ARTS AND HUMANITIES
Module 3
PHILIPPINE POP CULTURE
At the end of the course students are expected to gain appreciation of the
relevance of reconnecting past culture with the present in attaining self-involvement in
bridging the generation gap and resolving the dilemma it brings to the society.
Philippine Movies
The early years of Philippine film, starting from the 1930s, were a time of
discovering film as it was at that time still a new art form. Stories for films came from the
theater and popular literature being, as they were, “safe”, with the filmmaker being
assured of its appeal. Nationalistic films were also in vogue despite early restrictions on
films being too subversive.
The 1940s and the war brought to Philippine film the consciousness of reality
which was not present in the preceding films. Filmmakers dared to venture into the
genre of the war movie. This was also a ready market especially after the war.
The 1950s were the Golden Years, a time when films matured and became more
“artistic”. The studio system, though producing film after film and venturing into every
known genre, made the film industry into a monopoly that prevented the development of
independent cinema.
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The 1960s, though a time of positive changes, brought about an artistic decline in
films. The notorious genre of bomba was introduced and from that day forward has
been present in the Philippine film scene ever since.
The 1970s and 1980s were turbulent years, bringing positive and negative
changes. From the decline in the 60s, films in this period now dealt with more serious
topics following the chaos of the Marcos regime. Also, action and sex films developed
further introducing more explicit pictures. These years also brought the arrival of
alternative cinema in the Philippines.
The Pioneering Film by “National Artist” Jose Nepomuceno
1919-1929 “DALAGANG BUKID”
It was only in 1917 when a Filipino built a motion picture company and released in
1919 what would be considered as the first Filipino-produced and written film. Dalagang
Bukid (Farm Girl), is a silent film directed and produced by José Nepomuceno, the
Father of Philippine Cinema. It was based on a zarzuela written by Hermogenes Ilagan,
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about a young flower vendor named Angelita forced by her parents to marry a wealthy
old man, Don Silvestre, despite her love for Cipriano, a law student. The film was
officially released on September 12, 1919 with English, Spanish, and Tagalog subtitles.
We may or may not associate the perennial fondness of the Filipino masses to
romantic-comedy films with this film, but what Dalagang Bukid achieved besides being
the first full-length Filipino film was the paradigm shift it created. Unfortunately, none of
Nepomuceno's early works survived the war period as the materials used at the time
were very fragile.
Golden Age of Philippine Cinema
The '70s and '80s were the golden age of Philippine cinema, with films from
Lino Brocka, Ishmael Bernal, Celso Ad. Castillo, and Peque Gallaga. Filipinos
patronized these local auteurs who knew how to appeal to both critics and the crowd.
To mark a milestone in moviemaking, this era produced some of the worthy and
critically acclaimed Filipino made films in genre that covers drama, horror, erotic thriller,
suspense, comedy, fantasy. And two noted documentaries in recent times complete the
list.
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City After Dark (1980)
Ishmael Bernal's master piece City After Dark is widely considered to be one of the
Philippines' best movies. Released at the height of Martial Law, its gritty depiction of
what beautiful Manila transforms into after dark—full of violence and sex and gore—is a
metaphor for the times. It was originally titled Manila By Night, but former First Lady
Imelda Marcos allegedly requested the title changed so as not to tarnish the capital
city's reputation.
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Oro, Plata, Mata (1982)
The combination of a powerhouse cast (Joel Torre, Cherie Gil, Sandy Andolong,
Kuh Ledesma) and formidable director Peque Gallaga led to this stunning Filipino
classic. Set in Negros, Oro, Plata, Mata traces how the war affected the lives of two
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aristocratic families. Its imagery and drama make it a case study in great Filipino
movies.
Karnal (1983)
This award-winning Marilou Diaz Abaya film garnered several prizes at the 1983
Metro Manila Film Festival, included the coveted Best Picture. The story is brutal, but
the way it's told is compelling and also proves that Filipino audiences appreciate more
depth in films. Narcing (Philip Salvador) returns to the province with his wife Puring
(Cecille Castillo) to ask his father Gusting for his inheritance. Puring, feeling out of place
in the country, falls in love with Goryo (Joel Torre). As the story progresses, it is
revealed that Narcing's mother, who resembles Puring physically, is an adultress.
Reminded of his wife, Gusting attempts to rape his daughter-in-law; Narcing finds out
and kills his father. There are many more intricacies between and after these events,
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and you'll need to really watch Karnal to understand why it's such a great Filipino movie.
The film has been nominated by ABS-CBN for digital restoration.
