It's the first time I heard this enchanting song. I also spotted one commentary from a good friend who provided the lyrics. :) muchisimas gracias Contessa.

Zamboanga Hermosa Chorale "Princessita Zamboanguena"

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Full vid credits to cutecarl22 | January 27, 2008
Zamboanga night
at
Pagadian city

last September 18,2007


Las letras de ContessaDeAvila

Princesita Zamboangueña, Yo te canto una cancion .Tu eres el orgullo de mi pueblo,Port u belleza sin igual.

Princesita Zamboangueña, Oye el canto de este trobador.Que mi inspira yo te canto por Tu triumfo.Princesa sin igual

Ay, ay, princesita de mi barrio,Ay, ay, port u belleza sin igual Princesita tu eres la flor de mi vida Port u belleza que mi inspira ay Princesita Zamboangueña

Oye el inspire yo te canto port u triumfo Princesa singular



:cheers2: :cheers2: :cheers2:

SONGS AND MUSIC OF ZAMBOANGA (http://www.zamboanga.net/songsandmusiczamboangainsert.htm)

By Luz Malonzo

”Certain it is that ballads have been written about Zamboanga City, and songs have been sung of it,” writes David Potter in “Sailing the Sulu Sea:”

Songs and music constitute the most developed phase in the cultural life of the Zamboangueño. They have been known far and wide, and sung through memory by everyone in Zamboanga.Another popular song is Zamboanga Hermosa which praises the beauty of the women of Zamboanga. The song originated in the pre-war era, but it was only during the later part of the 1930’s when it was made popular by Matias Ranillo, Sr.,(a Dipolognon) Governor of Zamboanga Province. Later, a Cebuano Vod-a-vil show director, Borromeo Lou, popularized it. A Zamboangueño well-known local write and poet in Spanish who wrote the lyrics was Vicente Orendain. The following are the lyrics of Zamboanga Hermosa

ZAMBOANGA HERMOSA

Zamboanga Hermosa, preciosa perlita
Orgullo de Mindanao
Tus bellas dalagas son las que hermosean
Tu deliciosa ciudad

Flores y amores que adornan tu jardin
Eres la imagen del bello eden;
Zamboanga hermosa, preciosa perlita
Orgullo de Mindanao

A much earlier song, composed during the Spanish regime is Leal y Valiente Villa de Zamboanga.


Zamboanga Hermosa - Major Chords (With Lyrics)

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Full credits to BehGerElle14 | November 03, 2009
11th track of Major Chords album. Cancion de La Bella Ciudad de Zamboanga! Asia's Latin City!


Zamboanga hermosa

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Full credits to fonsucu | March 13, 2010
Del álbum Nostalgia Filipina II, Zamboanga hermosa ( de la tradición popular zamboangueña).
Canta Guillermo Gómez-Rivera.
Música: Rondalla del maestro Roberto Buena.

LETRA / LYRICS

Zamboanga hermosa,
preciosa perlita,
orgullo de Mindanao.

Tus bellas mujeres
son las que hermosean
tu deliciosa ciudad.

Las flores y amores
que brindas en tu jardín
son dulces recuerdos
de un viejo edén.

Zamboanga hermosa,
preciosa perlita,
orgullo de Mindanao.


:dj:

Fast Forward :D

Composed by Resty Umali & Levi Celerio
Sung by Restie Umali Jr.

:cheers2:

http://www.youtube.com/watch?v=PykVNa60NxI&feature=channel_page

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Credits to cecilecruz

:pepper:

Saan ka man naroroon sinta
Pag-ibig kong wagas
Ang iyong madarama
Kailan pa man sa iyo'y di lilimot
Pusong uhaw sa iyong pag-irog

Saan ka man naroroon sinta
Pangarap ko'y ikaw
Pagkat mahal kita
Asahan mong sa habang panahon
Alaala kita
Saan ka man naroroon

Asahan mong sa habang panahon
Alaala kita
Saan ka man naroroon

(repeat last stanza)



:dj:

A beautiful and haunting Kundiman composition by Restituto "Restie" Umali (b.1916 ; d.1998) as interpreted and recorded by Ric Manrique Jr. in 1965.

:cheers2:

http://www.youtube.com/watch?v=33M9fdkdC4M&feature=channel_page

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Credits to Sr. philclassic
:pepper: Fast Forward :D

Another of my all time faves... :yes:

Composed by Dr. Nicanor Abelardo
Lyrics by S. Angeles
Sung by the coloratura soprano Conching Rosal
Music supervision by Leopoldo Silos

:cheers2:

_JQxk8U7R0k&feature=channel_page
Credits to Sr. philclassic
:pepper: Fast Forward :D

The Life and Writings of Dr. Jose Rizal

muchisimas gracias a drrobertl_yoder

http://joserizal.info/Biography/man_and_martyr/portal.htm

CHAPTER ONE: Childhood

MI PRIMERA INSPIRACIÓN

¿Porqué exhalan a porfía
del cáliz dulces olores
las embalsamadas flores
en este festivo dia?

Y ¿porqué, en la selva amena,
se oye dulce melodía
que asemeja la armonía
de la arpada filomena?

¿Porqué en la mullida grama
las aves, al son del viento,
exhalan meloso acento
y saltan de rama en rama?

Y la fuente cristalina,
formando dulce murmullo,
del cefiro al suave arrullo
entre las flores camina?

Es que hoy celebrant tu día
¡oh, mi Madre cariñosa!
con su perfume la rosa
y el ave con su armonía.

Y la fuente rumorosa,
en este día felice,
con su murmullo te dice
¡que vivas siempre gozosa!

Y, de esa fuente al rumor,
oye la primera nota,
quie ahora de mi laud brota
al impulse de mi amor!

MOTHER'S BIRTHDAY

Why do the fragrant flowers
Exhale their sweet bouquet
Upon this festive day
From out their chaliced bowers?

And why in sylvan vales
Are heard sweet melodies
So like the harmonies
Of singing nightingales?

And why in grasses deep
Are mellow carols heard
As every eager bird
From stem to stem doth leap?

And where the fountain flows,
What lovely murmur sighs
Like muffled lullabies
To every breeze that blows?

Dear Mother, in your praise --
Your natal day to greet!
The rose exhales her sweet,
The birds our forth their lays.

The fountain's gurgling purr
This merry hearted day
Is sputtering to say
"Long life and joy to her!"

And now with my guitar
I join the fountain singing;
O hear this first note winging
To tell how dear you are.

==========

:pepper: :pepper:

^^Oh my, the Spanish language is lovely! How I wish we Filipinos still spoke it. :(

http://www.youtube.com/watch?v=lZ78mxvHPzQ

pandanggo rinconada

^^Oh my, the Spanish language is lovely! How I wish we Filipinos still spoke it. :( :yes: but yes you can. Vamonos, :) it's a nice hobby, too :D
http://www.youtube.com/watch?v=lZ78mxvHPzQ
pandanggo rinconada Thanks for sharing. :colgate:
lZ78mxvHPzQ

Nasaan Ka Irog
by Nicanor Abelardo

Nasaan ka Irog,
At dagling naparam ang iyong pag-ibig?
'Di baga sumpa mo, ako'y mamahalin?
Iyong itatangi, iyong itatangi
Magpa-hanggang libing,
Subalit nasaan ang gayong pagtingin?

Nasaan ka Irog
At natitiis mong ako'y mangulila,
At hanap-hanapin ikaw sa alaala
Nasaan ang sabi mong
Akoy' iyong Ligaya
Ngayo'y nalulumbay
Ay di ka makita.
Irog ko'y tandaan
Kung ako man ay iyong siniphayo
Mga sumpa't lambing
Pinaram mong buo
Ang lahat sa buhay ko
Ay hindi maglalaho't
Masisilbing bakas
Nang nagdaan
'tang pagsuyo.

Tandaan mo irog,
Irog ko'y tandaan
Ang lahat sa Buhay ko
Ay hindi maglalaho''t
Magsisilbing bakas
'Tang Pagsuyo,
Nasaan ka irog,
Nasaan ka irog?


:dj:

Full credits of all Nasaan Ka Irog videos to the respective vidmakers, of course.

First off, the ladies. :) The first girl is just doing it as a hobby on youtube. :yes:

Nasaan Ka Irog?- Rhea Mae Delgado

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rhearmie | July 24, 2008
Here's my version of another Filipino art song by Nicanor Abelardo.

Musicians/Critics, please feel free to post your comments here so I will know what to work on. Thank you!

Recorded via Cool Edit Pro on July 23, 2008.



Kissa Mercado - Nasaan ka irog?

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lilacph | April 24, 2008
Kissa Mercado Junior Recital (2007)
Wooyoung Choi on piano

Nasaan ka irog? by Abelardo



NASAAN KA IROG

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rymndroldan | January 28, 2010
Nasaan Ka Irog composed by Nicanor Abelardo


:dj:

We got 6 gentlemen singing and 1 all male a capella group. 2 vids have the same singer, Ric Manrique Jr. The last 2 vids are a choir & a duet.

Jonathan Badon - 'NASAAN KA IROG' with The Philippine Philharmonic Orchestra conducted by Ruggero Barbieri for Clark

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operaticpop | July 26, 2008
NASAAN KA IROG by Nicanor Abelardo. Performed by Jonathan Badon with the Philippine Philharmonic Orchestra conducted by Ruggero Barbieri for Clark Centennial.



Nasaan Ka Irog

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gelatine7 | July 12, 2008
Harana Men's Chorus' First Concert on June 22, 2008
Hillcrest Chapel, Granada Hills



NASAAN KA IROG- Ray Aparentado

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EnzoGrimaldi | September 01, 2008
Kundiman song written by Nicanor Abelardo



nasaan ka irog

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rymndroldan | July 08, 2009
Nasaan Ka Irog, a kundiman or Filipino art song composed by Nicanor Abelardo, as performed by Filipino tenor Raymond Roldan at the Podium, Manila.

The performance is in celebration of the Philippine Independence festivities spearheaded by the SM Group of Companies.


:dj:

Adolfo De La Rosa performing Nasaan Ka Irog

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4AdolfoDeLaRosa | August 25, 2007
Adolfo De La Rosa performing Nasaan Ka Irog.

For more information about Adolfo, you can visit his site at:
www.freewebs.com/adolfodelarosa

Apologies for the poor quality of the video. More videos coming soon!



Ric Manrique, Jr - Nasaan Ka Irog

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imamor65 | June 15, 2009
Ric Manrique, Jr sings Nasaan Ka Irog...



Nasaan Ka Irog by Nicanor Abelardo

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maybelar | July 27, 2006
A Filipino Classic Kundiman by Nicanor Abelardo



Nasaan Ka Irog

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allanlaino | June 13, 2006
June 1, 2006
Allan Laino, tenor
Ben Makino, piano
Winifred Smith Hall, UCI


:dj:

UP Medchoir 2001 US tour - Nasaan Ka Irog (Baltimore)

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ernie3g | November 08, 2008
this was sung during the UPmedchoir's first ever tour outside the Philippines in 2001. This was in Baltimore, Maryland.



Nasaan Ka Irog

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kotonggin | April 06, 2009
Nasaan Ka Irog


:dj:

Composed by Santiago S. Suarez
Sung by Sylvia La Torre
Music supervision by Leopoldo Silos
Paintings by Fernando Amorsolo

:cheers2:

6D0C_cRQ8wM&feature=channel_page
Credits to Sr. philclassic
:pepper: Fast Forward :D

Music by Juan M. Buencamino
Lyrics by Jose Corazon
Sung by Everlita Rivera

:cheers2:

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Credits to Sr. philclassic
:pepper:

Fast Forward :D

Composed by Facundo Perez
Sung by Sylvia La Torre

:cheers2:

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Credits to Sr. philclassic
:pepper:
Fast Forward :D

The Mexican Influence.

Juancho Gutierrez serenading Gloria Romero, both stars of the Golden Age of Filipino cinema.

Juancho Gutierrez/Gloria Romero in "The Big Broadcast" -1962

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happyslix | August 16, 2008
Here is an elaborate, Spanish inspired musical number from the classic Filipino motion picture "The Big Broadcast" (Sampaguita pictures 1962) that features Juancho Gutierrez and Gloria Romero.

Juancho and Gloria were real life sweethearts and were married until they separated in the 1970s.

Juancho Gutierrez passed away at age 73 in 2005 from heart failure.
Gloria Romero is considered one of the Philippines most legendary actresses and is still very much active in the Philippine entertainment industry.



Javier Solis - Muñequita Linda

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MrPelonDawg773 | January 25, 2009
Javier Solís (September 1, 1931, Mexico City, Mexico[1] April 19, 1966, Mexico City, Mexico) was a popular Mexican singer of boleros and rancheras, and film actor of the middle 20th century.

LETRA ' MUÑEQUITA LINDA '

Te quiero, dijiste, tomando mis manos
entre tus manitas de suave marfil
y sentí en mi pecho un fuerte latido
que como un crujido y luego el chasquido
de un beso febril.

Muñequita linda de cabellos de oro
de dientes de perla labios de rubí

Dime si me quieres como yo te adoro
si de mí te acuerdas como yo de ti.

A veces escucho un eco divino
que envuelto en la brisa parece decir...

Sí te quiero mucho, mucho, mucho, mucho
tanto como entonces, siempre hasta morir.

Fuente: musica.com


:dj:

Ely Ramos and Fleur de Lis in "Giliw Ko" (1939). Filipino stars of the Golden Years.

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happyslix | April 29, 2008
Here are Ely Ramos and Fleur de Lis in a romantic song number from the classic Filipino motion picture "Giliw Ko" ("My Darling" LVN Films 1939).


:dj:

Filipino stars of the Golden Years. In the vid are Rogelio de la Rosa, Rosa Rosal & Mila del Sol.

Rogelio dela Rosa sings "Sarung Banggi" (1947)

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happyslix | March 11, 2008
Here's the legendary Filipino actor Rogelio dela Rosa as Fernando Flores singing the title song of the Filipino motion picture "Sarung Banggi"("One Evening"-LVN Films 1947) to Rosa Rosal, as his girlfriend Marina (Mila del Sol) and the rest of his friends back in Bicol listen in on their radio.
At the end of his song number, Fernando dedicates his song to the woman who has inspired him the most, but it's not who you might have expected...


:dj:

Filipino stars of the Golden years. Nida Blanca & Nestor de Villa.

Nida Blanca and Nestor de Villa in "Waray Waray" (1954)

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happyslix | March 04, 2008
Here is a rousing musical number from the Filipino motion picture "Waray Waray" (LVN Films 1954).
Nestor de Villa plays Delfin, a women's wear salesman who falls in Love with feisty "waray" Upeng (Nida Blanca).
The Nida-Nestor tandem was one of the most successful Love teams in Philippine cinema in the 1950s.
Also in the clips are Leroy Salvador and Lorna Mirasol.


:dj:

Sa Isang Sulyap Mo Tita. Filipino stars of the Golden Years Pancho Magalona serenading Tita Duran. They are Francis Magalona's dad & mom.

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SIMON7153 | October 12, 2009
Real-life sweetheart and husband-and-wife team of Pancho Magalona and Tita Duran sing the theme song of the movie.http://video48.blogspot.com/2009/10/pancho-magalona-tita-duran-and-dolphy.html


:dj:

Filipino stars of the Golden Years. Here is how the Harana/ Serenade was done in the traditional way. On 7:21 begins the Planting Rice, Magtanim Ay 'Di Biro folk song. The traditional way of planting rice in the provinces. :)

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pilipinomovies | November 06, 2009
STARRING: JOSE PADILLA, REBECCA GONZALES, TESSIE QUINTANA, JOSE CRIS SOTO, ANGGE


:dj:

NORMA BLANCAFLOR AND JOSE PADILLA. Filipino stars of the Golden Years. I don't even know what the kundiman's title is nor what movie this was.

Norma Blancaflor was Miss Philippines 1947. :)

Jose Padilla (born July 16, 1911) is a Philippine actor who has appeared in several dozen movies. He made his first movie in 1931.

Padilla also represented his country as a lightweight boxer during the 1932 Summer Olympics in Los Angeles, United States in 1932 and the 1936 Summer Olympics in Berlin, Germany in 1936. In 1932 he was eliminated in the first round of the lightweight class after losing his bout to eventual gold medalist Lawrence Stevens.

Padilla is the son of José Padilla, Sr., Governor of Plaridel, Bulacan and brother of Carlos Padilla. He belongs to the big showbiz clan of the Padillas. He is also the uncle of Rudy Fernandez, Robin Padilla and Grandfather of Zsa Zsa Padilla. He married Arsenia Francisco, a famous actress at that time, and had six children together - Zenaida, Jovy, Maria Edith, Pempe Jr, Og, and Joena. :)


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cinemasuerte | December 28, 2009
MISS PHILIPPINES,1947


:dj:

The Life and Writings of Dr. Jose Rizal

muchisimas gracias a drrobertl_yoder

http://joserizal.info/Biography/man_and_martyr/portal.htm

UN RECUERDO A MI PUEBLO

(Kalamba -- La Laguna)

Cuando recuerdo los días,
Que vieron mí edad primera
Junto á la verde ribera
De un lago murmurador;
Cuando recuerdo el susurro
De Favonio que mi frente
Recreaba dulcemente
Con delicioso frescor;

Cuando miro en blanco lirio
Henchir con impetus el vinto
Y el tempestuoso elemento
Manso en la arena dormer;
Cuando aspiro de las flores
Grata esencia embriagador
Que exhalan cuando la aurora
Nos comienza á sonreir;

Recuerdo, recuerdo triste
Tu faz, infancia preciosa,
Que una madre cariñosa
¡Ay! Consigueó embellecer.
Recuerdo un pueblo sencillo,
Mi contento, dicha y cuna,
Junto á la fresca laguna
Asiento de mi querer.

