, media persons
or marginal/failed politicians who specializes in political opinions.

- There exists an "alalay" or "sagabay" of commentator : feeds questions, sounds assent, pitches his own
comments. He also acts as the imaginary listener who appears to be less informed and less experienced. He
usually jokes around to give authority to the commentator and a chance to adopt a high elevated tone

- Opinion type programs use an informal and raw discourse with callers and such.
 Filipinos and the
Commentary

-Radio commentaries are essentially one-sided, discussions are usually done to persuade listeners
of the commentators' views

The commentator defines himself, his listeners and the environment through presentation of self:

1. identifies himself through use of radio names

2. towards end of persuasion, he defines himself as one of the people by saying words which
reflect that of the listener. only difference is that he presents himself as more analytical and more
experienced.

How? he shifts his speech context and calls himself poor or oppressed and is addressed by a
familiar name.
3. He exhibits competence by shifting from Cebuano to English

4. invokes authority by calling public officials by their nicknames, cites confidential documents and is
informed of latest gossips

5. Co-commentator induces more power by addressing him as atty. or professor.

The listener is constructed through:

1. naming devices: ‘mga kaibigan’, ‘mga kapatid’, etc. – this is done to create a certain fraternity

2. commentator uses plural forms “we”, “us” to imply that he is one with the listeners thus lends more
authority to his voice

3. Points source of power by bringing up sovereign nation and mystifies conditions of political
subjection
The environment for listeners is defined by political speech as it constructs social reality and sets the
limits to what is relevant in social interaction

1. komentarista begins program by framing an issue thus setting forth “topic for discussions”

2. komentarista often controls flow of discussion by:

- selective deployment of facts

- deployment of rhetorical devices to mark boundaries defining and setting what is proper,
reasonable, legal and excluding what is impractical, unthinkable and heretical

- use of devices such as facts and theories

In Philippine society:

- oratory is power

- man skilled in speech = “man of learning”

- most important variables of speech forms: who are involved, what’s the purpose

Three broad categories of speech events:

1. CONVERSATION – dialogue, informal exchange bw few participants, no fixed topic, to sought or

explain

2. DISCUSSION – dialogue, more focused, organized, structured exchange

3. SPEECH – formal monologue

 Performative Function of Political Speech

- Commentators become show performers

- The general is separated from the particular

- Monologic character of commentator. Komentaryo is often scripted or structured discourse.

- It does not open into a true real dialogue for it only constructs politics.

- instead of political education, it fosters a form of political illiteracy due to the nature of the komentaryo
- Rise of komentaryo may indicate a situation where formalised genre or codes have weakened and that
formal pronouncements of law and authority are no longer compelling.

- Public discourse on politics is oftentimes produced by those with power

Cebuanos can see the bias in a komentary and understands that the opinion of the commentator is
not his. They are all aware that he was only being used as a spokesperson.

Note that:

The listener is not defenseless. listeners can withdraw, distance or shape their responses.
 02
“Pagpapasahimpapawid ng Lokal na
Musikang Country ng mga Kankana-
ey, Ibaloi, at Ilokano sa mga
Istasyon ng Radyo sa Lunsod ng
Baguio”
Telles, J.P. (2017)
 TUNGKOL SA
ARTIKULO
Ang kasaysayan ng pagsasahimpapawid
ng mga awiting Country na isinulat ng
mga Kankana-ey, Ibaloi, at maging ng
mga Ilokano mula sa Baguio at Benguet
 PANIMULA

Kapag pinag-uusapan ang musika ng mga pangkat-etniko mula sa

Kordilyera, madalas na iniisip ang mga tradisyunal na anyo nito.