High School Circa '65 (1979)
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Most of the Philippines' critically acclaimed films are gritty and heavy, but this
Maryo de los Reyes classic sticks to the reality of high school, which is light, relatable,
and fun.
Pagputi ng Uwak Pag-Itim ng Tagak (1978)
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This Filipino film is a classic rich-girl-poor-boy romance brought to life by actors
Vilma Santos and Bembol Roco and director Celso Ad Castillo. Affluent Julie Monserrat
falls in love with student-slash-combo player (that's similar to today's DJ) Dido, and their
forbidden romance rocks the entire town.
Gaano Kadalas Ang Minsan (1982)
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Dindo Fernando, Vilma Santos, and Hilda Koronel play a man, his wife, and his
lover in this Danny Zialcita movie about the intricacies of marriage and adultery. The
popular Filipino movie won six prizes at the 31st Filipino Academy of Movie Arts and
Sciences Awards (FAMAS), including Vilma Santos' third Best Actress win. It lost Best
Picture to Cain at Abel.
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Himala (1982)
This 32-year-old Filipino classic is still receiving honors from all over the world.
Perhaps Ishmael Bernal's most popular film, the success of Himala needs no
explanation. A testament to its status as one of the most iconic Filipino movies of all
time is how people still reference its memorable lines: "Walang himala!"
Tinimbang Ka Ngunit Kulang (1974)
A Filipino drama directed by Lino Brocka, this film features the debut of Christopher
de Leon as Junior. Tinimbang Ka Ngunit Kulang follows his coming of age as he
discovers love amid scandal and negativity. Young Junior befriends the village idiot
Kuala and the ostracized leper Berto. When Kuala becomes pregnant, chaos erupts
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through the town. Dirty secrets are revealed, important characters die, and Junior
leaves his innocence behind this highly acclaimed Filipino film won six awards, including
Best Picture, Best Director, Best Actress, and Best Actor at the 23rd FAMAS Awards.
Karunungang Itim (1976)
Directed by Noli Villar, this Filipino horror movie featuring a monster that tries to
feast on pregnant women stars Pinoy Bruce Lee Ramon Zamora, Leopoldo Salcedo,
and Lotis Key.
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Kisapmata (1981)
This psychological thriller put director Mike de Leon on everyone's radar. Though it
failed to gain viewers during the 7th Metro Manila Film Festival, it received widespread
acclaim. This gripping Filipino movie is about overly strict father Dodong Carandang
(Vic Silayan) and his daughter Mila (Charo Santos).
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Mila falls in love with Noel (Jay Ilagan), and when she becomes pregnant, Dodong
allows her to marry, but under several conditions, including living under his roof. When
Dodong prevents Mila and Noel from sleeping together by creating various excuses, the
young couple escapes. During a confrontation, Dodong reveals that he is the father of
his daughter's baby. It only gets worse from there.
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Shake, Rattle, and Roll 2 (1992)
Directed by Peque Gallaga and Lore Reyes, the second installment of
this unending Filipino movie franchise features three episodes ("Multo," "Kulam," and
"Aswang"), each offering varying levels of spookiness.
Paradise Inn (1985)
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Legendary filmmaker Celso Ad. Castillo is known for directing iconic Filipino
movies. In Paradise Inn, Lolita Rodriguez and Vivian Velez play Ester and Daria
Paraiso, mother and daughter who run an isolated bar-slash-brothel. The film delves
into several themes, including politics, prostitution, and (a dysfunctional) family. It won
Best Film at the 1985 Metro Manila Film Festival and Velez even expressed interest in
starring in a remake.
Scorpio Nights (1985)
Peque Gallaga's most famous erotic thriller is a must-see Filipino film. A peeping
Tom watches his neighbors have sex through a floorboard. Eventually, he gives in to his
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desires and has sex with his neighbor's wife. They fall in love, but are caught by the
husband. The husband shoots the cheating lovers and then, after having sex with his
dead wife, kills himself. Critics consider Scorpio Nights as one of the most culturally
relevant Filipino movies of all time, as its provocative theme hides references to the
politics and economy of martial law. Erik Matti directed its sequel starring Albert
Martinez and Joyce Jimenez.
Dahas (1995)
This Chito Roño crime-suspense thriller showcases perhaps one of Maricel
Soriano's best work. The complex plot of this great Filipino film begins with Soriano's
Luisa being raped the night before her wedding. When her husband Jake (Richard
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Gomez) learns of this on their wedding night, he turns abusive. Luisa finds comfort in
Eric (Tonton Gutierrez) who, unknown to her, is her rapist.