¡Oh! Si mi insegura planta
Holló tus bosques sombríos,
Y en las costas de tu ríos
Hallé grata diversion;
Oré en tu rústico templo
De niño, con fe sencilla
Y tu brisa sin mancilla
Alegró mi corazón.

Ví al Creador en la grandeza
De tus selvas seculars;
En tu seno los presares
Nunca llegué á conocer;
Mientras tu azulado cielo
Miré, ni amor ni ternura
Me faltó, que en la Natura
Se cifraba mi placer.

Niñez tierna, pueblo hermoso,
Rica fuente de alegrías,
De armoniosas melodies
Que ahuyentan el pesar!
¡Volved mis horas suaves,
Volved, cual vuelven las aves
De las flores al brotar!

Mas¡ ay! Adiós! Vele eterno
Por tu paz, dicha y reposo,
Genio del bien, que bondoso
Sus dones da con amor;
Por tí mis fervientes votos,
Por tí mi constante anhelo
De aprender, y¡ plague al cielo
Conservase tu candor!

IN MEMORY OF MY VILLAGE

When early childhood's happy days
In memory I see once more
Along the lovely verdant shore
That meets a gently murmuring sea;
When I recall the whisper soft
Of zephyrs dancing on my brow
With cooling sweetness, even now
New luscious life is born in me.

When I behold the lily white
That sways to do the wind's command,
While gently sleeping on the sand
The stormy water rests awhile;
When from the flowers there softly breathes
A bouquet ravishingly sweet,
Out-poured the newborn dawn to meet,
As on us she begins to smile.

With sadness I recall. . . . recall
Thy face, in precious infancy,
Oh mother, friend most dear to me,
Who gave to life a wondrous charm.
I yet recall a village plain,
My joy, my family, my boon,
Beside the freshly cool lagoon, --
The spot for which my heart beats warm.

Ah, yes! My footsteps insecure
In your dark forests deeply sank;
And there by every river's bank' I found refreshment and delight;
Within that rustic temple prayed
With childhood's simple faith unfeigned
While cooling breezes, pure unstained,
Would send my heart on rapturous flight.

I saw the Maker in the grandeur
Of your ancient hoary wood,
Ah, never in your refuge could
A mortal by regret be smitten;
And while upon your sky of blue
I gazed, no love nor tenderness
Could fail, for here on nature's dress
My happiness itself was written.

Ah, tender childhood, lovely town,
Rich fount of my felicities,
Of those harmonious melodies
Which put to flight all dismal hours,
Come back to my heart once more!
Come back gentle hours, I yearn!
Come back as the birds return,
At the budding of the flowers!

Alas, farewell! Eternal vigil I keep
For Thy peace, Thy bliss, and tranquility,
O Genius of good, so kind!
Give me these gifts, with charity.
To thee are my fervent vows, --
To Thee I cease not to sigh
These to learn, and I call to the sky
To have thy sincerity.

==========

:cool:

Heeey, this group is quite good, too. :yes:

Bituing Marikit

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gelatine7 | July 24, 2008
Harana Men's Chorus' sings Bituing Marikit

Bituing marikit sa gabi ng buhay
Ang bawat kislap mo'y ligaya ang taglay
Yaring aking palad iyong patnubayan
At kahit na sinag, ako'y bahaginan

Natanim sa puso ko yaong isang pag-ibig
Napinakasasamba sa loob ng dibdib
Sa iyong luningning, laging nasasabik
Ikaw ang pangarap, Bituing marikit

Lapitan mo ako, halina Bituin!
At ating pag-isahin ang mga damdamin
Ang sabik kong diwa'y huwag mong uhawin
Sa batis na iyong wagas na paggiliw

:dj:

Historia de un Amor (Story of a Love) is a song about a man's old love written by Panamanian songwriter Carlos Eleta Almaran but it became immensely popular and adopted in Mexico till it finally reached the Philippines. My late lola once told me there were also Tagalog and Cebuano versions, but I can't seem to find them anymore. Anyway, we still have the Pangasinense version. 2nd vid is done by my friend Josh Santana & the 3rd vid by Eydie Gorme & the Trio Los Panchos... :cool:
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85oztube | July 31, 2009
Aya lamay aalagaren yo. Say arozcaldo nen Corazon. Parad sikayon amin...

:dj:Historia de un amor Josh Santana Filipino-Spanish singer, Fil-Hispano (Español)

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tengosuenomiguel | March 21, 2009



Historia De Un Amor - Eydie Gorme Y Los Panchos

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djc0330 | October 08, 2009


Ya no estás más a mi lado, corazón
En el alma solo tengo soledad
Y si ya no puedo verte
Porque Dios me hizo quererte
Para hacerme sufrir más
Siempre fuiste la razón de mi existir
Adorarte para mí fue religión
Y en tus besos yo encontraba
El amor que me brindaba
El calor de tu pasión
Es la historia de un amor
Como no hay otro igual
Que me hizo comprender
Todo el bien, todo el mal
Que le dio luz a mi vida
Apagándola después
Ay que noche tan obscura
Sin tu amor no viviré...

:dj:

On 7:21 begins the Planting Rice, Magtanim Ay 'Di Biro folk song. The traditional way of planting rice in the provinces. :)

The Mapua Concert Singers- (Magtanim ay di biro)

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wes03mcs | October 29, 2008
Voyage of Songs, Pattaya Thailand



Magtanim Ay Di Biro - UP MedChoir

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docerick | May 21, 2008
The University of the Philippines College of Medicine Choir US Goodwill Concert at the Church of Jesus Christ of the Latter Day Saints, Visitors' Center, May 4 2008



Magtanim Ay Di Biro UST Singers

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MireyaLuis | February 28, 2007
Mini-concert for the launching of the book of new Filipino folksong arrangements at the CCP lobby


:dj:

Kuh Ledesma's Silayan music video

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chippuchilders | May 18, 2008
Kuh Ledesma's Silayan music video. Pinay Diva doing the Philippines proud! From her 2007 Album, 'K', on Bravo Records.



Silayan

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uprondalla | November 19, 2006
UPAFR performance of "Silayan" during The Philippines in Music and Dance Concert presented by the Piscataway Cultural Commission at Quibbletown Middle School, Piscataway, NJ, concert on November 5, 2005



UST Silayan (Rondalla)

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kimoswabe777 | October 12, 2008
Philippine Music Finals.


:dj:

Lahat ng Araw is the alter ego of Silayan, they are the same song. :D

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sirpaopao | February 14, 2009
Lahat ng Araw by Rhodora Silva and Darius Razon. Mp3 courtesy of Jokarilon



LAHAT NG ARAW - Kundiman (Diomedes Maturan)

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philclassic | June 03, 2010
"Lahat ng Araw" (popularly known also as "Silayan"), is a Kundiman composition of Miguel Velarde Jr. with lyrics by Dominador Santiago. Interpreted by the "Perry Como of the Philippines", Diomedes Maturan and accompanied by Miguel Velarde Jr. and his orchestra. Audio from a vinyl phonograph recording ( Dahil Sa Iyo - Diomedes Maturan, Villar Records, Mareco Inc.)



DIOMEDES PADILLA MATURAN
(b. Manila 16 Aug 1940 ; d. April 7, 2002)

He is the son of Proceso Maturan and Felisa Padilla. He is married to Sylvia Policarpio with whom he has four children. In 1955 he won an amateur singing contest at a fiesta. He was taking pre-dentistry at the University of the East when in 1958 he bacame national champion of the country's most prestigious amateur singing contest, 'Tawag ng Tanghalan', with his rendition of 'Rose Tattoo'. The same year, LVN Picture cast him in the movie 'Rose Tattoo ng Buhay Ko' opposite Charito Solis. From 1958 to 1965 he made 25 movies, among them 'Private Maturan' 1959; 'Prinsipe Maturan at ang Mahiwagang Gitara', 1961; and 'Ginintuang Tinig', 1963, where he was paired with blind singer Norma Lapuz.

Although acclaimed as an interpreter of foreign songs in English, Maturan also promoted original Filipino music (Kundiman). He recorded classic compositions of Miguel 'Mike' Velarde Jr., such as 'Dahil Sa Iyo', 'Buhat', 'Lahat ng Araw' and 'Gabi at Araw'. He also popularized original Filipino songs in English, such as 'Don't Play with Fire' and 'In this Corner of My Heart'.

In the prime years of his career, Maturan sang in almost all radio and television programs, regularly performed at the Clover Theater, and had frequent singing engagements in the US Military bases.

In the 1970's and 1980's, with Sylvia La Torre and other contemporaries, he performed for Filipino and foreign audiences abroad.

In 1984 he received a Cecil Award in the Outstanding Light Classical Vocal Recording category for his version of Ernani cuenco's 'Gaano Ko Ikaw Kamahal'. He was also the first male singer to receive a Hall of Fame award from the National Press Club. Maturan died on April 7, 2002 at age 61.


REFERENCE: Cultural Center of the Philippines Encyclopedia of Philippine Arts



Silayan (Lahat ng Araw)

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cynthcat | April 19, 2009
Tagalog kundiman "Lahat ng Araw", also known as "Silayan". Composed by Miguel "Mike" Velarde, Jr. ALEX ON PIANO.

Lyrics:

(Sa bawa't sandali tayo ay magkapiling
Sa bawa't lunggati pakinggan ang hiling
Ang puso ko't budhi ay hindi sinungaling
Sana ay ulinigin damdamin ko, giliw)

Silayan at bigyan ng pag-asa
Pagmamahal pusong nagdurusa
Iwasan ang pag-aalinlangan
Lahat ng araw kita'y mamahalin

Sa labi ng imbing kamatayan
Itangi yaring pagmamahal
Dulutang magtapat sa 'yo hirang
Lahat ng araw kita'y mamahalin.


:dj:

A tribute to Da King in like manner as his tribute to the Cebuanos. :cheers:

Fernando Poe Jr.

FPJ Collections (Usahay)

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5432wan | July 06, 2008


:dj:

FPJ Susan Movies - Magpakailanman

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onenamedjuan | March 06, 2009
The most successful husband & wife team-up in Philippine Movies.

Thanks to Simon Santos of FPJ/Video48 blogs
and to Ron Sapinoso.



FPJ sings Kundiman

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flixgold | February 23, 2009
Ang Tangi Kong Pag-ibig


:dj:

Music by Constancio De Guzman
Sung by Conching Rosal

:cheers2:

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Credits to Sr. philclassic

:pepper:

From his vid:
"Ang Tangi Kong Yaman" sung by Conching Rosal.

CONCHING ROSAL, THE FIRST LADY OF PHILIPPINE OPERATIC STAGE A native of San Jose, Batangas, Conchita H. Rosal was born in 1926. She started singing at the age of 6 in their local church in San Jose as a soloist. While studying voice at the UST Conservatory of Music, one of her classmates was Sylvia La Torre. She furthered her studies in voice under the tutelage of Dean Verchines in the United States, a well-known coach to leading artists of the Metropolitan Opera and the New York Opera. Dubbed as the First Lady of the Philippine Operatic Stage, her career in entertainment started to blossom when she won the Elizalde Family Hour Talent Search in 1952. Her performance as Carmen in Trudel Zippers Tagalog production of Bizets opera brought her fame as an opera singer. One of the Philippines great sopranos, Rosals musical career spanning three decades were highlighted with unforgettable roles in Philppine productions of Madame Butterfly, 1967, Aida, and the lead role in the zarzwela Ang Kiri. She died in 1985 of cancer
Category: EducationFast Forward :D

Traditional Kundiman sung by 4 artistes. I heard some youtube pundits claim kundimans such as Dahil Sa Iyo & Buhat are the handiwork of their Bro MV. NOT, definitely NOT. I had seen his grand mansion at Ayala Alabang and I gotta say I actually find it sickening.

Lilia Reyes

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Full credits philclassic | September 19, 2009
"Buhat" is a classic Kundiman composition by Mike Velarde (not to be confused with the rich Charismatic lay preacher with the same name who wants to run for presidency). Lyrics written by Dominador Santiago. Interpreted by the popular coloratura soprano of the 1950's, Miss Lilia Reyes, under the music supervision of Leopoldo Silos. Audio from a vintage phonograph recording played and recorded via USB turntable. The audio was "cleaned" using a sound editor to minimize the unwanted and numerous clicking sound coming from the old phonograph.

***************************************************

ABOUT MIKE VELARDE (MIGUEL VELARDE JR.)

Composer, conductor, and musical director, Mike Velarde (aka Miguel Velarde Jr.) was born in Manila on 23 October 1913 and had his first taste of musical teachings from his mother Dolores Guison, who taught him piano and violin.

He studied at the Zamboanga Normal School, where he became a member of the school orchestra. He went to Manila to pursue medicine at the University of the Philippines, but later discovered that it was music that he truly loved.


His father, Dr. Miguel Velarde Sr., objected to his plans to pursue a career in music. To support his dream, he became a bus conductor. Later he ran a weekly show, Stardust Program, where he sang and played his own jazz arrangements on the piano.

Velarde learned the basics of harmony and composition from Antonio Molina and Ariston Avelino, and deepened his knowledge through self-study. He dabbled into musical scores for Sampaguita Films' movie production and managed the outfit's advertising.


During the Japanese Occupation, he worked as a musical director for Avenue Theatre, where his concertized arrangements of folk songs like Planting Rice were well-received by the audience. Regarded as his most important works are Luksang Tagumpay (1960), which received the FAMAS Best Picture award from the Filipino Movie Arts and Sciences (FAMAS), and for which he wrote the story and screenplay, and Alaala Kita (1961).

Some of his compositions includes the following Kundimans: * Ikaw (from Milagro ng Nazareno), 1935 * Dahil Sa Iyo (from Bituing Marikit), 1938 * Habang Buhay (from Lagot na Kuwintas), 1938 * Lahat ng Araw (from Pasang Krus), 1939 * Dating Sumpaan (from Ang Dating Sumpaan), 1939 * Minamahal Kita (from Niña Bonita), 1940

He won the FAMAS awards for the story of Luksang Tagumpay and for his musical direction of Alaala Kita. As a composer, Irving Berlin and Cole Porter first influenced Velarde. Later, he created his own style and produced songs such as Ikaw (1935), Lahat ng Araw (1939), Habang Buhay (1938), Minamahal Kita, Ikaw ay Akin (1940), and Dahil Sa Iyo (1938). In 1970, he won the Best conductor award at the First International Popular Song Contest in Japan, where his composition As Long as Forever was the Philippine entry.

In 1975 the Philippine Government Cultural Association awarded him the Cultural Achievement Award in Popular Music. He received the Gawad CCP Para Sa Sining in 1986.

DISCLAIMER:

The audio presented in this video is not intended for commercial use or profit. Any commercial use may warrant royalties and/or compensation to the original publishers, artists and composers. The copying and distribution of materials posted here for commercial use is strictly prohibited by their original publishers.

Philclassic's Youtube channel is a non-profit resource and it exists strictly for the appreciation, restoration and preservation of vintage, traditional and classical Filipino music.

Maraming Salamat Po!


Diomedes Maturan

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Full credits to bunoy20


Rico J. Puno

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Full credits to pinoytayo4ever | May 10, 2009
Rico J. Puno

Album © Greatest Hits
Song ® Buhat


Pilita Corrales

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Full credits to rhose52 | June 06, 2009
folk song

:dj:

One of my favorites! This song was used as the theme song of one of the five remaining pre war movies, Tunay na Ina (1939). The movie stars Rosario Moreno, Rudy Concepcion and Tita Duran. This is the best version for me, I just the love the duet!

The video clip below also features the little Tita Duran singing "Maawa sa Isang Pulubing Bata."

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video posted by SIMON7153

^^This is the best version for me, I just the love the duet!de acuerdo contigo, amigo! yea, I love it too. :D First time I heard it. :) The lilting upbeat melody was typical of the Roaring Thirties. Little Tita Duran also reminded me of Shirley Temple. Lemme guess, somewhere along the way the baby got lost & grew up to be Tita Duran, that's why the title is Tunay na Ina, corecto? :D

Did you also notice how well groomed everyone was? Love how they carried their clothes, they all dressed up impeccably. Not just in the movies, mind you. I saw a wartime vid on the day of the invasion of Manila in WWII. Everyone was running on what seemed like Escolta or Quiapo (where the old trams used to pass?) but it was remarkable that everyone looked very well dressed with suits, jackets and hats for men & the flowing dresses for the ladies.

I dunno if the song goes with the movie, perhaps they did go together, ... or perhaps 'tis only but incidental that they had the same title?

Perlas Ng Silangan - Mabuhay Singers

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bunoy20 | July 28, 2009
Tunog Lamang



Fernando Poe Jr., Susan Roces and Vic Vargas

Perlas ng Silangan -8.avi

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seojin24 | July 12, 2009
FPJ


:dj:

Fast Forward :D

Does anyone know of this group? I think they’re pretty damn good. Seem to be Los Angeles based and seem to be affiliated with the Church of Scientology (same with Tom Cruise & John Travolta, I suppose?)

