Tribal beats of 'Ang Bagong Tribo ni Jan Allah' stay rough and raw

Meet "Ang Bagong Tribo ni Jan Allah"-a group of local musicians playing tribal music. Its members, who are exposed to culture-based beats, assert the need to promote the Philippine tribal sound: raw, free flowing, rhythmic and ritualistic. The group performs in venues like Kahayag and Handuraw, and other places outside the city.

Contrary to their Cebuano contemporaries who are also diving into tribal music but use modern drum kits and electronic instruments to blend with tribal materials, "Ang Bagong Tribo ni Jan Allah" showcases none of it. What they produce are rough, raw and rugged musical pieces. A collectively primordial sound that carries audiences to a delirious trip back to the days of pre-colonial music. Theirs might be the music, which Rajah Humabon listened to. Or the music before the coming of the Sto. Niño.

The group that started last September 1, 2005 is composed of Jan Allah Albino, Justin Ian Sanchez, Rico Ramirez, Jufel Capangpangan, Nathaniel Cagang, and Jayjay Saynes. They have performed in cultural shows like "Kadaugan sa Mactan," "Saulog sa Ayala" and "Wow Philippines" in Intramuros, Manila. And the gig schedules have grown in number.

Students and tourists should find good reasons why they should watch a "Jan Allah" performance. The group boasts of an assortment of tribal instruments like djiembe drums, kubing (bamboo zither), bamboo side flute, gangsa (gong), higalong (two-string lute), bird flute, budyong (seashell horn), kulatong (bamboo percussion) and kulintang (a collection of brass gongs). The bird flute, a short flute the size of a pipe, emits bird sounds, while the budjong, a sea shell horn that's sure to mystify your eardrums.

Now, this is not a usual occurrence in the local music scene. That, and the group's performance that puts emphasis on foot stomping and chanting.

During any regular gig, the group would perform musical pieces such as "Lakaw," which starts with very fast tribal beats and a gangsa solo in between the measures. "Singkilan" is the group's improvisation of the Muslim dance, which sets in with the bird flute, bamboo poles and chimes. The break in of multiple tribal drums and the male chanting seem to summon the anitos and the lesser gods to join the jam.

In "Bongos," Jan Allah showcases his solo percussion performance, which is just fascinating. His hand techniques include finger roll, slap beat and half and open palm drumming. The long solo performance runs from fast to mid-tempo to slow drumming like a crawling flow of a stream. Perhaps like what a Datu should do, the solo performance is one way of asserting leadership.

Though unique and appealing, fans and supporters are still crossing their fingers that the group would stay intact in the coming years. The current fad and interest in tribal music gives "Ang Bagong Tribo ni Jan Allah" a chance to promote and fuse regional music from all corners of the country. Yet, they still need to dig deeper into its source as what Joey Ayala, Kidlat Tahimik, or Grace Nono are still doing. There are no longer tribes in the mountains of Cebu, the heart and soul of their musical genre. And so it would seem that they will have to exert more effort in bringing to the audience authentic Philippine tribal music. Can the group compete with bands of other genres like Bisrock and promote their musical philosopy? Or, how long will Cebuanos support a group like them? The answer lies not in the mystical phrases they are vocalizing onstage, but also in their drive and passion as tribal musicians. And that includes a lot of soul searching.

For the meantime, Cebuanos will be enchanted by their archaic instruments and earthy hairtsyles, because their beats are like a rendezvous of exotic sights and sounds.