Eric kills Jake to be with Luisa; Jake returns from the dead; Luisa ends up in jail when
she kills her husband for the second time. Eric, meanwhile, is killed by a former foe.
Soriano didn't win the top prize at the 1995 Metro Manila Film Festival, but co-star
Gomez did.
Mang Kepweng and Son (1983)
Mang Kepweng was a popular comic strip by Al Magat about a funny
village albularyo. The character was brought to life by comedy legend Chiquito and it
spawned several installments, with Mang Kepweng and Son being the fourth film in the
series.
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Ang Tatay Kong Nanay (1978)
A list of best Filipino movies would be incomplete without a Dolphy starrer. The
story revolves around beautician Coring (Dolphy) as he takes in Nonoy (Nino Muhlach),
who is the son of his crush. With Lino Brocka behind the camera, Ang Tatay Kong
Nanay delves into the themes of homosexuality and single parenting through a comedic
lens.
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Ang Panday (1980)
Flavio becomes the Panday after he creates a dagger from a magical meteorite.
This fantasy epic by Carlo J. Caparas follows Flavio's adventures with mermen,
zombies, vampires, and finally, the evil Lizardo. Panday is such an important figure in
Philippine filmography that it spawned several sequels, remakes, and even TV series.
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Bunso (2005)
Bunso, directed by Ditsi Carolino and Nana Buxani, shows the
harrowing experience of three children (Tony, 13, Diosel, and Bunso, 11) as they try to
survive surrounded by rapists and murderers in a Cebu jail. This award-
winning documentary has received honors from film festivals and critics all around the
world—no small feat for a small budget Filipino movie.
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Give Up Tomorrow (2011)
This documentary, directed by Michael Collins and Marty Syjuco, was back in the
headlines in 2018 after the release of Ysabelle Peach Caparas' Jacqueline Comes
Home. The Filipino movie controversially shows the side of convicted kidnapper and
murderer Paco Larrañaga and how his case was mishandled. Syjuco has admitted that
he's related to Larrañaga by affinity, but that doesn't take anything away from the merits
of this Filipino film.
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Pinoy Comics
The comics is a type of graphic medium which intends to communicate with its
audience via images and text presented in a single panel or series of panels that are
read left to right. In the Philippines, a local version aptly called komiks (a Tagalized
version of the English term), is produced by publishing houses such as Atlas Publishing,
the largest publisher of komiks in the country. Notable Filipino artists such as Carlo J.
Caparas, Vicente Manansala and Dr. Jose Rizal has written, illustrated or produced
komiks at some point in their lifetime.
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The first indigenously produced comic strip in the Philippines would be Rizal’s “The
Monkey and the Tortoise”, a fable on how the wise tortoise outwitted the selfish and
devious monkey. This particular comic strip was published in 1885 in Trubner’s Record,
an English magazine edited by Dr. Reinhold Rost, as a direct compliance to Rost’s
request for Asian fables. Rizal’s “The Monkey and the Tortoise” did not incorporate the
use of speech balloons; instead, the conversation of the characters followed earlier
conventions and were written under the panels.
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However, mainstream komiks would not appear again until the 1920’s, when
Liwayway Magazine first published Mga Kabalbalan ni Kenkoy, written by Romualdo
Ramos and illustrated by Tony Velasquez, pioneers of the modern Philippine comic
industry. Mga Kabalbalan ni Kenkoy illustrates the misadventures of the quirky yet
amusing title character, and his love for Rosing, the ideal Filipina woman of the period.
Kenkoy’s success spawned the Philippine komiks industry; his influence would extend
all the way from language, spawning the prominent use of Carabao English (or
Kenkoy’s English) in everyday colloquial discourse, to music, with Nicanor Abelardo’s
“Hay Naku Kenkoy!”
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Indeed, Kenkoy catalyzed the spread of mainstream komiks in the Philippines, but
its heyday would come in the 1950s and 1960s. Tony Velasquez recruited writers and
illustrators for Ace publications, including future komiks giants Mars Ravelo (Darna,
Lastikman, Captain Barbell), Francisco Coching (Pedro Penduko, Hagibis), Larry Alcala
(Siopawman, Kalabog en Bosyo) and Alfredo Alcala, who would later draw for DComics
in the United States .
National Artist Vicente Manansala even produced his own titles from 1947 to 1949,
most notably Prinsesa Urduja, which became part of Pilipino Komiks, the best-selling
comic book in the Philippines, and Alias Kapitan Simangot. Carlo J. Caparas, a notable
director, once started in the local komiks industry creating characters such as Flavio in
Panday, Totoy Magtanggol in Totoy Bato, and Joaquin Apacible in Joaquin Bordado.