Anyway, just listen to their voices. All the members are trained singers, I see. :yes:

http://haranamenschorus.com/Default.aspx

HARANA MEN’S CHORUS

Harana Men’s Chorus is a group of young Filipino men brought together by their common love for music and ensemble singing. The group is a mix of singers of different chorale backgrounds here and in the Philippines, coming together to form a collage of voices to produce a sound that is distinctly HARANA.

“Harana” or serenade, a folk tradition in the Philippines, is singing done by aspiring suitors to woo a maiden – often under the stars, the muse peering through the window.

Conceptualized late 2007, members envisioned to join their voices in harmony in reminisce of the traditional "harana" yet be versatile enough to tackle complex contemporary arrangements to promote Filipino heritage, entertain and enthrall audiences with an eclectic and extensive repertoire. By February of 2008, the Harana Men's Chorus was born.

Considered a fledgling in the chorale world, Harana Men’s Chorus, through the able directorship of Eduardo Nepomuceno, hopes and is beginning to create a niche for itself in the American chorale scene.


CHOIR DIRECTOR: Ed Nepomuceno

Baritones:
• Melvir Ausente
• Jason Tsai
• Jei Romanes

Tenor 1:
• Erwin Andaya
• Alex Bao
• Michael Zuniga
• Dennis Jardiel

Basses:
• Emmanuel Miranda
• Froi Fulgencio

Tenor 2:
• Aristotle Canlapan
• Dino Padallan
• Don Sagarbarria
• Louie Ulanday

Nasaan Ka Irog

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gelatine7 | July 12, 2008
Harana Men's Chorus' First Concert on June 22, 2008
Hillcrest Chapel, Granada Hills Nasaan Ka Irog
by Nicanor Abelardo

Nasaan ka Irog,
At dagling naparam ang iyong pag-ibig?
'Di baga sumpa mo, ako'y mamahalin?
Iyong itatangi, iyong itatangi
Magpa-hanggang libing,
Subalit nasaan ang gayong pagtingin?

Nasaan ka Irog
At natitiis mong ako'y mangulila,
At hanap-hanapin ikaw sa alaala
Nasaan ang sabi mong
Akoy' iyong Ligaya
Ngayo'y nalulumbay
Ay di ka makita.
Irog ko'y tandaan
Kung ako man ay iyong siniphayo
Mga sumpa't lambing
Pinaram mong buo
Ang lahat sa buhay ko
Ay hindi maglalaho't
Masisilbing bakas
Nang nagdaan
'tang pagsuyo.

Tandaan mo irog,
Irog ko'y tandaan
Ang lahat sa Buhay ko
Ay hindi maglalaho''t
Magsisilbing bakas
'Tang Pagsuyo,
Nasaan ka irog,
Nasaan ka irog?


:dj:Heeey, this group is quite good, too. :yes:

Bituing Marikit

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gelatine7 | July 24, 2008
Harana Men's Chorus' sings Bituing Marikit

Bituing marikit sa gabi ng buhay
Ang bawat kislap mo'y ligaya ang taglay
Yaring aking palad iyong patnubayan
At kahit na sinag, ako'y bahaginan

Natanim sa puso ko yaong isang pag-ibig
Napinakasasamba sa loob ng dibdib
Sa iyong luningning, laging nasasabik
Ikaw ang pangarap, Bituing marikit

Lapitan mo ako, halina Bituin!
At ating pag-isahin ang mga damdamin
Ang sabik kong diwa'y huwag mong uhawin
Sa batis na iyong wagas na paggiliw

:dj:

Santo Niño de Cebú (http://en.wikipedia.org/wiki/Santo_Ni%C3%B1o_de_Ceb%C3%BA)

The Santo Niño de Cebú ("Holy Child of Cebu") is a Roman Catholic figure of the Child Jesus highly similar to the Infant Jesus of Prague. Like the image's counterpart in Prague, the figure is clothed in expensive textile robes mostly donations from fervent devotees in the Philippines and abroad. The statue is the oldest Catholic relic in the Philippines and permanently housed since 1565 at the Basilica Minore del Santo Niño in Cebu City, Cebu.

History

In April 1521, Portuguese explorer Ferdinand Magellan, in the service of Charles I of Spain, arrived in Cebu during his voyage to find a westward route to the Indies [1]. He persuaded Rajah Humabon and his wife Hara Amihan, to pledge their allegiance with Spain. They were later baptized into the Catholic faith, taking the Christian names Carlos and Juana. Magellan presented the Santo Niño to the newly-baptized Queen Juana as a symbol of the alliance. To her husband Carlos, Magellan presented the bust of the "Ecce Homo", or the depiction of Christ before Pontius Pilate. He gave an image of Our Lady to the natives who were later baptized with their rulers. However, Magellan died later on April 27, 1521 in the battle that took place in Mactan.

Many years later in 1565, Juan de Camus, a mariner of the second generation of Spanish Colonial campaign under Don Miguel Lopez de Legazpi found inside a pine box an unscathed Image of the Santo Niño. The adorable image believed to be of Belgian origin stands roughly at 30.48cm tall, wearing a loose velvet vestment, a gilded neck chain and a woolen red hood. It is carved from wood and coated with paint. The image holds a golden ball, a replica of the world in the left hand, and the right hand is slightly raised as a gesture of blessing.

Deeply impressed by this discovery, Camus presented the Image to Legazpi and the Augustinian priests. They were so humbled by the significance of the finding of the image that in solemnity, the image was carried in a procession to a provisional chapel. Legazpi then ordered the creation of the Confraternity of the Santo Niño de Cebu with Fr. Andres de Urdaneta as its head. A devotee of the Child Jesus himself, Legazpi installed a festivity in commemoration of the finding of the Holy Image. Although the celebration still survives until today, Pope Innocent XIII moved the celebration to the Third Sunday of January so as not to conflict with the 40-day celebration of Easter.

The Cebuano natives revered the Image of Santo Niño as Bathala. They most probably blessed the image with oil or offered sacrifices to the Santo Niño while invoking for His assistance in times of difficulties, reliefs in their necessities or consolations in their adversities. Presently dressed in royalty with its ornate decorations, including a sash adorned with old Castilian coins and a Toison de Oro (Golden Fleece) with a ram pendant reputedly given by King Charles III in the 17th century, the image now stands in grandeur that continues to captivate the hearts and souls of his fervent devotees.

Stories of the Miracles of the Señor Santo Niño spread like wildfire in the Seas, placing Cebu as the Cradle of the Santo Niño devotion in the Philippines. His devotion spanned to the nearby island-provinces of the Visayas, then advanced to the north to as far as the Ilocandia and reached down south in Mindanao.

The Basilica Minore del Santo Niño built on the very same spot where the image was found on April 28, 1565, housed the statuette of the Santo Niño. Originally made out of bamboo and mangrove palm, the Santo Niño Church developed into a fortress where ardent devotees from all walks converge for thanksgiving or supplication to the Child Jesus, whom they have venerated through the centuries. With the increasing number of devotees flocking the Church of Santo Niño, Pope Paul VI elevated its rank as minor basilica with all rights and privileges accruing to such conferment for the Quadricentennial celebration of Christianity in the Philippines.

Numerous miracles have been wrought by the power of the Santo Niño. It is said that a voluminous book is needed to contain all the attestations and testimonials of the goodness and mercy of the Infant Jesus of Cebu. Considered as the prime of all Christian relics in the Philippines, the image of the Infant Jesus continues to shine as the lodestar that attracts the hearts of the Filipino people.

Meanwhile, the Visayans continue to manifest affection with the Santo Niño, who, not only during his feast day, but all year round have come to pay homage to a Gift, so simple yet profound.


:bow: :bow:

CEBU'S SINULOG FESTIVAL

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cutejud | January 04, 2008
Music Background originally sang by Cebu's Sheryn Regis entitled AMONG GABAYAN and composed by Father Jed. The song is about true devotion and prayers for Snr. SAnto Niño.
---------------------------------
"Viva Pit Señor!" That's what you'll hear people chant in a Sinulog Festival. Every third Sunday of January is a joyous day for the people of Cebu City. It is the month when one of the grandest festivals of the Philippines is celebrated. The Sinulog Festival is the most colorful one, too. The Sinulog Festival is celebrated in honor of the Santo Niño, which is the patron saint of Cebu. The Sinulog Festival is a dance ritual that reminisces the time when Filipinos embraced Christianity.

In the Sinulog Festival, you will see the most colorful displays and street dancing. The participants in the Sinulog Festival wear bright-colored costumes and dance to the music made by trumpets, native gongs, and drums. The streets are full of people eager to witness the beauty of the festival. Sinulog Festivals are also held in other parts of the country, but in smaller versions.

Traditionally, the Sinulog Festival is celebrated for nine days. The ninth day culminates into the Sinulog Festival Grand Parade. A water parade called Fluvial Procession is held on the day before the Grand Parade. The procession starts at dawn from Mandaue City and ends in Cebu City. A pump boat is decorated with flowers and candles with the Santo Niño in it. A reenactment of the Christianizing of Cebu follows at the Basilica. A solemn procession is held in the afternoon along the city's major streets. This usually lasts for hours due to multitudes of participants.

On the Sinulog Festival day, a Pontifical Mass headed by the Cardinal is held at the Basilica. Bishops of Cebu assist in this event. Devotees and others populate the Basilica to attend the mass. Afterwards, they all head out to the streets to witness the Sinulog Festival Grand Parade.

The word 'Sinulog' is from the Cebuano adverb 'sulog'. It means "water current movement." Its adaptation describes the forward-backward step movement of the Sinulog dance. According to the rhythm of the drums, people dance two steps forward, then one step backward. In the latter years, this dance has evolved into three categories: Sinulog-base, Free-Interpretation, and Latin Category. And has been the cause of some arguments if it has to do with the Sinulog tradition. But the candle vendors at the Basilica still prefer to perform the traditional version for their customers.

The historic event where the Sinulog Festival is based was on April 7, 1521. Fernando de Magallanes, a Portuguese navigator, landed on Cebu and claimed the area in the name of the King of Spain. He gave the Santo Niño to Rajah Humabon's wife, Hara Amihan as a baptismal present. Rajah Humabon was Cebu's ruler at that time. In honor of Carlos I's mother, Juana, Hara Amihan's name was changed to Queen Juana. 800 natives together with their rulers were baptized into Christianity.

This is the event where the Sinulog Festival revolves. The main theme of the Sinulog dance is Queen Juana, with the Santo Niño in her arms, blessing the people that are ill due to evil spirits.

The Sinulog Festival is an important event in the Filipinos' religious life. It's a time for joyful and colorful celebration. For a spectator on the street, it's a beautiful scene to behold. But for a participant doing street dancing, it's a way to show their devotion to God. The Sinulog Festival is a must see event.

:dance:

santo nino de cebu gozos

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strawberrypaper202 | January 08, 2009
slideshow of sto nino de cebu pictures with gozos



Batobalani sa Gugma - Gozos (Lyrics)

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stripsteph | January 12, 2010
*All Rights Reserved*
by: Stephen K.

BATOBALANI SA GUGMA

Batobalani sa gugma,
Sa daan tawo palanga.

KANAMO MALOOY KA UNTA
NGA KANIMO NANGILABA

Dinhi sa siudad sa Sugbo
ang matahum larawan.
sa unang mga misionero,
sa usang balay hipalgan.
Kanila ikaw nagpakita
gikan da sa imong gugma.
KANAMO MALOOY KA UNTA
NGA KANIMO NANGILABA

Giludhan ikaw gisingba
niadtong mga kaparian
sa tanan nga katawhan
sa mga ponoan nila:
kay sa pagtan-aw kanimo
Kristianos sila nahimo.
KANAMO MALOOY KA UNTA
NGA KANIMO NANGILABA

Ang singbahan gipatindog
niadtong mga tawhana,
aron ang larawan nimo
dunay usang puluyanan.
ug didto gihangyo nila
nga kaluyan nimo sila.
KANAMO MALOOY KA UNTA
NGA KANIMO NANGILABA

Nangayo kami kanimo
nga ang matahum mong larawan,
sa sulud sa kalag namo
makahimong puluyanan,
kay sa tanan kinahanglan
ikaw ang among dalangpan.
KANAMO MALOOY KA UNTA
NGA KANIMO NANGILABA


:bow: :bow:

O Senyor Santo Niño

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onateronyagas | March 09, 2008
This song, O Senyor Santo Niño, is the Grand Prize Winner of the 1st HUNIÑO on January 10, 2007 held at the Sto. Niño Pilgrim Center, Cebu City. The song is composed by Renato C. Sagayno and interpreted by Japril Yap.


:cool: :cool:

Santo Niño - Sharon Cuneta

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egaygigi | November 05, 2008
song about little Jesus


:cool: :cool:

Surtido Cebuano

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otheliaruiz | March 17, 2007
a folkdance originating from Bantayan, Cebu. It means assortment. These are 2nd year high school students who performing the dance.


:dance2:

laverde and miligoy de cebu

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mistressnicey | December 21, 2006
dalit-bisaya...
dances: laverde and miligoy de cebu
performed by the usc dance troupe



MILIGOY DE CEBU ANOPSSAI REpresentative from ALternative Learning School Escalante City

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norfreshylot | July 16, 2010
ANOPSSAI REpresentative during the negros Occidental Provincial meet 2009 from ALternative Learning School, Escalante City



BSU-SSL Dance Troupe in their dance Miligoy de Cebu

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55ayesa | August 11, 2009
credits to the Trainer and Choreographer, Mr. Romeo G. Pabiona, MAPEH Coordinator in Sto. Nino National High School in South Cotabato and to the Critic and Adviser, Prof. Norma E. Quisil..
and to the dancers: Elyne Pops M. Asotigue, Jean Pauline B. Azura, Elizol Carbajal, Ericka Orquia, Ma. Herva Limbengco, John Emmanuel Develos, Andre Earl Waban, Adriel Maguale, Leobert Ravelo, Roland Zapata and Joshua Ablanque.


:dance2:

Mazurka (http://en.wikipedia.org/wiki/Mazurka)

The mazurka (in Polish, mazurek) is a Polish folk dance in triple meter, usually at a lively tempo, and with an accent on the second or third beat.

History

The folk origins of the mazurek are two other Polish musical forms—the slow kujawiak, and the fast oberek. The mazurek is always found to have either a triplet, trill, dotted eighth note (quaver) pair, or an ordinary eighth note pair before two quarter notes (crotchets). In the 19th century, the dance became popular in ballrooms in the rest of Europe. The Polish national anthem has a mazurek rhythm but is too slow to be considered a mazurek. There are many Polish editions of the mazurek but the most notable one is the mazurka.

In Polish, this musical form is called "mazurek"—a word derived from "mazur," which up to the nineteenth century denoted an inhabitant of Poland's Mazovia region, and which also became the root for "Masuria". In Polish, "mazurka" is actually the genitive and accusative cases of "mazurek."

Several classical composers have written mazurkas, with the best known being the 58 composed by Frédéric Chopin for solo piano. Henryk Wieniawski also wrote two for violin with piano (the popular "Obertas", op. 19), and in the 1920s, Karol Szymanowski wrote a set of twenty for piano and finished his composing career with a final pair in 1934.Also, Maria Szymanowska wrote Mazurkas long before Chopin.

Chopin first started composing mazurkas in 1825, but his composing did not become serious until 1830, the year of the November Uprising, a Polish rebellion against the Russian government. Chopin continued composing them until 1849, the year of his death. The stylistic and musical characteristics of Chopin’s mazurkas differ from the traditional variety because Chopin in effect created a completely separate and new genre of mazurkas all his own. For example, he used classical techniques in his mazurkas, including counterpoint and fugues.[2] By including more chromaticism and harmony in the mazurkas, he made them more technically interesting than the traditional dances. Chopin also tried to compose his mazurkas in such a way that they could not be used for dancing, so as to distance them from the original form.

However, while Chopin changed some aspects of the original mazurkas, he maintained others. His mazurkas, like the traditional dances, contain a great deal of repetition: repetition of certain measures or groups of measures; of entire sections; and of an initial theme.[3]. The rhythm of his mazurkas also remains very similar to that of earlier mazurkas. However, Chopin also incorporated the rhythmic elements of the two other Polish forms mentioned above, the kujawiak and oberek; his mazurkas usually feature rhythms from more than one of these three forms (mazurek, kujawiak, and oberek). This use of rhythm suggests that Chopin tried to create a genre that had ties to the original form, but was still something new and different.

Outside Poland

In the Philippines, the mazurka is a popular form of traditional dance. The Mazurka Boholana is one well-known Filipino mazurka.


:pepper: :pepper:

mazurka boholana

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mistressnicey | December 21, 2006
dalit-bisaya
performed by the usc dance troupe at the usc cultural center during the cebuano festival last december 1-3, 2006


:dance2:

The Life and Writings of Dr. Jose Rizal

muchisimas gracias a drrobertl_yoder

http://joserizal.info/Biography/man_and_martyr/portal.htm

HIMNO AL TRABAJO

CORO

¡Por la patria en la Guerra,
por la patria en la paz,
velará el Filipino,
vivirá y morirá

HOMBRES:
Ya el Oriente de luz se colara,
¡Sus! Al campo, la tierra á labrar,
que el trabajo del hombre sostiene
á la patria, familia y hogar.
Dura puede mostrarse la tierra;
implacables, los rayos del sol. . .
¡Por la partria, la esposa y los hijos
todo fácil será á nuestro amor!

