This is how the Fishermen Sing

Culture Is Not A Luxury: it is how we live. The arts, in turn, are for everybody, regardless of age, race, creed, or ability. Today, just as the call for globalization has brought about increased anxieties for the basic necessities of life, arts and cultural activities should be innovative and exciting mechanisms for social, cultural, and economic development.

This is an area where the British Council has chosen to play an increasingly significant role, believing that creating dynamic partnerships through the arts can contribute to progressive change in society. Through different programs, it has encouraged tradition, modernity, and diversity to flourish side by side. Advocating a model where artists help instill self-confidence in others and greater pride in one’s community, the Council’s outreach work has allowed the voices of those who were silent or discounted to be heard.

The events of September 11 brought about a greater call for connecting people and connecting futures. Renowned UK cellist Matthew Barley’s offer to visit the Philippines thrice on a music education program provided the opportunity to apply connectivity through music. Not only was he excited about working with Filipino youth, but also about making music within the framework of community development and, most of all, with breaking the stereotypical mode of the classical musician by collaborating with indigenous artists whose works have enriched the tapestry of Philippine culture.

Barley’s colleagues at the Guildhall School of Music have since followed through with a four-year program that was patterned after their Creative Factory project for Bath and Wiltshire, as well as their award-winning Connect program, which was honored with the Queen’s Anniversary Prize last December for its role in and contribution to regional regeneration, widening participation, trans-cultural partnerships, and life-long learning.

Following months of preparation, Sean Gregory, Katja Mervola, and Nathan Thomson of Guildhall teamed up with Alfonso "Coke" Bolipata for a pilot project in Zambales that integrated the indigenous culture of the Aetas with the different sectors of the community, specifically gifted children from Casa San Miguel’s program. Modules with farmers, fisherfolk, and government officials were also included to see if creativity could be brought into their environment to improve the quality of their work.

Ever relentless in his efforts for both his young wards and the community at large, Bolipata explained: "We felt that this was a unique way of sharing the art-process so that others could better appreciate the work being done at Casa San Miguel, thus widening the impact it makes in the community."

Drawing on collective musical languages, the three tutors worked with Bolipata’s senior music faculty who, not too long ago, had also emerged from his own music development program at the Casa. Together, they led the seemingly rag-tag assembly in creating new compositions which encapsulated the sentiments of the group, in the melody and lyrics.

Gregory, Mervola, and Thomson used workshop techniques to guide the composition process.  The participants responded in an open and enthusiastic way to this process and the resulting compositions were fresh and musically very interesting.  The trio began with a refresher course for the Pundaquit Virtuosi, whose two previous summers with Matthew Barley brought about dramatic strides in their musical development. Even their parents were asked to join the exercises, which were designed to hone rhythm and communication skills. Mervola, an accomplished viola player who is creative director for Guildhall Connect, feverishly worked with the string players, backed by Thomson on double bass. Bolipata himself assisted on the sectional cueing for the much younger violinists.

The farmers and fishermen of San Antonio, Zambales, agreed to take an afternoon off to write and fine-tune the lyrics of a song which echoed with painful clarity their anxieties about society.

"Bakit ‘di mapigilan ang pagdami ng tao sa mundo?

Laganap na ang kahirapan, gumising na’t kumilos tayo!

Ano nga ba ang solusyon dito?

Dal’wang anak raw ayon sa gobyerno.

Nguni’t may taliwas na pananaw rito

Di sang-ayon simbahang katoliko

Kaya, Kabataan, mag-isip muna

Huwag mag-asaawa na’ng maaga

Presyo ng bilihin tumataas na

Ating kakainin nagkukulang pa.

Pamilya’y i-plano..Araling mabuti."

Holding their workshop session right by the fishing boats anchored on the San Antonio waterfront, the Guildhall team then drew the participation of the village midwives and manghihilot whom they taught to play percussion instruments they picked up from Baguio following an interaction with the Cordillera Ethnic Music Ensemble, plus a set of gongs borrowed from Cotabato’s Manlilikha ng Bayan Samaon Sulaiman. Thomson also demonstrated how even an ordinary bathroom fixture such as a water pipe can be used as a sweet-sounding flute.

On day two, Bolipata led the Guildhall team on a trek to the mountains of Botolan for interaction with the Aetas. Joining them were local government employees designated by Governor Vic Magsaysay, who eagerly responded to the idea of challenging the general perception that the Aetas were the least creative of Philippine tribes, being primarily hunters. Staff support likewise came from the Subic Bay Arts Centre.

Thomson, who is Australian by birth, felt an immediate connection.

"They look just like the aborigines back home!" he exclaimed.

Sean Gregory overcame his initial awe and quickly took out his guitar to jam with two tribesman who brought their home-made instruments. The local government personnel then stepped out of the hut to learn some dance moves from an Aeta "choreographer".

At the end of the session, the teams then merged their work in a mini showcase inside the largest hut. As a form of thanksgiving, Gregory, Mervola, Thomson, and Bolipata planted some tree seedlings and graciously joined a ceremonial tagay of freshly-brewed tanglad herbal tea.

Day three was marked by an electrifying atmosphere as Casa San Miguel buzzed with activity leading up to the culminating program that would bring together the Pundaquit Virtuosi, the farmers, fishermen, midwives, and Aetas. Bolipata’s brother-in-law Elmer Borlongan even managed a hastily-assembled but dazzling visual display of photographs he took all throughout the workshop sessions. The San Antonio residents turned up in full force, packing the Casa’s auditorium to the rafters.

The hour-long program, showcasing the participants’ newly-acquired skills in improvisation and composition, completely won over the audience. Watching and listening intently, they realized that culture does not belong to any one sector of the community, but is a part of every individual, no matter what background he may have.

Choreographer Myra Beltran, who traveled all the way from Manila just to watch the show, remarked: "It’s obvious that whether you’re a dedicated music student or a hardworking member of the community supporting a family, there is a rhythm and melody set by the heart that simply needs a time and a place to share generously, openly, and freely."

Just as they have been doing back home in London, the Guildhall Connect team allowed the participants to experience barriers coming down, making way for a joyous awakening of the body and spirit.

"The power and rhythmic drive of the Aeta musicians and their home-made guitars was incredible!" Thomson fondly recalls.  "I was particularly inspired by the elder member of the Aeta group who brought pure joy to everyone he played for. He illustrated the spirit in which I believe all music should be played."