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Traditionally, it has been viewed as a very potent medium of getting ideas across to
the Filipino populace, with approximately 30% readership (potentially more) at the
height of its popularity. During its golden age in the late ‘40s to the early ‘70s, as many
as 2.5 to 3 million copies of serialized komiks were circulated per week.
Recognizing the potential reach and influence of komiks, Communication
Foundation for Asia hitched on the bandwagon and produced Gospel Komiks,
translating the Gospel Readings into illustrated stories aimed at teaching children the
Bible’s message. Prior to this, another educational brand of komiks , Educational
Klasiks Komiks, was produced by Ace Publications; however, this publication did not
gain popularity, and was discontinued shortly after.
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While komiks is regarded as a particularly low form of Philippine art, its influence on
Philippine culture is undeniable; it has even been regarded as the ‘pablum (or pabulum)
of art appreciation’ by various writers and artists. At its height, komiks provided Filipinos
the distractions they needed from the reality of society, with the medium appealing to
both the poor and the middle class, most of which cannot afford the more elitist forms of
art such as theatre and film. Most of the subjects in Philippine komiks were attached to
the mystical and the supernatural; however, other titles are more grounded in reality,
with some themes revolving around comedy, romance and melodrama which are still
popular subject matter in contemporary mainstream media.
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However, as the years pass by, less and less of Philippine komiks are consumed by
the masses. Both readership and production has declined with the advent of other forms
of media and entertainment, such as television and video games. One wonders now if
this Filipino ‘art form’ will survive in the decades that would follow.
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Manila Sounds
Manila sound is characterized by catchy melodic phrases.[5] In its later period,
Manila sound was dominated by the disco mania that swept the Philippines, led by
groups such as VST & Company, The Boyfriends and Hagibis, among others.
Alternately described as "the marshmallow sound", Manila sound generated a string of
calculated radio hits by artists such as Cinderella, VST & Co., Apolinario Mabini Hiking
Society, Florante, Rico J. Puno, Sharon Cuneta, and many others.
Manila sound's unprecedented and meteoric appeal provided viability to a
Philippine recording industry that until then had relied on cover versions and imitation of
foreign hits to entice consumers. Unfortunately, in the genre's later years, formula-
addled lyrical bias toward camp humor and parody eventually caused Manila sound to
devolve into an explicitly theatrical, if not juvenile, subgenre, as exemplified by Hagibis
(a mimicry of the Village People) and The Boyfriends, until it diminished in the late
1970s under a wave of dance-oriented hits from American films such as Saturday Night
Fever, Grease and Footloose.
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Hotdog: The brothers Dennis Garcia, Rene Garcia and Jess Garcia and their original
discovery of a silk-voiced, affluently-bred Ella Del Rosario, created the legendary
Hotdog band in the mid-'70s, a reconfiguration of an earlier band called Red Fox, which
spawned what became known globally as the 'Manila sound'. Crafting melodic, radio-
megahit pop songs in a blend of homegrown Tagalog speak, combined with Ella del
Rosario's exclusive upper crust Spanish-American upbringing and cool slang language,
Hotdog etched an indelible mark in Philippine music history with multi-generational chart
toppers like "Pers Lab", "You Make Me Blush", "Manila", "Annie Batungbakal", "Bongga
Ka, 'Day", "Ikaw ang Miss Universe ng Buhay Ko", "Ako'y Bitin Sa Iyo ", "Langit na
Naman", "Pers Lab 2", and "Behhh, Buti Nga", among many others. Apart from
dominating Manila's music charts, the band was instrumental in bringing the sound and
quality of local pop music on par with international standards.
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VST and Company: Initially starting with the Sotto Brothers, the group scored a
number of disco hits such as "Disco Fever", "Awitin Mo Isasayaw Ko", "Kiss Kiss", "Step
No Step Yes", "Swing", "Tayo'y Magsayawan", and "Rock Baby Rock" along with
romantic ballads like "Ikaw ang Aking Mahal" and "Ipagpatawad Mo". Currently, VST
and Company has incorporated bossa nova influences in its music as evidenced by its
album, The Bossa Nova Collection: VST and Company. The group also help launched
the careers of some Filipino artists, particularly that of Sharon Cuneta.
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The Boyfriends: Famous for the song "Sumayaw, Sumunod" which became a big
disco hit, they also released the disco songs "Araw-araw, Oras-oras" and "Dance with
Me", and the love ballads "Nais Kong Malaman Mo", "First Love", and "Bakit Labis
Kitang Mahal".