CORO

ESPOSAS:

Animosos partid al trabajo
que la esposa el hogar vela fiel,
inculcando el amor á los hijos
por la patria, virtud y saber.
Cuando traiga la noche el descanso,
la ventura os aguarda al entrar;
y si el hado es adverso, la esposa
la tarea sabrá continuar.

CORO

DONCELLAS:

¡Salve! ¡Salve! ¡Loor la Trabajo,
de la partia riqueza y vigor!
Por él yergue la frente serena,
es su sangre, su vida y su ardor.
Si algún joven pregona su afecto,
el trabajo su fé probará;
¡solo el hombre que lucha y se afana,
sostener á su prole sabrá!

CORO

NIÑOS:

Enseñadnos las dura faenas;
vuestra huellas queremos seguir,
que mañana , al llamarnos la patria,
vuestra empresa podamos concluir.
Y dirá los ancianos al vernos:
-- ¡De sus padres, mirad, dignos son!
Á los muertos no honra incienso
como un hijo de Gloria y honor. . .


HYMN TO WORK

Chorus --
For our country in war
For our country in peace
The Filipino will be ready,
While he lives and when he dies.

MEN:

As soon as the East is tinted with light
Forth to the fields to plow the loam!
Since it is work that sustains the man,
The motherland, family and the home.
Hard though the soil may prove to be,
Implacable the sun above,
For motherland, our wives and babes,
'Twill be easy with our love.

WIVES:

Courageously set out to work;
Your home is safe with a faithful wife
Implanting in her children, love
For wisdom, land, and virtuous life.
When nightfall brings us to our rest,
May smiling fortune guard our door;
But if cruel fate should harm her man,
The wife would toil on as before.

GIRLS:

Hail! Hail! Give praise to work!
The country's vigor and her wealth;
For work lift up your brow serene
It is your blood, your life, your health.
If any youth protests his love
His work shall prove if he be good.
That man alone who strives and toils
Can find the way to feed his brood.

BOYS:

Teach us then the hardest tasks
For down Thy trails we turn our feet
That when our country calls tomorrow
Thy purposes we may complete,
And may our elders say, who see us,
See! How worthy of their sires!
No incense can exalt our dead ones
Like a brave son who aspires!


==========

:pepper: :pepper:

Mazurka Boholana -Visayan Folk Dance

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philclassic | July 04, 2010
Mazurka Boholana is a Spanish-inspired ballroom dance from the Bohol province of the Philippines. Although the mazurka is the Polish national dance, it was wildly popular throughout Europe in the 19th century and even in colonized lands overseas. The Philippines was under the rule of Spain for more than three hundred years, during which time local culture was markedly influenced.

The music of the popular Visayan song "Pobreng Alindahaw" (Aruy! Aruy!) by T. "Pedong" Villaflor was derived from this Mazurka.

Interpreted by Juan Silos Jr. and his Rondalla. Audio from a vinyl phonograph record (Philippine Folk Dances, Juan Silos and His Rondalla. Villar Records, Mareco Inc.


:dance2:

Alindahaw is indeed Dragonfly in Cebuano. The word for Butterfly is Kaba-Kaba.

POBRENG ALINDAHAW - Melinda Veloso - Very Rare Copy

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philclassic | June 15, 2010
"Pobreng Alindahaw" was composed by T. "Pedong" Villaflor with original Visayan lyrics by Simplicio Suarez. The song was recorded and popularized by the Visayan singer Melinda Veloso. Audio from a vintage vinyl phonograph recording ('Pobreng Alindahaw' [Aruy, Aruy], Villar Records, Mareco Inc.)

A popular Visayan song, "Pobreng Alindahaw" is about a poor dragonfly or butterfly, which keeps on transferring from one plant to another and from one flower to another. This song has became part of the Visayan family life. Men and women keeps on singing it in almost any occasions.

The dragonfly (or butterfly) symbolizes a man or woman's life with no preference as to whom he/she will associate with. Just as the Alindahaw is free to go from one flower to the other regardless of its kind, the life of this man is free to associate with everyone regardless of his or her race, religion, customs, practices and traditions.


:dj:

Frederic Chopin wrote 58 various Mazurkas. Who would've thought that our very own Pobreng Alindahaw, being a descendant of the Mazurka, would have some influences (or at least some inspiration for its existence) from the great classical composers like Frederic Chopin. Unique. :yes:



My 2 personal faves...

Chopin - Polonaise in A, Op.40 No.1, ' Military '

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ClassicalMusicOnly | September 15, 2008
Title : Frederic Chopin ,Polonaise in A, Op.40 No.1, 'Military'

Chopin Nocturne Op.9 No.2 (Arthur Rubinstein)

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rmannion | August 27, 2007
Chopin's Nocturne in EbM Op.9 No.2

Arthur Rubinstein, 1965


The Mazurkas

Arthur Rubinstein - Chopin Mazurka Op 7 No 1

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ArRubMusic | July 13, 2009
Arthur Rubinstein - Chopin Mazurka Op 7 No 1


Arthur Rubinstein - Chopin Mazurka Op 6 No 3

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ArRubMusic | July 13, 2009
Arthur Rubinstein - Chopin Mazurka Op 6 No 3


Mazurka

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DancetimePublication | March 12, 2009
Mazurka, a romantic Mid-19th Century Couple Dances, is performed by professional dancers.


:pepper: :pepper: :pepper:

Frederic Chopin wrote 58 various Mazurkas. Who would've thought that our very own Pobreng Alindahaw, being a descendant of the Mazurka, would have some influences (or at least some inspiration for its existence) from the great classical composers like Frederic Chopin. Unique. :yes:



My 2 personal faves...

Chopin - Polonaise in A, Op.40 No.1, ' Military '

W1Qq3RA19G4&feature=related

ClassicalMusicOnly | September 15, 2008
Title : Frederic Chopin ,Polonaise in A, Op.40 No.1, 'Military'

Chopin Nocturne Op.9 No.2 (Arthur Rubinstein)

YGRO05WcNDk

rmannion | August 27, 2007
Chopin's Nocturne in EbM Op.9 No.2

Arthur Rubinstein, 1965


The Mazurkas

Arthur Rubinstein - Chopin Mazurka Op 7 No 1

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ArRubMusic | July 13, 2009
Arthur Rubinstein - Chopin Mazurka Op 7 No 1


Arthur Rubinstein - Chopin Mazurka Op 6 No 3

PhAS-FK2fb4&feature=related

ArRubMusic | July 13, 2009
Arthur Rubinstein - Chopin Mazurka Op 6 No 3


Mazurka

tR3oOmvx5ew

DancetimePublication | March 12, 2009
Mazurka, a romantic Mid-19th Century Couple Dances, is performed by professional dancers.

:pepper: :pepper: :pepper:

ingrid sala santamaria is a great admirer of chopin. she even created a tribute on chopin's 200th birthday. its more like a documentary on her connection with chopin as a pianist. i didnt even know that chopin is a student of franz liszt.

^^^^ Yes, she is a Chopin aficionado. Towards the end of her tribute she did acknowledge the spiritual bonds between the classical composers down to how they influenced her family.

The Pobreng Alindahaw is anything but pobre, after all its cultural background is quite impressive. The spiritual influences between the Pobreng Alindahaw to the Mazurkas goes beyond to the Classical composers.

Frederic Chopin was born March 1, 1810. 2010 is his 200th birth anniversary.

:cool: :cool: :cool:

This first vid was taken during the Marcos Era when they still had Concerts at the Park. Seems like Valentine's Day, 1980.

Liszt Liebestraum No. 3 (encore) - Ingrid Sala Santamaria

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rpcjt | April 26, 2009
Concert at the Park 1980

Chopin Candy Series Introduction - Ingrid Sala Santamaria

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rpcjt | June 16, 2010
Chopin Candy Series: A Tribute to Chopin
by Pianist Ingrid Sala Santamaria

Chopin Candy Waltz in E minor, posthumous - Ingrid Sala Santamaria

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rpcjt | June 27, 2010
Tribute to Chopin's 200th Birth Anniversary
by pianist Ingrid Sala Santamaria

Chopin Candy Ballade #3 coda - Ingrid Sala Santamaria

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rpcjt | June 27, 2010
Tribute to Chopin's 200th Birth Anniversary
by pianist Ingrid Sala Santamaria

Chopin Ballade #3 in A-flat major Op. 47 Ingrid Sala Santamaria

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rpcjt | April 01, 2009
Royal Palm Beach, Florida

Chopin Concerto in E minor, 2nd Mov - Ingrid Sala Santamaria

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rpcjt | September 14, 2008
Ingrid Sala Santamaria with the Peace Philharmonic Philippines Quartet
Waterfront Hotel, Cebu City


From Chopin to the Philippines 4/4

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rpcjt | February 19, 2010
Pianist Ingrid Sala Santamaria pays tribute to Chopin for his 200th birthday. She shares her encyclopedic knowledge of Chopin and gives out her ideas about Chopin's music.



Shameless plug of another Chopin classic. I love the haunting & beautiful Nocturne + beautiful sights and sounds of Amsterdam exactly as I saw it when I visited.

Secret genius Vitalij Margulis plays Chopin Nocturne Op.27-2

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PieterdeRooijHolland | March 09, 2008
Vitalij Margulis plays Chopin's Nocturne no.8 Op.27/2 in D-Flat Major.

Intro and Mazurka Boholana

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Rotary3830 | April 07, 2008
This is a Philippine dance called Mazurka Boholana performed by Caring Presidents of Rotary District3830 at the DISCON2008.



Mazurka Boholana

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vitanica | August 13, 2009
LUPAE in Intramuros, Manila
WOW-BOHOL promotion
September 2005



Sanlahi Pangkat Mananayaw - MAZURKA BOHOLANA

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ceejey222 | October 26, 2009
last ocober 25,2009, university of perpetual help - performing arts group - sanlahi pangkat mananayaw performed this dance in francisca reyes aquino hall, CULTURAL CENTER OF THE PHILIPPINES..for the sagip sining..

performers:
-rose anne tudoc
-jay ann suñer
-jillian baluyot
-valerie eugenio
-princess arro
-kate kismundo



Mazurka Boholana

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CiaraJoy00 | September 12, 2009
Ceffred Bajarias + Reyshelle Cabusas
Ericson Taa + Ciara Bermillo
Jet Ramos + Chyrra Bajarias



Mabuhay Dance Group: Mazurka Boholana

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roselavoy | April 27, 2008
Arizona's Mabuhay Dance Group:
Song/dance title: Mazurka Boholana
Dance Choreographer: Pilar Packer
Performers/dancers: Mabuhay Dance Group
Videographer: Jon La Voy

*Asian Festival 2008/Pheonix, Arizona*

:dance2:

Mazurka Boholana Dance - Mabuhay 2010

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MrKuyaBrian | April 18, 2010
"A Traditional Ballroom dance very popular in Bohol."
Mazurka Boholana Dance - Mabuhay 2010


The Mazurka performed by Boholanons
LUPAE (LUngsoranon Performing Arts Ensemble) Maria Clara Suite part 3

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knarff20 | June 09, 2009
Feb 14, 2009 show at San Miguel, Bohol
Mazurka Boholana


folk dance.... mazurka boholana by the skilartales dancetroupe of cvscaft-tcc

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hipshaker07 | September 12, 2009


The Mazurka

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tvpmark | December 30, 2006
The Sweetwater 2nd Filipino Branch members demonstrate a Filipino dance for the Philippine Fall Social of 2006


archimedes.. mazurka boholana

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ranierizz88 | October 20, 2008


obviously somewhere in the States with Ol’ Glory in the background.

Mazurka Boholana

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CiaraJoy00 | May 09, 2010
International Festival

Gallo Center for the Arts

October 3, 2009


:dance2:

Pobreng Alindahaw = mabuhay singers

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rhose52 | April 26, 2010


Pobreng Alindahaw by Sta. Rita deCascia Rondalla

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guiaPIXIEroa | April 01, 2008
performed during the 2nd International Rondalla Festival.
Pobreng Alindahaw was composed by Angelita Pasamba.
It is a triple meter Philippine folk song found in the Visayan region


obviously taken from a TV set, I don’t speak German but from the text below, did it mean the ateneo glee club won something?

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irvs14 | April 06, 2007
6. Internationalen Chorwettbewerb 2006

Preisträger Wettbewerb Teil 2 - Folklore, Spiritual & Jazz
(Publikumspreis)

1. Preis - Chor Ateneo De Manila College Glee Club von den Philippinen



School Masters Chorus - Pobreng Alindahaw

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FatherXLenin | December 23, 2009
A clip form our Harana Kaya Maria concert at Christ The King Seminary-Divine World last May 2007.


St Augustine Choir Phila Pobreng Alindahaw

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roger121754 | June 20, 2009
From St Augustine Choir, Philadelphia, 2009 Spring Concert


:dj:

Cebuano (http://litera1no4.tripod.com/cebuano_frame.html)

"Cebuano" comes from the root word "Cebu," the Spanish version of the original name "Sugbo," which most probably comes from the verb "sugbo," meaning "to walk in the water." In the old days, the shores of the Cebu port were shallow, so travellers coming from the sea had to wade in the water to get to dry land. The term is suffixed with "-hanon" to refer to the language, culture, and inhabitants of Cebu; hence "Sugbuhanon" or "Sugbuanon." The Spaniards later modified Sugbuhanon to "Cebuano" and the early Americans to "Cebuan." Today Cebuano may also refer to the speaker of the language no matter where he comes from.

The Cebuano are also called "Bisaya," although this is a generic term applying not only to the Cebuano but to other ethnic language groups in the Visayas. The etymology of "Bisaya" is uncertain although it is probably linked either to the word meaning "slaves," for the region was either target or staging area for slave-raiding forays in precolonial and early colonial times, or to the word meaning "beautiful" which was what a Bornean sultan declared upon seeing the islands according to a popular tale.

Cebuano is the first language of about a quarter of the Philippine population or around 15 million Filipinos today. It is dominant in Cebu, Bohol, Negros Oriental, Siquijor, Camiguin, section of Leyte and Masbate, and most of Mindanao. It belongs to the Austronesian family of languages which, in the Philippines, has split up into many language groups or subgroups.
The Cebuano language chiefly defines the Philippine ethnic group also referred to as Cebuano. The core area of this group is the province of Cebu, an elongated mountainous island with some 150 scattered islets. Encompassing a total land area of 5,000 sqkm, Cebu province is bounded in the north by the Visayan Sea, in the east and northeast by Bohol and Leyte, and in the west and southwest by Negros across Tanon Strait. Cebu is located in the geographical center of the archipelago. This region-with 4 provinces, 9 cities, 123 municipalities, and almost 3,000 barangays-has a combined population of 4.6 million. The cultural reach of the Cebuano, however, extends beyond Central Visayas. Due to factors like a dense population and a lack of arable land, Cebu and Central Visayas are an important source area for population emigration. It is for this reason that the Cebuano have also come to constitute a significant part of the populations in other parts of the Visayas and Mindanao. Moreover, the role of Metro Cebu, the country's second largest urban concentration, as southern center of education, media and transportation, enables Cebu to exercise cultural influence beyond provincial or regional boundaries.


HISTORY

As early as the 13th century, Chinese traders noted the prosperity of the Cebuano with whom they traded various porcelain plates and jars, from the late Tang to the Ming, which were used by the natives for everyday life or buried in the graves. The traders also remarked how the Visayan, when not engaged in trade, raided Fukien's coastal villages using Formosa as their base. Reportedly, the Visayan rode on foldable bamboo rafts, and, when attacking, were armed with lances to which were attached very long ropes so that they could be retrieved to preserve the precious iron tips. In the early 16th century, the natives of Cebu under Rajah Humabon engaged in an active trade which bartered woven cloth, embroidery, cast bronze utensils, and ornaments. The settlement also had small foundries producing mortars, pestles, wine bowls, gongs, inlaid boxes of betel, and rice measures. Humabon himself was finely clad in a loincloth, silk turban, and pearl, and gold jewelry, and was supposed to have demanded tribute from East Indian, Siamese, and Chinese traders. At that time, densely populated villages lined the eastern coast of the island, while the highland villages hugged the streams and lakes. The coasts were linked to the hinterlands either by rivers or trading trails. Communities were composed of bamboo and palm leaf-thatched houses raised from the ground by four posts and made accessible by a ladder, the area underneath reserved for domestic animals. Humabon's large house resembled that common dwellings, towering like a big haystack over smaller ones(Pigafetta 1969).