Halimbawa ng mga musika sa kasalukuyang panahon

- lokal na musikang country mula sa Baguio at Benguet

- Ethnopop mula sa Kalinga
- at ang makabagong anyo ng Salidummay
Pag-aangkin ng Musikang Country
ng mga Kankana-ey, Ibaloi, at Ilokano
sa Baguio at Benguet
 Pag-aangkin

- Paggamit ng musikang Country - halimbawa ng apropriyasyon

(appropriation) o pag-aangkin.
- paraan kung paano ginagamit ng mga lipunang dating sinakop ang
iba’t ibang bahagi at aspekto ng kultura ng kanilang kolonyalista
 Pag-aangkin
- Porma ng pag-aangkin - itinuturing na “indihenisasyon mula sa
labas” o “pag-aangkin ng mga konsepto mula sa banyaga

01
Pagsasalin
- “indihenisasyon mula sa labas” - isinagawa ang “pagsasalin” sa
pamamagitan ng mga liriko na kanilang inilalapat dito.

2 URI NG PAGSASALIN

- Abrogasyon
- Tuluyang paggawa ng mga orihinal na tono at bernakular na liriko
ng mga Kankana-ey, Ibaloi, at Ilokano gamit ang genre na country.
 02 Pag-aandukha

- pagbibigay ng katutubong kahulugan sa ideya at salitang hiram -

- Country - bagong kahulugan

- ginamit upang ipahayag at ipabatid angkanilang kultura,

pagkakakilanlan, at personal at kolektibong karanasan
 03 Kultural na Asimilasyon

- Bahagi ang musikang country sa mga isinasagawa ng mga

indibidwal o grupo na sumusunod sa kinnoboyan na pamumuhay sa
Baguio at Benguet.
- Paggamit ng tono ng mga awiting country mula sa Amerika
bilang tono sa kanilang day-eng o mga courtship chant
 KINNOBOYAN

- paggaya sa mga gawain ng mga cowboy.

 Mga Karaniwang Tema

- sariling interpretasyon at reinterpretasyon ng kanilang kasaysayan;

- kanilang paniniwala at pananaw ukol sa espasyo at heograpiya; at
- kanilang pananaw at karanasan sa kamakabaguhan (modernity).

- Nan Layad Nan Likatan (The Love We Have Suffered For) -

nilapatan ng mga liriko ang tono ng awiting pangsimbahan
ng mga Protestante na When There’s Love at Home
Sa kasalukuyan,

- ibinebenta ang mga CD, VCD, at DVD ng mga ito sa mga lokal na
music store

- Nilalaman ng mga programa sa radyo, sa ilang lokal na istasyon ng

telebisyon, at maging sa mga DVD na naglalaman ng mga music
video ng kanilang mga awitin.

- DZWT Radyo Totoo, DZWR 99.9 Country, DWUB Z-Radio, at DZWX

Bombo Radyo Baguio
 PAG-AANGKIN NG RADYO

PAGSASALIN
- paggamit ng mga lokal na wika sa Pilipinas sa mga nilalaman ng mga
programa at patalastas sa radyo.
- tagalog na tugtugin, mga programa

PAGAANDUKHA
- hindi lamang ginaya ng mga Pilipino ang paggamit ng radyo mula sa mga
Amerikano kundi ginamit din nila ito upang maisakatuparan ang kanilang mga
layunin tulad ng pagpapahayag ng kultura, paglaban sa mga mananakop, at
iba pa

KULTURAL NA ASIMILASYON
- ang pagtanggap ng mga Pilipino sa pagsasahimpapawid at pakikinig sa radyo
bilang parte ng kanilang araw-araw na pamumuhay. Sa katunayan, nagkaroon
na ng maraming papel at tungkulin ang radyo sa Pilipinas.
KABUUAN
 THANK YOU
FOR LISTENING
 REFERENCES
Mojares, Resil. 1998. “Talking Politics: The Komentaryo on Cebu Radio.”
Philippine Quarterly of Culture and Society 26, no.3/4, 337-
362. Available online: https://www.jstor.org/stable/29792426

Telles, Jason Paolo R. 2017. “Pagsasahimpapawid ng lokal na musikang

country ng mga Kankana-ey, Ibaloi, at Ilokano sa mga
istasyon ng rayo sa lunsod ng Baguio (1960-2015).” Saliksik E-
Journal 6, no.1, 140-164. Available online:
https://ejournals.ph/article.php?id=11804