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Cinderella: Pop band more commonly known for its love songs, particularly "T.L. Ako
Sa'yo", "Bato Sa Buhangin", "Sa Aking Pag-iisa", "Ang Boyfriend kong Baduy", "May
Crush Ako Sa 'Yo", "Pag-ibig Ko'y Ibang Iba", "Superstar ng Buhay Ko", and "Tulak Ng
Bibig, Kabig Ng Dibdib". Cecile Colayco and the late Yolly Samson were lead vocalists.
In its later output, Cinderella incorporated bossa nova in its repertoire, as exemplified in
the album The Bossa Nova Collection: Cinderella.
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Apolinario Mabini Hiking Society: More popularly known as the APO Hiking Society,
their album releases from 1975 to 1980 included many songs such as "Softly", "Love Is
for Singing", "Mahirap Magmahal ng Syota ng Iba", "Show Me a Smile", "Bakit ang
Babae Sa Tagal ng Pagsasama (Tila Mas Mahirap Maintindihan)", "Hanggang May
Pag-ibig", "Batang-Bata Ka Pa", "Nakapagtataka", "Pag-ibig", "Kabilugan ng Buwan",
and "Pumapatak ang Ulan". APO started out as a large musical ensemble, but was later
reduced to a trio consisting of Jim Paredes, Danny Javier and Buboy Garovillo, which
achieved great success during the 1980s, 1990s and 2000s. In December 2009, APO
announced its plans for retiring from active performance, citing "diminished creative
processes". After a series of warmly-received concerts in February 2010, the group
officially disbanded. Kami nAPO Muna, a tribute album, is a latter-day release.
Sampaguita: Folk rock band renowned for the hit singles "Laguna", "Bonggahan",
"Tao" and "Nosi Ba Lasi", among other songs.
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Hagibis: Members were Sonny Parsons, Bernie Fineza, Mike Respall, Joji Garcia, and
Mon Picazo. Song-and-dance male group known for its disco hits "Katawan", "Lalake",
"Legs", "Nanggigigil Ako", "Babae", and "Ilagay Mo Kid". The group's musical and
performing style nearly parallels that of the American disco group the Village People.
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Juan de la Cruz Band: was a Filipino rock band formed in 1968. The band originally
had six members: Wally Gonzales (guitars and vocals), Rene Segueco (organ and
vocals), Clifford Ho (bass and vocal), Romy Santos (wind instruments), Bobot Guerrero
(drums), and Sandy Tagarro (lead vocals). Sandy Tagarro left the band before the
band's first album "Up in Arms" was released. Wally Gonzales, in an interview later
credited Edmund "Bosyo" Fortuno of having coined the band's name though Bosyo's
collaboration with the band was not until 1981 with Juan Dela Cruz Band's 6th Album in
which he was the drummer along with Joey "Pepe" Smith. The band is known for their
hit songs “Himig Natin”, “No Touch”. “Titsers Enemi No. 1”, and “Balong Malalim”.
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Rey Valera: Pop artist and singer-songwriter known for releasing a string of romantic
ballads including "Di Mo Pansin", "Kamusta Ka", "Kung Kailangan Mo Ako", "Maging
Sino Ka Man", "Malayo Pa ang Umaga", "Naalaala Ka", "Pangako Sa Iyo", "Kung Tayo'y
Magkalayo", and "Kahit Maputi Na ang Buhok Ko", among others. He made his first
appearance in music with the group Electric Hair Band.
Sharon Cuneta: Pop singer/screen actress who started her musical career as a twelve-
year-old in 1978 when she released a Rey Valera composition entitled "Mr. DJ". She
also recorded a cover version of "I-swing Mo Ako", which was a VST & Co. original
release. Two other singles, "Kahit Maputi Na Ang Buhok Ko" (another Rey Valera
composition) and "High School Life" also received considerable airplay. She later
successfully crossed over into OPM, retaining and even increasing her commercial
appeal.
Florante: Folk-pop artist who recorded the inspirational song, "Handog". He is also
known for the hit songs "Ako'y Isang Pinoy", "ABaKaDa", "Pinay", and "Sana".
Rico J. Puno: Soul balladeer acclaimed for a number of hit songs, including "Lupa",
"Damdamin", "May Bukas Pa", "Kapalaran", "Macho Gwapito", "Sorry Na Puede Ba",
and "Diyos ang Pag-ibig", among many others. After the collapse of Manila sound, he
remained popular with the emergent OPM (Original Pilipino Music) genre. He was
likewise famed for recasting American pop songs (e.g. "The Way We Were") with
Tagalog lyrics with the aim of reaching a bigger sector of the listening public.
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Refferences:
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