On his way to the Moluccas, Ferdinand Magellan landed in Cebu on 7 April 1521 and planted the seeds of Spanish colonization. Rajah Humabon and his wife, baptized Juana, were Christianized following a blood compact between conquistador and native king. However, Lapu-lapu, chieftain of Mactan, refused to accept Spanish sovereignty. Outnumbering the foreigners by 1,000, his men killed Magellan, 8 Spanish soldiers, and 4 of Humabon's warriors. Duarte Barbosa and Juan Serrano who took command after Magellan's death were also massacred along with their soldiers during a goodwill banquet hosted by Humabon. The remnants of Magellan's expedition under Sebastian del Cano sailed homeward defeated but proving, for the first time, that the earth is round. The second Spanish expedition to the Philippines headed by Miguel Lopez de Legaspi and Andres de Urdaneta reached Cebu on 27 April 1565. As in the earlier experience, the native reception of Legaspi was initially amiable with a blood compact with Sikatuna, chieftain of Bohol. Later, Tupas, son and successor of Humabon, battled with the Spaniards who easily killed some 2,000 warriors, who were equipped merely with wood corselets and rope armor, lances, shields, small cutlasses, arrows, and decorative headgear. Their native boats "built for speed and maneuverability, not for artillery duels" (Scott 1982:26) were no match to Spain's three powerful warships. Legaspi, accompanied by four Agustinians, built the fort of San Miguel on 8 May 1565. This was the first permanent Spanish settlement in the archipelago. Tupas signed a treaty tantamount to submission on 3 Jul 1565 for which he was given 13 m of brown damask. On 21 May 1568, shortly before his death, Tupas was baptized by Fr. Diego de Herrera- an event which propagandized Spanish rule. On 1 Jan 1571, the settlement was renamed the Ciudad del Santissimo Nombre de Jesus (City of the Most Holy Name of Jesus) in honor of the image of the Child Jesus found in an unburned house in the wake of the Spanish invasion of 1565 (the site of the present Augustinian Church). It was believed to be a relic of Magellan's expedition, the same one given to "Queen Juana" upon her baptism. Cebu was the capital of the Spanish colony for six years before its transfer to Panay and then to Manila. Many Cebu warriors were recruited by Legaspi, Goiti, and Salcedo to conquer the rest of the country.

In the 1600s, Cebu had been one of the more populous Spanish settlements in the country, usually with about 50 to 100 Spanish settlers residing there (not including the religious). However, this dwindled sharply after 1604, when Cebu's participation in the galleon trade was suspended. Cebu had annually outfitted and dispatched a galleon to New Spain. Profits were minimal because of restrictions imposed on the items that could be loaded, at the instigation of Spanish officials who wished to maintain the Manila-Acapulco trade, which was the more profitable venture. Moreover, one galleon from Cebu sank in 1597. The nonparticipation of Cebu in the galleon trade greatly diminished its importance, and by the late 1730s, there was only one or two Spaniards who lived in Cebu City who was not a government official, soldier or priest. Few Spaniards owned land in the countryside, a situation further buttressed by a decree that forbade the Spaniards from living among the Filipinos until 1768. The works of Italian traveler Gemelli Careri in the late 17th century and of French scientist Le Gentil both noted Cebu's commercial poverty. The island had become a mere outpost. Inter island trade was further restricted by two factors: the threat of so-called Moro raids from Mindanao and Moro pirates on the seas, which continued way into the late 1790s; and the attempts of the alcaldes-mayores or provincial governors to monopolize domestic trade for their own personal economic advantage. These alcalde-mayores were allowed to purchase the special license to trade to make up for the fact that the Spanish central administration perennially lacked funds to give as salaries to its local officials and bureaucrats. As Spanish officials recovered from the short-lived British occupation of Manila from 1760 to 1762, they began to institute reforms which eventually made the atmosphere more conducive to trade. Cebu's trade slowly rejuvenated. The opening of the Philippines to world trade in 1834- and of Cebu in 1860- stimulated economic activity in Cebu. Sugar and hemp became important cash crops for Cebu's economy. Sugar had already been previously grown in Cebu even before Magellan arrived. Identified as one of the four varieties of sugar to be found in the Philippines during the Spanish period was a strain called "Cebu Purple." The vastly increasing demand for cash crops meant, as in most other areas in the Philippines, a big change in land ownership patterns. Land was increasingly concentrated in the ownership of a few hands, usually through the method of pacto de retroventa, where land was mortgaged by its original owners to new cash-rich landowners on the condition that it could be bought back at the same price on a certain date. This system, which favored the creditors, created a new class of wealthy landlords and a mass of landless agricultural wage laborers, both groups of which began to agitate against the Spanish administration and the power of the religious. This pattern was familiar to the rest of the country. The Cebu revolutionary uprising was led by Leon Kilat, Florencio Gonzales, Luis Flores, Candido Padilla, Andres Abellana, and others. On 3 April 1898, they rose against the Spanish authorities in Cebu. Furious fighting took place on Valeriano Weyler (now Tres de Abril) St. and other parts of the city. The revolutionaries drove the Spaniards across the Pahina River and finally to Fort San Pedro. They besieged the fort for three days but withdrew when the Spaniards sent reinforcements from Iloilo and bombarded the city.
Spanish rule in Cebu ended on 24 Dec. 1898, in the wake of the Treaty of Paris signed on 10 Dec. The Spaniards, under Cebu politico-military governor Adolfo Montero, withdrew to a caretaker committee of Cebuano citizens. The Philippine Government was formally established in Cebu City on 29 Dec. 1898, and revolutionary head Luis Flores became the first Filipino provincial governor of Cebu.

The American occupation ended the republican interregnum. Under threat of US naval bombardment, Cebu City was surrendered to the Americans on 22 Feb 1899. However, a province-wide war ensued under the leadership of Juan Climaco and Arcadio Maxilom. Cebuano resistance to US rule was strong but had to submit to superior American arms with the surrender of the Cebuano generals in Oct. 1901. In 1901, a civil governor, in the person of Julio Llorente, was appointed in Cebu. The Americans, introduced public education, promoted industry, and reorganized local government. All previous laws and ordinances observed were permitted to continue, although the municipal board positions were no longer filled by the appointment but through popular elections. Cebu became a chartered city on 24 Feb. 1937. Vicente Rama authored and secured the approval by Congess of the Cebu City Charter. The Charter changed the title of presidente to mayor. Alfredo V. Jacinto served as mayor by presidential appointment. On 10 April 1942, the Japanese landed and seized Cebu. Over half the city was bombed.

Cebu's USAFFE (United States Armed Forces in the Far East) and Constabulary forces and some ROTC units and trainees surrendered to the Japanese on orders of Gen. Wainwright, supreme commander of the United States Forces in the Philippines. Many fled to the mountains and later reorganized into guerilla bands which harassed the Japanese throughout their occupation and facilitated the American "liberation" of the province. As elsewhere in the country during wartime, suspected collaborators were tortured and killed. Notorious for such summary executions of suspected collaborators in Cebu was the group led by Harry Fenton, who held sway in northern Cebu while James Cushing controlled those operating in central and southern Cebu. For his many abuses against comrades and civilians, Fenton was executed by the guerillas on 1 Sept 1943. James Cushing assumed command of the anti-Japanese resistance movement in Cebu, which was one of the most effective in the country. By the time MacArthur returned to the Philippines in Oct 1944, Cushing had about 25,000 men, half of whom were armed and trained.

Juan Zamora administered the city of Cebu during the war. Upon the return of the Americans in March 1945, Leandro A. Tojong was appointed military mayor of Cebu. Following the post-"liberation" general elections on 23 April 1946, Manuel Roxas was elected Philippine president. In 1946 he appointed Vicente S. del Rosario as mayor of Cebu, the first to serve the city at the dawn of the Third Republic. The Charter of the City of Cebu was amended in 1955 to make the post of mayor elective. Sergio Osmena Jr. was overwhelmingly elected mayor.

The present city of Cebu recovered impressively from the wreckage of the last World War, and has grown to be the second largest metropolis in the nation.

Cebuano (http://litera1no4.tripod.com/cebuano_frame.html)

RELIGIOUS BELIEFS AND PRACTICES

Many Cebuano, especially the less Westernized and the rural ones, continue to be firm believers in the existence of spirits. Despite the fact that this belief stem from pre-Christian animist tradition, they persist to this day, and are very blended with Catholicism. There is strong belief in spiritual beings who are capable of assuming any form and causing illness to those who offend them. The evil spells they cast on people can be driven away by performing rituals, reciting prayers in Spanish or Latin, making offerings, using the crucifix and holy water. Often times the folk healers or mediums like the babaylan, tambalan, and mananapit are asked to perform rituals to drive away the spirits. Spirits may appear as: the tamawo, a fairy that dwells in big trees, and occasionally falls in love with mortals, who upon death enters the spiritual world of the tamawo; the tumao, the creature with one eye in the middle of its face that goes out only during new moon; the cama-cama, a mountain gnome of light brown color, whose great strength may cause
great pain on all mortals who displease it; and the aswang, an evil spirit which can be disguised as a man or a woman at night, helped by its agents like the tictic and silic-silic birds.
Birds often act as agents or messengers of the spirit world. When the sagucsuc bird sings "suc, suc, suc," it announces rain. A kind of owl, the daklap, is believed to conceal its nest on the seashore so cleverly that anybody who finds the eggs but keeps the secret becomes a curandero or healer. The hooting of the owl is considered a bad omen, specially if it comes from the roof of the house of a sick person. When the kanayas (sparrow hawk) appears, a typhoon is anticipated as they are the agents of tubluklaki, the god of the winds. Other animals also serve as portents of good or bad omens. Cats are often regarded as possessing special powers. Their eyesight enables them to see evil spirits. Fisher folk and hunters use the eyes of wildcats as charms to enable them to have an abundant catch. A talisman is made by a special arrangement of the bones of a black cat. The arrival of rain is announced when a cat gets wet during a drought. On the other hand, bad weather expected when a cat stretched itself in the morning.

Dogs become more ferocious if fed with wasps' nests, and see evil spirits like the tumao when they bark continuously during a new moon. To scare away aswang, cow/carabao horns or tortoise shells are thrown into red coals. People recite the Ave Maria backwards to escape the poisonous stings of the alingayos (wasps). When the dahon-dahon (praying mantis) enters a house, it foretells misfortune for the occupants. Almost all aspects of agriculture are governed by beliefs and practices. The tambalan is often called to perform the practice of bayang or buhat before virgin lands are cultivated. A dish of white chicken or white pork is offered to the unseen owner. Before planting, a table with cooked rice, chicken, wine or buyo is set in the open and offered to the spirits who are asked to grant a good harvest. If planting is to be done during a new moon in May or June, rice is toasted and then ground with sugar in a mixture called paduya. The paduya is then baked, divided into 24 parts, and wrapped in banana leaves and offered the night before planting to the aswang who protects the field. For harvest blessings pangas may also be prepared in a basket from a mixture of rice, medicinal herbs, palm fruit and a wooden comb.
There are specific practices depending on the crop being planted. During the planting of rice, one must not hurt or kill the taga-taga, an insect with protruding antennae believed to be the soul of the palay, or else this will cause a bad harvest. A good harvest is likely when its tail points upwards. In planting corn, the first three rows should be planted at sundown. This is the time when chicken and other fowl are in their roosts and if they do not see where the seeds are planted, they will not dig up the seeds. If it rains while the farmer is planting, it is a sure sign that the seeds will not germinate. Persons with few or broken teeth should not plant corn to prevent the corn from bearing sparse and inferior grains.

In coconut planting, so that the nut will grow big and full, seedlings must be placed on open
ground during a full moon. They should be planted at noontime when the sun is directly overhead and shadows are at their shortest. This is so the coconut trees will bear fruits soon, even if they are not yet very tall. While planting coconuts, it would help if one is carrying a child so that the tree will yield twice as many nuts. Bananas should be planted in the morning or at sunrise with young plants carried on the farmer's back so the branches will have compact and large clusters. Sticks should not be used when planting cassava lest the tubers develop fibers which are not good to eat. Ubi, on the other hand, is a sacred root crop. If it is dropped on the ground, it has to be kissed to avoid divine fury called gaba. Planters must lay clustered fruits on three hills for an abundant harvest of camote or sweet potato. It is believed that planters must remove their shirts, lie on the ground, and roll over several times during a full moon. Crops planted near the diwata'a place or during thunderstorms will become rat infested.

During harvesting, if the crops are poor, the farmers prepare biku, budbud, ubas, tuba, guhang,
12 chickens, pure rice, tobacco, and tilad. These they placed under a dalakit tree in the fields as
offering to the spirits. Rice harvesting entails more intricate rituals. A mixture called pilipig is prepared from seven gantas of young palay added to ubas (grapes), bayi-bayi (ground rice), grated coconut, and sugar. This mixture is pounded in a mortar and brought out at midnight. At midnight, the farmers call the babylan to chant prayers while they surround him/her with smoke.
Fisher folk have their own ways of soliciting the favors of the other world. During a full moon, a
mananapit is asked to pray for a good catch and to bless the fishing nets and traps with herbs and
incense. To cast off evil spirits, fisher folk at sea mutter tabi meaning "please allow me to fish."
They keep a small yellow copper key under their belts to protect themselves from being devoured by big fish. Divers eat the flesh of cooked turtle for greater stamina underwater. Fisher folk avoid bad luck by neither sitting nor standing in front of their fishing gear and by returning home by way of the route used when setting out to sea. To avail of future bounty, fisher folk using new traps must throw back half of their first catches. That spirits are believed to roam the world of the living must be considered in building houses. Spirits like dwelling in caves and ought not to be disturbed by the construction of a house nearby. A good site for a house is determined by burying 3 g of rice wrapped in black cloth at the center of the lot. If a grain is missing when they are unearthed three days after, the site is not suitable for it will cause illness. February, April, and September are the months to build houses. To bring prosperity and peace to the owners, coins are placed in each posthole before the posts are raised. The ladder of the house should face east to ensure good health. A full moon symbolizes a happy home life when moving to a new house. For the moving family to be blesses, they should boil water in a big pot and
invite visitors to stay overnight in their new house. A ritual is also performed against evil spirits
during the inauguration of public buildings, bridges, and other structures. The Cebuano, like other Catholic Filipinos, are devoted to their patron saints. Their most popular devotion is to the Santo Nino of Cebu whose statue venerated in the Augustinian Church in Cebu City is the oldest Christian religious relic in the Philippines. The Holy Child is believed to be a savior during fires and natural calamities and a performer of miracles big and small, from shielding the island from the foreign invaders in earlier times to playing harmless pranks. A grand week-long celebration during the feast of the Santo Nino is highlighted with sinulog dances and a candlelit evening procession. During other fiestas, novenas are prayed, candles lit inside the churches, and the
image of the patron saints kissed in homage and thanksgiving. The masses are preceded by the
processions to prevent misfortunes during the year. From 16 to 24 December the misa de gallo, a
dawn mass, is held nine consecutive days. There are solemn Lenten rituals, long processions, and
religious dramas.

Christian folk religiosity is most apparent and typical in the lenten procession of Bantayan Island, held on Holy Thursday and Good Friday. In this major lenten spectacle, the Bantayanon garb their children in angel and saints costumes and follow the carriages of their favorite saints. Apart from the lifesize statues of San Vicente, San Jose, Santa Teresa, San Pedro, and Santa Maria Magdalena, there are around 20 other floats depicting scenes from Christ's passion.

Los Últimos de Filipinas puede referirse a el sitio de Baler, último bastión español en Filipinas durante de 1898. O Los últimos de Filipinas, película sobre el tema realizada en 1945. La evolución de una historia. The evolution of a true historical event in song and film. A most enchanting song from this 1945 movie. But I find the lady singer in the original film much better than Antonio Machin. I believe the singer’s name is Nani Fernández.

Yo te dire Los Ultimos de Filipinas (1945)

http://www.youtube.com/watch?v=XJLJMnUeXpI

XJLJMnUeXpI

roderojaime | December 28, 2008



Yo te diré / Los últimos de Filipinas

http://www.youtube.com/watch?v=Opxns93_h4I\

Opxns93_h4I

fonsucu | October 08, 2009

Song: Yo te diré
Singer: ANTONIO MACHÍN
Main song in the Spanish film "Los últimos de Filipinas". Machín's rendition is very superior, though.

LETRA / LYRICS

Yo te diré
por qué mi canción
te llama sin cesar:
me falta tu risa,
me faltan tus besos,
me falta tu despertar.

Yo te diré
por qué en mi canción
te siente sin cesar
mi sangre latiendo,
mi vida perdiendo,
que tú no te alejes más.

Cada vez que el viento pasa
se lleva una flor
pienso que nunca más
volverá mi amor.

No me abandones nunca
al anochecer,
que la luna sale tarde
y me puedo perder.

Así sabrás
por qué mi canción
te llama sin cesar:
me falta tu risa,
me faltan tus besos,
me falta tu despertar.



Emilio Carretero - Yo te diré - LLERENA (BADAJOZ) 2002 Pianista Sra. Toni Porras García

http://www.youtube.com/watch?v=-wpOyGM6I6c

-wpOyGM6I6c

emiliogcarretero | July 16, 2008
Emilio García Carretero - Yo te diré -LLERENA (BADAJOZ) 2002 - 12 Agosto
COnvento de la Merced.
Pianista Sra. TONI PORRAS GARCÍA



CORO COSTA VERDE. Yo te diré.

http://www.youtube.com/watch?v=1OKX_kweurw

1OKX_kweurw

marrojoproducciones | October 26, 2009
II Certamen Coral de Habaneras y Canción Marinera de Gijón.



Coral Andres Segovia-Yo te dire

http://www.youtube.com/watch?v=hmqfiotlpvw&feature=related

hmqfiotlpvw&feature=related


isnajas | February 08, 2009
Tema de la película "Los últimos de Filipinas", interpretado por la Coral Andrés Segovia, dirigido por Juana Mari Jiménez, al piano Antonio Ariza, guitarra Fernando Montoro, en el concierto de Navidad 2007 celebrado en el Teatro Cervantes de Linares. Video realizado y donado por gentileza de Juan Antonio Martinez Rodríguez.



Desde Peru…
Tuna San Marcos UNMSM - Yo te Dirè

http://www.youtube.com/watch?v=cH-r0Zjkk8o&feature=related

cH-r0Zjkk8o&feature=related

argos064 | February 21, 2008
Universidad Nacional Mayor de San Marcos.
Tuna de San Marcos (UNMSM), Lima-Peru.

Teléfono: 991089909 (Lima)
Visita http://www.tunasanmarcos.com
Correo: tunaunmsm@yahoo.com

Ensayos:

Martes: 18:00 horas Ciudad Universitaria.
Viernes: 18:00 horas Ciudad Universitaria.
Sábados: 18:00 horas Ciudad Universitaria.



YO TE DIRE

http://www.youtube.com/watch?v=LtEAZrNebZ0&feature=related

LtEAZrNebZ0&feature=related

orfeondesestao | March 10, 2010
Concierto anual de homenaje a los Socios del Orfeón
celebrado en la Iglesia de Ntra. Sra. de Begoña (Sestao) 13-12-2009


Note the use of the rondalla.

Los Ultimos de Filipinas (Popurrit)

http://www.youtube.com/watch?v=oVFxxX0GdOE

oVFxxX0GdOE

flamencow | April 18, 2009
SEGUNDO PREMIO 1998
Localidad: Cádiz
Letra: Rafael Pastrana Guillén
Música: José R. Zamora Cabeza
Presupuesto: 500.000 ptas.
Tipo: Combatientes en la guerra de Filipinas

Historial:

2008 La Orquesta Cádiz
2007 La guerra de Cai Tercer Premio
2006 La conga santiaguera Tercer Premio
2005 Los siete Tercer Premio
2004 Los "entendios" del Racataplan - Cuarto Premio
2003 El Pájaro Verde Tercer Premio
2002 Los Voluntarios Primer Premio
2001 De Cai, Cai Segundo Premio
2000 Los Desoterraos Primer Premio
1999 La Cuesta Jabonería Primer Premio
1998 Los últimos de Filipinas Segundo Premio

This was the opening tune for the medley above by the rondalla playing soldados. Note that Te Quiero Dijiste is the same song as the Muñequita Linda sung by Filipino actor Juancho Gutierrez to actress Gloria Romero a few pages back.

Trio Los Panchos - Te quiero dijiste (with lyrics)

http://www.youtube.com/watch?v=gXRyto8AV-8

gXRyto8AV-8

iatedmen | May 27, 2009

'Te quiero', dijiste
Tomando mis manos
entre tus manitas
de blanco marfil.

Y sentí en mi pecho,
un fuerte latido,
después un suspiro,
y luego el chasquido
de un beso febril.

Muñequita linda,
de cabellos de oro,
de dientes de perla,
labios de rubí.

Dime si me quieres,
como yo te adoro,
si de mí te acuerdas,
como yo de ti.

Y a veces escucho
un eco divino,
que envuelto en la brisa
parece decir:
'Sí, te quiero mucho,
mucho, mucho, mucho,
tanto como entonces,
siempre hasta morir'.

Los Ultimos de Filipinas or the Last Ones of the Philippines means it heralded the twilight of Spanish Rule in the Philippines. Los Ultimos de Filipinas and Baler share the same historical theme. With movies and songs from both sides of the divide.

BALER Movie Trailer.m4v

http://www.youtube.com/watch?v=bkm4XV0Dx6A

bkm4XV0Dx6A

lavieX5 | November 29, 2008
BALER, the official entry of Viva Films to the 2008 Metro Manila Film Festival, is a film by renowned director Mark Meily. Certainly this year's most spectacular Filipino movie, Baler has a powerhouse cast that includes Jericho Rosales, Anne Curtis, Philip Salvador, Rio Locsin, Joel Torre, Michael de Mesa, Carlo Aquino, Baron Geisler, Ryan Eigenmann, Nikki Bacolod and Mark Bautista, among others. Sarah Geronimo sings the movie theme song entitled

"Ngayon, Bukas at Kailanman"
composed by Louie Ocampo.

Ating mga pangarap
Bulong ng puso’y matutupad
Pag-ibig natin ang ating yaman
’Di magmamaliw kailan pa man
Ang puso’y……
Laging mahal kang labis
Ikaw ang nais
Na makapiling
At habang buhay, lahat ng oras
Lahat ng araw, mamahalin

Chorus:
Ikaw… ngayon, bukas at kailanman
Pangalan mong ’sinisigaw
Labis kitang minamahal
Kahit na kailan
Pag-ibig sa ’yo’y walang katapusan
Mahal kita, walang hanggan
Ngayon, bukas at kailanman

ADLIB
At habang buhay, lahat ng oras
Lahat ng araw, mamahalin

Chorus:
Ikaw… ngayon, bukas at kailanman
Pangalan mong ’sinisigaw
Labis kitang minamahal
Kahit na kailan
Pag-ibig sa ’yo’y walang katapusan
Mahal kita, walang hanggan
Ngayon, bukas at kailanman


:dj:

I thought I saw this article somewhere else in the forums but I can't locate it at the moment...

http://www.philippinenews.com/9325-article.html

Fil-Am War led to Vietnam, Iraq mess

Published: August 30, 2010 | Author:
Total Views: 463 | Rating: 5 Stars

MANILA — A new feature film by renowned American independent filmmaker John Sayles brings back the “forgotten” Philippine-American War at the turn of the 20th century, depicting it as the seed of the disastrous US imperialist ventures in Vietnam and Iraq.

Filmed entirely in the Philippines with a cast and crew of Americans and Filipinos, the first composite print of “Amigo” was shown by Sayles on Aug. 25 at the Rockwell Power Plant cinema to a select audience that included National Artist for Literature and film critic-historian Bienvenido Lumbera and Mayor Leoncio Evasco Jr. of Maribojoc, Bohol, where the movie was shot.

Fresh from overnight post-production work but lacking subtitles to guide an international audience through the movie’s polyglot dialogue in English, Tagalog, Spanish, Chinese and Latin, the version shown was more or less complete, according to Sayles and producer Maggie Renzi.

The movie will have its world premiere next month at the Toronto International Film Festival in Canada and at the San Sebastian International Film Festival in Spain, where it will be in the competition. It will be commercially released in the Philippines middle of next year.

Set in Luzon in 1900, “Amigo” opens with an inscription of how the Americans, in prosecuting their war against Spain in Cuba, chose to extend it to another Spanish colony, the Philippines, “half a world away.”
“They chose to stay (there in the Philippines),” the inscription laconically adds.

Balancing act

The movie (formerly titled “Baryo”) tells the story of a village in the middle of the Philippine-American War as its people try to pick up the pieces from the Philippines’ war of independence against Spain, while confronting the threat of further disintegration as American troops invade the country.

When the Americans take over, they force the village head, Rafael Dacanay (played impressively by Filipino actor Joel Torre), to cooperate.

“Soy muy amigo (I am a dear friend),” Dacanay tells the Custer-looking American commanding officer (played equally impressively by Oscar winner Chris Cooper). From then on, the Americans refer to him as “Amigo,” as if it were his real name.

But Dacanay’s brother is a leader of the “insurrectos,” as what the Americans call the Filipino revolutionaries who fought Spain successfully and are now trying to stem the US invasion.

Dacanay’s teenage son has also disobeyed him and run off to join the Filipino freedom fighters in the jungle. He is thus forced to walk the tightrope, doing a dangerous balancing act between the American conquerors and the Filipino resistance in order to protect the interest and safety of his people.

Low-intensity warfare

Since the Americans know that the village is the lifeblood of the rebels, providing the underground with food and material supplies, they “hamlet” the village and define its boundaries, impose a curfew, restrict the movement of the villagers and, to ensure that no food reach the rebels, kill off the carabaos and put a stop to the tilling of the fields.

The movie implies that today’s low-intensity warfare and hamletting originated from the American policy to constrict the Philippine resistance in the early 1900s.

But the American detail is also directed to “win the hearts and minds” of Filipinos. Trying to settle down with the natives, the Americans find the locals hospitable and the surroundings bucolic.

An American soldier barely out of his teens falls in love with a barrio lass; another soldier discovers the joys of the local wine, tuba; and the lieutenant (Garret Dillahunt) allows certain liberties, such as elections and the holding of the traditional fiesta in honor of the patron saint, San Isidro de Labrador.

When the commanding officer returns already incensed by guerrilla raids in other towns, he explodes at the policy of rapprochement village and orders Dacanay water-tortured to force him to reveal the rebel lair of his brother.

‘It’s their country’

When the village chief leads the Americans on a wild goose chase to protect his brother and son, the commanding officer orders his execution.

The lieutenant, who is otherwise conscientious and would like to see Dacanay get off the hook, wonders aloud why the resistance fighters just wouldn’t give up despite their irreversible losses and the impending American victory.

“Why should they?” his subordinate tells him. “It’s their country.”
Brave, provocative, and insightfully funny, “Amigo” weaves a complex tale that does not simplify the issues involved in the war and tries to give voice to the Filipinos’ yearning for freedom.

It shows that even while subjugated, the Filipinos continue to resist through little acts of defiance, such as exploiting the language barrier in order to curse the Americans and call them tsonggo (monkey) and multo (ghost), a reference to their pale and ghostly complexion.

Complex, authentic

Sayles said he tried to capture the complexity of the war in the movie while tracing America’s conflicted policy in Iraq to its original imperialist venture in the Philippines.

“It’s the same in Iraq as it was in the Philippines 100 years ago,” Sayles said about the US occupation policy. “Now it’s winning the hearts and minds of the people, the next moment—finish them off!”

Considered a true-blue auteur or “author,” one who stamps his personal signature on his works through writing and directing his own movies, Sayles, who will turn 60 next month, wrote, directed and edited “Amigo.”

Straddling between the studio system and independent cinema, he has won several Oscar nominations, especially for his screenplays, which show complex characters in multicultural settings.

“The key term used to discuss Sayles’ conception of character is ‘complexity,’ and it is for this reason that he has often been seen as an ‘actors’ director,’” critics Marc Jancovich and James Lyons wrote in the book, “Fifty Contemporary Filmmakers.”

His films have thus become noted for their ensemble cast and the actors who have been identified with him include such fine thespians as Cooper and David Straitharn.

Only in the Philippines

In “Amigo,” Filipino actors who got an opportunity to be part of Sayles’ ensemble include, aside from Torre, Bembol Roco, Rio Locsin, Ronnie Lazaro and Pen Medina.

Another word associated with a Sayles film is “authenticity,” and this is reflected in his fidelity to the objective or historical fact or condition without, however, simplifying it and sacrificing complexity.

In “Amigo,” it is reflected in Sayles’ insistence on shooting in the Philippines despite Hollywood’s traditional aversion toward filming in this country because of perceived risks that insurance companies refuse to cover.

“I felt I could only make this film here,” he said in an Inquirer report published last summer while shooting “Amigo” for six weeks in Bohol. “Plus the Philippines has a real movie industry. Our cast and crew are film professionals who’ve experienced working in every type of movie.”

Filipino film professionals involved in “Amigo” include cinematographer Lee Briones-Meily and production designer Rodell Cruz, who capture the mood, colors and setting of a turn-of-the-20th-century Philippine village in the movie.

RP: ‘First Vietnam, Iraq’

Sayles said he shot the movie in the Philippines because he couldn’t see how Queensland, Australia, or Shanghai, China, could have doubled for the Philippines, which was the case in the film “The Great Raid.”

Ironically, “The Great Raid,” about the daring Cabanatuan raid in 1945 in which American troops and Filipino guerrillas successfully liberated American POWs from a Japanese camp without a casualty, was made in the frenzy of patriotism that engulfed the United States after Sept. 11, 2001.

The frenzy led to the American invasion of Iraq on the pretext that Iraq had supported the al-Qaida attacks that brought down the New York Twin Towers and that Iraqi leader Saddam Hussein was harboring weapons of mass destruction (WMD).

No WMDs were found and mounting American casualties in Iraq spurred calls for the withdrawal of US troops, like what happened in Vietnam.

Academics and scholars critical of the Iraq adventure have pointed to the Philippines as “the first Vietnam” or “the original Iraq.” In 1898, on the pretext of avenging the bombing of the USS Maine on the Havana harbor, which the Americans blamed on the Spaniards despite the latter’s denial, the United States declared war on Spain and annexed Cuba and the Philippines.

$600-million war

The treaty that annexed the Philippines and signaled the start of the US imperialist venture was vociferously opposed by many sectors in America, notably by humorist Mark Twain. But the war of subjugation continued.
When the war was officially declared over in 1902, records showed proportionally the same statistics as the wars in Vietnam and Iraq.

According to the late Filipino historian-diplomat Antonio M. Molina, from February to November 1899, in the first phase of the war, there were 45 engagements every month, rising to 106 from December 1899 to June 1900. In the last phase of the war, the United States had to send 70,000 troops.
“In the whole course of the war, the enemy had to use 126,468 men, 4,234 of them dying during the campaign,” Molina wrote. “Some $600,000,000 were spent by the United States in the conduct of the war.”
But most Americans have forgotten the war. Even some Filipinos have. Ironically enough, the Philippines, under Gloria Macapagal-Arroyo, supported the invasion of Iraq.

Wrote Filipino-American scholar Angel Velasco Shaw in 2002: “One hundred years after the official ending of the Philippine-American War, I am having … anxiety of memory. In my unease I recall lines from Mark Twain’s journal, censored from publication during the Philippine-American War—‘None but the dead have free speech. None but the dead are permitted to speak the truth.’”
Now, the forgotten war is set to resurrect—through Sayles’ ironically titled “Amigo.”

inquirer.net

Film about the Philippine-American War.

Amigo (2010) - Trailer

http://www.youtube.com/watch?v=na9zhyhAfxc

na9zhyhAfxc

palejarrising | August 31, 2010
An American invasion of a foreign country. A battle for hearts and minds. A pacification programme to quell an insurgency. Guerrilla warfare. Firefights. Sound familiar? Well, yes and no. Über-indie American filmmaker John Sayles winds the clock back to 1900 and the US occupation of the Philippines in his brave new film, Amigo. Sayles finds many parallels behind this little-remembered event in history and current events in Iraq and Afghanistan. As always, this most singular of directors provides a clear, lucid and dramatically compelling portrait and analysis of American colonization and the latent imperialism behind some of its wars.

:cool:

http://www.youtube.com/watch?v=1Yd08IJjEOA

1Yd08IJjEOA

xpressivist April 17, 2009
This is a wonderful song by the Trio los Panchos which they wrote and sung for my country. I hope this video can help motivate interest in the study of our secular Hispanic heritage here in the Philippines. I also hope that you like it.



http://www.opmpinoy.com/opm-filipinas-lyrics-11009.html

FILIPINAS de Trio Los Panchos

Filipinas, mi madre adorada
Del mundo admirada, por su resplandor

Filipinas, mi novia encantada
La tierra que ofrece respeto y calor

Filipinas, princesa de oriente
Tú eres la estrella que orienta mi amor

Filipinas, la tierra de mi amor
Tus hijos te adoran
Te ofrecen la sangre de su corazón

:cheers2:

BALER Movie Trailer.m4v

http://www.youtube.com/watch?v=bkm4XV0Dx6A

bkm4XV0Dx6A

lavieX5 | November 29, 2008
BALER, the official entry of Viva Films to the 2008 Metro Manila Film Festival, is a film by renowned director Mark Meily. Certainly this year's most spectacular Filipino movie, Baler has a powerhouse cast that includes Jericho Rosales, Anne Curtis, Philip Salvador, Rio Locsin, Joel Torre, Michael de Mesa, Carlo Aquino, Baron Geisler, Ryan Eigenmann, Nikki Bacolod and Mark Bautista, among others. Sarah Geronimo sings the movie theme song entitled
:dj:

I like the movie BALER. The Pinoy actors spoke Spanish.

^^ I haven’t seen the movie Baler yet because there was no copy to be had where I’m at right now, but I heard it was quite good. I hope to find a copy and watch it someday.

A song Circa 1902.
A montage of famous personalities, Filipino revolucionarios who fought first the Spanish & later on the Americans. At that time, almost all of the Ilustrados and Los Indios Bravos got their education in Europe and were fluent hispanohablantes.

Filipinos hispanos / Hispanic Filipinos

http://www.youtube.com/watch?v=CfvvGaxRGzA

CfvvGaxRGzA

fonsucu | September 19, 2009
The invasion of the Philippines by the USA was fiercely resisted. Millions of Filipinos perished as a result of the American genocidal tactics. Here goes a list of military, politicians, priests and writers who opposed the American colonial domination. Although most of them had fought for independence under the Spanish regime, they would melancholy reminisce under the American tyranny of the old Spanish days, showing an unyielding love for the old "oppressor", Spain.

Music: Suspiros de España [1902]
Cantante: Estrellita Castro

LETRA / LYRICS

Quiso Dios, con su poder,
fundir cuatro rayitos de sol
y hacer con ellos una mujer.

Y al cumplir su voluntad
en un jardín de España nací
como la flor en el rosal.

Tierra gloriosa de mi querer
tierra bendita de perfume y pasión
España en toda flor a tus pies
suspira un corazón.

¡Ay de mi pena mortal!
¿Por qué me alejo España de ti?
¿Por qué me arrancan de mi rosal?

Quiero yo volver a ser
la luz de aquel rayito de sol
hecho mujer
por voluntad de Dios.

¡Ay, madre mía!
¡Ay, quién pudiera
ser luz del día
y al rayar la amanecida
sobre España renacer!

Mis pensamientos
han revestido
el firmamento
de besos míos
y sobre España
como gotas de rocío
los dejó caer.

En mi corazón
España te miro
y el eco llevará de mi canción
a España en un suspiro.


:dj:

The song Perfidia was very popular in early 20th century Filipinas. Of Mexican origin, other Mexican canciones became embedded in popular music at that time, although most of the lyrics were largely lost and what remained were only the melodies and tunes. All text below are those of the vidmaker.

Negritas filipinas

http://www.youtube.com/watch?v=u_w8CPsBJec

u_w8CPsBJec

fonsucu | November 15, 2009
Under the American occupation of the Philippines, and while mainstream Hispanic Filipinos were exterminated by the million, the American eye felt inclined to portray the peoples who gave an impression of rusticity and wilderness in remote, non-Malay, not deeply Hispanized areas of the Philippines,both justifying their uplifting aims and the wonder and consent of Americans at home. Photos from Dean C. Worcester's collection [University of Michigan digital collections], taken in 1901. Dean Conant Worcester, D.Sc., F.R.G.S. (October 1, 1866 - 1924) was an American zoologist, public official, and authority on the Philippines, born at Thetford, Vermont, and educated at the University of Michigan (A.B., 1889). From 1899 to 1901 he was a member of the United States Philippine Commission; thenceforth until 1913 he served as secretary of the Interior for the Philippine Insular Government.

Song: Perfidia, sung by Nat King Cole.
LYRICS / LETRA

Mujer,
si puedes tú con Dios hablar,
pregúntale si yo alguna vez
te he dejado de adorar.

Y al mar,
espejo de mi corazón,
las veces que me ha visto llorar
la perfidia de tu amor...

Te he buscado dondequiera que yo voy,
y no te puedo hallar;
para que quiero otros besos
si tus labios no me quieren ya besar.

Y tú,
quien sabe por donde andarás
quien sabe que aventuras tendrás
que lejos estas de mí...!

Te he buscado dondequiera que yo voy
y no te puedo hallar,
para que quiero otros besos
si tus labios no me quieren ya besar.

Y tu,
quien sabe por donde andarás
quien sabe que aventuras tendrás
que lejos estas de
mi...!


:dj:

A revolutionary song during the Philippine-American War.

Mga Awitin noong Panahon ng Rebolusyon (http://filipiniana.net/ArtifactView.do?artifactID=PRR010000002&query=National songs)

Anonymous

H. Otley Beyer Collection. Microfil Collection. The National Library of the Philippines.

EXECUTIVE SUMMARY: Filipinos are natural poets. During the Revolution, many poems and songs were composed by the revolucionarios. These songs provide us a view of our forefathers’ struggle for freedom highlighting the fact that our forefathers fought the Spaniards and the Americans not only with bolos and [sometimes] bullets but also with songs - - songs that boost their morale in their fight against their militarily-superior foes. They were sung to arouse the Filipino emotions against their enemies and to encourage the people to assist the revolutionary forces in the fight for freedom. Below are some of these revolutionary songs.

Written by Luis Camara Dery, Ph. D.



Alerta Filipinos!

Alerta, Filipinos!

Los armas no dejar, no dejar!

Los americanos quieren enganar

Los americanos quieren enganar;

Siempre se dicen somos amigos

Cuando se encuentran comprometidos;

Esta fuerte y la tierra y la mar,

Adentro Manila no deja mas pasar.


:dj:

Gemma Teresa Cruz-Araneta (born Gemma Teresa Guerrero Cruz) is the first Philippine delegate to win the Miss International title in the pageant's fifth edition in Long Beach, California in 1964. She is the first Southeast Asian and Filipina to win an international beauty pageant title.

Araneta received an "Outstanding Manileña" and a "Golden Heart" Presidential decoration from President Diosdado Macapagal .

Heritage
Araneta's paternal great-grandmother was Doña Maria Rizal, the sister of the Philippine's national hero, Jose P. Rizal.

http://filipinokastila.tripod.com/FilMex.html

Tales of Two Sisters: Manila and Mexico

Highlights from the Mexican-Philippine Historical Relations Seminar
New York City- June 21, 1997

Panel headed by Gemma Guerrero Cruz (Miss International 68), MA , Universidad Nacional Autonoma de Mexico, and the Philippines Centennial Commission Representative in Mexico.

1. Manila Galleon Trade connection and the cultural by-product. The seeds of Filipinos grew throughout the coast of Mexico when the Filipinos crew stayed in Acapulco for three months prior to their return to Manila. Sailors kept families in both cities.

2. Summary of her position paper. A notable development of the Galleon Trade was the cultural interchange between the two colonies. What Filipinos today regard as a Spanish influence in food, language, and customs, may in fact be Mexican in origin. The Tagalog word “palengke”, for example, may have originated from the Mexican “palenque”. The Philippines also adopted the Mexican monetary standard, the peso. In exchange, Mexico got the Philippine mango and Chinese silk, a highly prized commodity in Mexico in the 18th & 19th centuries. Lace-making was a skill that traversed the Pacific from Asia and is still an industry today in Olinalia, Mexico.

3. Aculturation gave rise to many cultural elements such as the Nahuatlismos in Philippine speech, the "TUBA" drink or the devotion to the Santo Nino de Sibuu (Cebu). Filipinos introduced the art of making the coconut wine as well . Words of Nahuati origin were assimilated in the Filipino language. These include achuete, atole, avocado, balsa, bangueta, cacahuete, cacao, caimito, calabaza, camachile, camote, calachuche, chico,. chocolate, coyote, nana(y), tata(y), tiangui, tocayo, zacate, and zapote.

4. The Philippine revolution or the Anti-colonial revolution (the name Gemma prefers) that led to June 12, 1898. After discussing this, she challenged the Fil-am audience to study the period 1899 and beyond since the American involvement started. It started with the coming of the American forces composed of volunteers from various states of the US. This explained the names of the various streets crossing the avenues in Malate district like North Dakota, Tennessee, Colorado, etc. All these streets were renamed after the independence date was moved to June 12.

5. One of the Mexican panel members, Cutberto Hernandez Legorreta states in his position abstract, " Very significant to us is the slave, baptized Enrique, who had been recruited somewhere in the Moluccas, bought by Magellan, taken to Lisbon, then to South America, and finally to the Marianas. He was the First man who circumnavigated the earth. He was helped by the Ladron islanders. (Marianas Islander or Chamorros) in the course of the well-known circumnavigation. Later, Enrique came in handy in Cebu for the Spaniards as he was likewise conversant with the Philippine Islanders. It would seem that this might be the first notice on record linking the Chamorros with the Malayan Filipinos. It was later observed the Chamorros, like the Philippine natives, were rice grower, while other Micronesians were not."

6. It is funny that two cultures dominated by Spanish language were communicating in a third language.

7. The story of TUBA brings back memories of my adolescence in the Philippines. On my third drink of "tuba," I could tell the world that the most beautiful women came from the Philippines; Gemma and other Filipinas who won international beauty pageants proved that long time ago. After I’d lose count of my "Tuba" drinks, I could ask the moon if she saw my great-great-grandfather "Enrique" going around the planet in 1521; the panel showed a slide of a composite picture of Enrique and he looks like one of our kind.

8. Memorial names of streets, buildings, and squares change as interpretation of history are re-written. Plaza Bonifacio along the Metro Theatre and Post office building near City Hall used to be called Plaza Lawton. General Henry W Lawton was credited for the capture of the great Apache Chief Geronimo. Like most of the American army officer who fought in the Indian pacification, Lawton was sent to the Philippines to fight the Spanish Military and the Filipino insurrection later. He was killed by the forces of a Filipino General named Geronimo. Insurrection or revolution, they were remnants of Katipunans founded by Andres Bonifacio.

Thanks to: Lilia C & Leopoldo Clemente and the other sponsors of the seminar.REFERENCE: http://www.filipinohome.com/sections/history/misc_history/two_sisters.htm

Filipinos in the New World

By one account, some 60,000 Filipinos sailed on the galleons from Manila to Acapulco over two-and-half centuries, mostly as crews. Many escaped upon reaching Mexico, never to return to the Philippines. Most of the Filipino sailors were natives or indios. There were also many who belonged to the mestizo class, products of intermarriages between Spanish and native Filipinos who traveled as merchants, technicians or functionaries.

Every year between 1570 and 1815, two galleons sailed from Manila to Acapulco to carry on a flourishing trade monopoly for Spain. One of every five members of the crew was a Filipino native but some historians claim it went as high as 50 to 80 percent Filipinos. The other crew members were Spanish, Mexicans and Portuguese.

I have been obsessed with the idea of tracking down the descendants of Filipinos who had migrated to Mexico. Because most of those ships were built by Filipinos in the Philippines, albeit through a compulsory system of labor called polo, I felt their role in the galleon trade should be recognized. Another point I want to bring out is that Filipinos had been in the New World much longer than any group of Asian.

A book published in Manila last year, "After the Galleons," written by eminent scholar, Dr. Benito Legarda Jr., had tipped me that a community of Filipino descendants could be found in Espinalillo near Acapulco. Another book that I found upon reaching Acapulco made a similar assertion.

Upon landing in Acapulco, I went straight away to Espinalillo in a hired car with a driver, Urbano Morales, acting as guide. Espinalillo, it turned out, was a barrio in the town of Coyuca, a half hour's drive north of Acapulco. The area is known as the Costa Grande, notable for its fine beaches washed by waves from the Pacific Ocean. Its most notable feature is a fresh-water lake 17 miles long that runs parallel to the seashore.

It was like being transported to the Philippines. The area is verdant with tall coconut trees and tropical fruits and plants. Many people walking the streets or staring from the windows of houses looked like Filipinos -- brown, with large eyes and black hair and of medium build. With the driver acting as interpreter, I talked to five or six households to ask if they were descended from Filipinos. They all said they had no idea. One person I spoke to was a woman who claimed she was 112 years old. She does not remember anything said about Filipinos living in their village.

All of a sudden, I realized I was asking the wrong questions. The term "Filipino" is a fairly modern appellation, referring to Spaniards born in the Philippines. Most Chinese in Mexico are actually Filipino! The word "Filipino" was coined only in 1889.During Spanish times, natives from the Philippines were known as Chinos or simply as Manila Men. They thought these Filipinos came from China. This notion persisted in Mexico up to today. Until now, many Mexicans refer to Filipinos as Chinos, and they usually had no family names. When I asked the folk of Espinalillo if they knew of anyone in the village who was of Chino descent, they merely shook their heads.

It was my driver who provided the answer, to my disappointment. He said: "After three or four generations, the thread of genealogy is lost. It becomes difficult to trace ancestry." He was right. Filipinos had been in Mexico for 10 or 15 generations. Their racial identity has become dissipated through intermarriages with other races. Mexico racial mixing is a very rich brew. One has only to look at its people today to reach this conclusion.

Thousands of people captured from India, Burma, Indonesia and Mindanao were collected in Manila and brought to Mexico as slaves. They filled up the labor shortage caused by the decimation of the Mexican Indian population from diseases brought by the Europeans.But one can see that in Acapulco and surrounding towns, Filipinos -- or their mixed versions -- are everywhere, apparent through their skins, black hair, almond eyes and ready smile. You find them in menial jobs as waiters and drivers, sales girls, security guards. They comprise the backbone of Acapulco's tourism industry.

Filipino Clans Take Root in Mexico. My disappointment at not finding descendants of Filipinos in Espinalillo did not last long. At barrio Bajo los Ejidos, also in Coyuca in the Costa Grande, I saw a big sign at the side of a house in huge letters. The sign read: Parque Reyna Maganda. In short order, I was talking to a matronly lady, Lupe Maganda, who told me that Parque Reyna Maganda was a barrio park named after her mother who had just died. While we were talking she had an uncle summoned from another house to join us.

Soon we were joined by an old man walking with a cane by the name of Severino Maganda, 85 years old. When I explained to him that Maganda was a Filipino word (meaning beautiful) and that his family must have come from the Philippines, he showed no surprise. He told me that when he was a young boy, his grandmother told him that the Maganda family came from the Philippines. His father and grandfather both lived and died in Espinalillo.

Members of the clan have been living in the Costa Grande for generations and they are reputed to be quite a big clan. Their forbear must have adopted the Maganda name to perpetruate their memory of the Philippines.

In Acapulco itself, talking to knowledgeable people, I learned that there is another big clan in Costa Grande whose forbears came from Manila. This family has the unique surname of H-Luz (pronounced Acheh-Luz). One of its descendants, Rube H-Luz Castillo, has written a book on the history of Acapulco.

There are two other clans by the name of Guzman and Rodriguez, but I did not get to meet anyone of them. I was informed that in another barrio called Carizal, there were also Filipino descendants.

There is a unique private institution called Centro de Investigacion e Informacion Historica de Acapulco. I had a brief interview with its director, Benjamin Galicia Hurtado. Mr. Galicia told me that besides Acapulco itself, the big concentration of Filipino Mexicans can be found in the towns and cities of western Mexico, the coastal areas, in places like Puerto Vallarta, Guaymas, Navidad and San Blas.

In the galleon era, San Blas was an active port second only in importance to Acapulco. San Blas actively traded with Manila in the 1770's, and this trade was not necessarily carries out on the galleons. Skilled women such as sailmakers, shipwrights and carpenters from the Philippines were stationed in San Blas to repair and maintain the galleons.

A Filipino shipwright who became famous in Mexico was Gaspar Molina. Married to a girl from Sinaloa, Molina was commissioned by the Spanish viceroy in Mexico City to build a ship in Baja California to be used by the Jesuit missionaires who were starting to pacify the area. The ship, Nuestra Senora de Loreto, was launched in Loreto in 1760 to the great satisfaction of the Spanish authorities. In 1764, Molina built a second ship which was named Nuestra Senora de la Concepcion.

The Filipinos' big contribution to Mexican culture, according to Dr. Galicia, is in the area of food. In 1618, 74 of the 75 Filipino crew members of the galleon Espiritu Santo abandoned their ship. They were then asked by the local Indians to teach them how to make tuba, the drink derived from coconut trees. In the sidestreets of Acapulco the heady brew is sold as tuba fresca.

The Filipinos also imparted their know-how in making ceviche (seafood kinilaw) and other unique ways of broiling fish and shrimps. The Mexican term for a beach hut is palapa, which is Filipino for coconut fronds.

While it is common knowledge that their mangoes came from Manila, it comes as a surprise to me that the coconut tree, which they call palmera, also originated from the Philippines. The state of Guerrero, where Acapulco is located, is Mexico's biggest producer of coconuts and coconut products.

Juan de Cuellar, a botanist who was sent to the Philippines to study its plants and flowers - he preceded the other famous botanist Fr. Jose Blanco by a hundred years - had a hand in sending many Philippine plants to Mexico. One of the plants that De Cuellar introduced to Mexico was the rambutan which miraculously survived the long trip across the Pacific and thrived in the New World.

Filipino Sailors in the New World Filipinos had been going to the New World since the 16th century. A California historian, Lorraine Crouchett, noted that some Cebuanos sailed on the galleon San Pablo when it made its historic first crossing of the Pacific Ocean from west to east in 1565. Guided by Fray Andres de Urdaneta, the San Pablo was sent by Miguel Lopez de Legaspi to find the return route to Mexico and to obtain supplies for his expedition to settle the Philippines.

The route discovered by Legaspi was used by the Manila galleons to travel to Mexico for 250 years. From that period, Filipinos traveled to the New World regularly. They continued crossing the Pacific long after the galleons were gone.

The first recorded landing of Filipinos in California took place in October 1587, on a frigate that came from Macao under the command of Portuguese galleon pilot Pedro de Unamuno. Unamuno left a written account of his landing at Morro Bay with a crew composed in part by Filipinos "armed with shields and spears." While reconnoitering the place, they were attacked by Indians who managed to kill one Spanish soldier named Contreras and a Filipino crew member. Unamuno was under instructions from the Spanish governor in Manila, Santiago de Veyra, to look for suitable ports for the Manila galleons.

The galleon San Agustin landed at San Francisco Bay in 1595 on a similar mission, also with a crew of Filipinos. The San Agustin, with Carmenho Rodriguez as commander, was sunk by a freak chubasco while lying at anchor, together with its cargo. The party was able to reach Acapulco on a raft which was built with the help of local Indians.

Two years later, the galleon Santa Ana was captured by the English buccaneer Thomas Cavendish while approacing the tip of Baja California. More than a hundred Filipino men, women, and children were forced to get off the ship at the town of San Jose del Cabo. In this town, one of the wealthiest families was a descendant of the Canseco family that used to live in Intramuros, Manila. "All the Cansecos in Mexico came from the Philippines," one family member told me.

Cavendish, with a wealth valued at P3 million at that time, sailed to the Philippines, bringing with him the Spanish pilot of the Santa Ana and three Filipino prisoners. The Filipino prisoners were released in Capul (named after Acapulco) island in the San Bernardino Strait. One of the prisoners, Francisco Mansalay, tipped off the Spanish authorities in Manila on the presence of the English pirates in the Visayas. Before the Spanish could act, however, Cavendish had escaped through the southern backdoor back to England.

Over two-and-a-half centuries, about a hundred galleons were built in the Philippines. Most of them were built in Pangasinan, Albay, Mindoro, Marinduque and Iloilo. Task forces of as many as 8,000 men called cagayan were organized by the Spaniards to cut the trees, convert them to timber and haul them to the shipyards. Able-bodied Filipinos were forced to work in shipbuilding under a compulsory system called polo. Their breastwork of Philippine hardwood could not be pierced by cannonballs. Eight galleons were captured by pirates over the centuries and several were shipwrecked or sank by typhoons.

In 1819, the capital of Spanish California, Monterey, was invaded and occupied for one week by a band of adventurers from South America, where handful of Filipino sailors were involved. The raiders came aboard the warship Argentina, commanded by Hyolite Bouchard, a French adventurer from Buenos Aires, Argentina. South America was in turmoil because of the independence movements and Bouchard was assigned to patrol the Pacific Ocean. The Argentina made a trip to the Philippines where it recruited more Filipino sailors.

In Honolulu, Hawaii, Bouchard ransomed another ship, the Santa Rosa, which was being held by King Kamehameha as payment for sandalwood purchased by the ship's crew who had mutinied and taken over possession of the ship.

The two ships proceeded to Monterey and managed to capture the city with little resistance. The governor of California, Sola, fled to San Francisco City, California, along with the city residents. When they returned one week later, they found that the whole city had been looted and razed. The pirates had disappeared towards South America.

REFERENCE: By FLORO L. MERCENE (June 18-20, 2000 Manila Bulletin Series http://www.mb.com.ph) and http://www.fortunecity.com/meltingpot/redriver/1066/mexico.htm


:cool:

Mexican Footprints
By Jaime B. Veneración

http://filipinokastila.tripod.com/FilMex.html


In the late afternoon of May 1, 1996, while on a visit on Oaxaca City in south Mexico, my wife Corazon and I were surprised to meet descendants of a Filipino. They were a group of old women and teenagers participating in the annual "maize festival" in that city.

How it happened was a mere accident. They were waiting in the plaza of the church of Sto. Domingo for the start of a procession. My wife wanted to take pictures of the beautiful girls who were dressed in colorful clothes for which southern Mexico is famous. The girls obliged. Thanking them profusely for their kindness, we asked for their addresses so we could send them copies of the pictures. One of the teenagers wrote "8 Filipinenses, Oaxaca."

"Could you have made a mistake?" my wife asked in passable Spanish. She thought Filipinenses was "Filipinas." The girls said there was no mistake, explaining to us that their district had been named after San Felipe de las Aguas, the patron of rain. But the old women sitting under the jacaranda trees (similar to our banaba and fire trees) nearby overheard the conversation and spiritedly joined in.

"So you are Filipinos. We are also Filipinos, because our great, great, grandfather was a Filipino by the name of Lorenzo Paulo." According to the women, Paulo, whom they lovingly called "nuestro patron," was a sailor in the 19th century who met their great, great-grandmother in Tijuana (near the U.S. border). As the trans-Pacific railway was being built by a British firm called Pearson and Company, Paulo sought and got employment there. He and his wife moved south and finally settled in the coastal town of Salina Cruz, in the state of Oaxaca.

"You should visit our place," one of the women told us. "You should see the monument in the town center where Lorenzo Paulo is identified as one of its founding fathers." But when told that the place was about 200 kilometers over dirt roads, we had to back out with excuses. We had to return to Mexico City the next day.

Déja Vu

Had my research stint been longer, I would've gone to Salina Cruz. I want to know what attracted a Filipino to settle in a place so far from his own country. Was it the similarity in the way people lived or practiced their religion, and he wouldn't have missed anything at all?

Although Oaxaca is a bit higher in latitude than the Philippines, its weather approximated our tropical climate. For this reason, the planting season started at the same time as ours, and the festivities and rituals related to planting occurred at the same time. In the Philippines, processions in May, such as the alay and the nin-day evening processions called the lutrina, were the welcoming rituals for the new planting season. The alay originally came from the very ancient past when young girls, always the symbol of purity and renewal, went to the sacred caves to offer garlands of flowers to the anito or the spirits of the forefathers. Reconfigured into the Christian tradition, alay became the offering of the young for the Holy Virgin. The lutrina, the prayers uttered by farmers as they walked through barren fields, were pleadings for the first rain.

The maize festival in Oaxaca City looked very similar to our own lutrina. For instance, the procession didn't start while the sun was still up, but the moment it got dark, and when flashed of lightning forboded rain, the young girls and the old women lined up for their procession, and some danced to music from a band. It seemed to be the moment they had been waiting for. They seemed unmindful of being drenched with rain; in fact, they were happy, perhaps because God answered their prayers.

Any adventurer of Paulo's kind would've stayed in Oaxaca for this and other reasons. Unlike his own Philippines, which was suffering from colonial rule, independent Mexico of the 19th century had begun large-scale commercial developments. Railways crisscrossing the vast desert plains and mountains were being constructed. There were also political instabilities of failures of law and order. Oaxaca was always at the center of political action in the 19th century, with two of its most important political personalities becoming national leaders--the revered Benito Juarez and the detested dictator, Porfirio Diaz. Adventurers like Paulo would've relished the opportunities such an unstable society offered to immigrants like him.

The Subversive

While Paulo's heirs couldn't say if he was ever politically involved in the tumultous birth of Mexico as a nation, it was a possibility. There was a Filipino who did participate, and his name was Ramon Fabie.

When Fr. Miguel Hidalgo y Costilla started the Mexican War of Independence against Spain on Sept. 16, 1810, he had Fabie as a lieutenant. Belonging to a wealthy family in Manila (the Fabie state was in Paco), Fabie had been in Guanajuato, then the center of gold and silver mining, since age 16 to study mining engineering. At age 25, he got entangled with the political activities of Fr. Hidalgo, who wanted to make Guanajuato his revolutionary capital.

The conquest of Guanajuato by Fr. Hidalgo's revolutionary army was bloody. The Spanish defenders, seen as exploiters of the obreros in the mines, were dealt with severely. Those who exacted revenge or recently emerged from years of hard work in the deep tunnels of the mines committed a lot of killings. For about two months, Hidalgo's victorious army declared the city "independent." Then tragedy struck. The Spanish loyalist forces counterattacked and, in an even bloodier manner, gave the defenders no quarter. Ramon Fabie survived the siege but was captured. Together with several others, he was hanged.

Dangerous Deportees

That decade-long war of independence in Mexico led to events that influenced political developments in the Philippines. For one thing, several revolutionaries captured by the government were deported to the Philippines. Distributed in varios presidios or military fortifications, they brought the news of developments back home. The many reports of local functionaries expressed concern about the negative influence these new arrivals brought to their respective communities. What made the local officials really worried was the unusual stature of these deportees. One of them, by the name of Epigmenio Gonzalez, was a close confidante of Fr. Hidalgo in the initial meetings of revolutionaries at Queretaro, near Mexico City. Many of the major personalities of the revolution, including Hidalgo, Ignacio Allende and Juan Aldama, met in Gonzalez' store and restaurant, in the guise of a literary circle. Gonzalez' major contribution to the movement was the writing of "Aurora Queretana," perhaps of the Mexican people's earliest declarations of independence from Spain. "Aurora" referred to the eastern morning star whose risings was symbolic of the coming new age. The authorities deemed it subversive not only because of the metaphors it contained, but also because of its mention of "amor a la patria" or "love of country(Mexico)" at a time when the people were expected to be just Spain's loyal subjects.

For such activities, nothing short of death was the penalty meted by the local government. Fortunately for Gonzalez, his brother Emeterio and about 40 others, the central government in Madrid committed their penalty to a destierro perpetuo or deportation, to the Philippines. For more than 25 years many exiles persevered in various presidios, until Mexican independence allowed them to return to Mexico. Some, such as Emeterio, died in the Philippines. But Epigmenio and the others were fortunate to go back to a country now freed from colonial rule.

Ever grateful to their heroic contributions, the Mexican government gave them monthly pensions as veterans and heroes for as long as they lived. In the centennial of independence at the turn of the century, the government built a commemorative monument in Mexico City, in which were inscribed their names and that of all other major figures of the War of Independence of 1810..

Creole Revolt

Meanwhile in the Philippines, a year after Mexico declared itself independent in 1821, a mutiny of Creoles or criollos (Mexican-born Spanish) broke out. It was led by Andres Novales, Luis Rodriguez Varela and the Bayot brothers.

What triggered the revolt was the order of the colonial government to disarm the Creole solders. The order suggested that the loyalty of the soldiers was in doubt after Mexico declared its independence from Spain. But the Creole officers thought this was just a ruse to prevent them from getting promoted. They feared being displaced from their jobs by recently arrived troops from Spain.

For several days in June 1822, the revolt was a success. The rebels took over the residence of the governor-general in Manila as well as public offices and strategic forts in the other parts of the archipelago. However, the government mustered loyalist Pampango troops from various presidios for a decisive counterattack. Now outnumbered by local troops, the Creole rebels surrendered. Some were executed outright, while most were sent back to Mexico the following year aboard the galleon "Flor del Mar."

What made this revolt politically significant for Filipinos was its demonstration of Spanish military weakness. It also called to public attention the personalities behind the uprising as well as their writings, which previously circulated only among the elite. One of its leaders, Luis Rodriguez Varela, had written a tract called "Proclama Historial" in which he referred to himself as "el conde Filipino."

The tract implied that Rodriguez Varela was commited to the King of Spain, who was deposed by the French as a result of Napoleon Bonaparte's expansionism, but it also agitated for some reforms that would be needed in order to secure the loyalty of the subjects in the Philippines. Varela also attacked the corruption in the local government.

Perhaps for the first time, a political statement used the term "Filipino" as a national identification. Previously, in the late 17th and 18th centuries, "Filipino" had been used by woodcut engraver Nicolas Bagay. The famous maps of Fr. Murillo Velarde and other religious drawings were signed by Bagay as "por Nicolas Bagay el indio filipino." But, as pointed out by historians, since indio was a generic term referring to all subjects of Spain, another qualification to indicate geographic origin had to be used for those indios from the Philippines. In the case of Varela, however, his assertion of being a Filipino already carried the notion of nationality as propagated by the French Revolution of 1789.

Nation as a Notion

How this distinction was understood by brown, native Filipinos may only be extrapolated from the concepts and phrases that circulated in literature and documents at that time. Contemporaneous with Varela's "Proclama Historial" was Francisco (Balagtas) Baltazar's "Florante at Laura," which, though written in the Spanish corrido genre, didn't tell the usual religious story.

Instead, it spoke of a hero, Florante, who was a deposed ruler of a faraway kingdom of Albania. The pretender to the throne exploited the people, took away Florante's sweetheart, Laura, and had Florante tied to a tree in the forest where he could be devoured by lions. Florante was saved by a Moro prince who, just like him, was a victim of schemers and pretenders. The Christian and the Moro then found themselves together in the struggle to recover their respective kingdoms.

Francisco Baltazar referred to the lost kingdom as "ang bayan kong sawi," roughly, "my unfortunate bayan," a bayan exploited by pretenders and colonizers and which should be defended by Christian and Moro brothers-in-arms. And used here, "bayan" already presaged the concept of a nation, a construct presupposing the existence of other nations. The knowledge that there already existed certain places such as Albania made it valid for one to have a "bayan" of one's own.

In other words, at the time of the Creole revolt, there already circulated in the Philippines words and concepts, even viewpoints, about the need to unite various ethnic groups into one "bayan." Later, this would materialize in the writings of Andres Bonifacio and Emilio Jacinto as "Inang Bayan" (Motherland) who would be defended against all odds by her "mga anak ng bayan" (children of the nation).

The seeds of national community had begun to sprout in this period between 1800 and 1840, when these formulations of cultural and geographic identity began to be understood by the people.

International Solidarity

The revolutionary government of Mexico had anticipated some of these developments, if we go by its secret memorandum recognizing the importance of maintaining a bond with the Philippines. It said:

"Now that we Mexicans have fortunately obtained our independence by revolution against Spanish rule, it is our solemn duty to help the less fortunate countries... especially in the Philippines, with whom our country has had the most intimate relations during the last two centuries and a half. We should send secret agents... with a message to their inhabitants to rise in revolution against Spain and that we shall give them financial and military assistance to win their freedom.

"... In the eventuality of the separation of the Philippines from Spain we must take utmost efforts to revive the former Acapulco-Manila trade which had been one of the contributory factors to Mexico's economic prosperity. As revived, this trade shall not be a government monopoly, as Spain made it, but shall be a free enterprise which all merchants are welcome to be engaged in. The restrictive measures that Spain previously imposed must all be abolished.

"... Should the Philippines succeed in gaining her independence from Spain, we must felicitate her warmly and form an alliance of amity and commerce with her as a sister nation. Moreover, we must resume the intimate Mexico-Philippine relations, as they were during the halcyon days of Acapulco-Manila trade."

Secret agents were sent to the Philippines, but they weren't insightful enough to make contact with local revolutionaries. This was still more than 50 years before the Katipunan. While there were murmurings and unrest, the language and tenor of these secret movements would be completely incomprehensible to a foreign agent. Returning to Mexico to render their reports, they were filled with disappointment. But Bishop Antonio Juaquin Perez of Puebla, a member of the Supreme Junta, advised them not to be disheartened and, in these prophetic words, told them:

"Never mind. In God's own time, the Filipinos will rise in arms against Spain and win their independence like our people. Then, and only then, shall we be able to resume our ties with the Philippines."

Jaime B. Veneración is a history professor at the University of Philippines. This article originally appeared in FILIPINAS magazine, July 1997, as part of their Centennial Notes, a literary series leading up to the 1998 Philippine Centennial.

REFERENCE: http://www.los-indios-bravos.com/

:cool:

Carlos Quirino is best known for his early biography of Jose Rizal. He also wrote several works on Philippine history and biographies of President Manuel Quezon and the painter Damian Domingo. In 1997 he was recognised as a National Artist of the Philippines for Historical Literature.

http://filipinokastila.tripod.com/FilMex.html

The Mexican Connection | The cultural cargo of the Manila-Acapulco galleons
By Carlos Quirino

Mexicans as a whole regard the Philippines not as a former colony of Spain, but of Mexico -- not legally, of course, but in every other way.

The fact that Ferdinand Magellan and Miguel López de Legázpi took possession of the islands in the name of the King of Spain cannot be contested. Neither can it be denied that the governor generals were appointed by the Spanish kings, a clear attribute of sovereignty. But from 1565 to 1815, a period of 250 years coinciding with the commercial intercourse between Manila and Acapulco, the links between the two countries bordering the Pacific Ocean were so close that they have given rise to the claim that the Philippines was indeed a former colony of Mexico.

Magellan and Loaisa sailed to the Pacific Ocean via the straits at the southernmost tip of South America aboard vessels made in Spain. But starting with Alvaro de Saávedra in 1527, the ships that sailed for the archipelago were constructed on the western coast of Mexico. Hernán Cortés, the conqueror of Mexico, built three small ships near the mouth of the Zacatula River (now Rio Balsas) for his relative Alvaro. Ruy López de Villalobos sailed aboard six vessels made in Jalisco in 1524.

When Legázpi left the port of Navidad, also in the province of Jalisco, his four ships had been built in that small sea town. Although Legázpi was a Basque from the northern region of the Spanish peninsula, he had spent 20 years of his life in Mexico City, while his grandsons, Felipe and Juan de Salcedo, were born and bred in Mexico. The latter -- known as the last of the conquistadors, after subduing the native groups in Luzon and thwarting the corsair Limahong, or Lin Feng, from capturing Manila -- died of a malignant fever in his encomienda in Vigan on March 11, 1576. Probably half of Legázpi's crew was composed of Mexicans: creoles like the Salcedos, mestizos and Aztec indios.

The majority of the military reinforcements and married colonists sent to the Philippines during the first two centuries after Legázpi were Mexicans. The first group of 300 that reached Cebu in 1567 was commanded by Felipe de Salcedo. The second group of 200 reached Panay in 1570, just before Martin de Goiti sailed for the conquest of Manila. Another military group that reached Manila in 1575 was composed of 140 Spaniards and 38 Mexicans, all recruited in Mexico. Much later, prisoners from Mexico were sent to the islands in exile. The total number of Mexicans that emigrated to the Philippines has not been fixed, but in the two centuries and a half of contact we can safely assume that this figure reached several thousands.

Tomás de Comyn, general manager of the Compañia Real de Filipinas, in 1810 estimated that out of a total population of 2,515,406, "the European Spaniards, and Spanish creoles and mestizos do not exceed 4,000 persons of both sexes and all ages, and the distinct castes or modifications known in America under the name of mulatto, quarteroons, etc., although found in the Philippine Islands, are generally confounded in the three classes of pure Indians, Chinese mestizos and Chinese." In other words, the Mexicans who had arrived in the previous century had so intermingled with the local population that distinctions of origin had been forgotten by the 19th century.

The Mexicans who came with Legázpi and aboard succeeding vessels had blended with the local residents so well that their country of origin had been erased from memory.

Nevertheless, these Mexicans left behind them their linguistic heritage: there are scores of words of Nahuatl origin in the Tagalog language. To mention a few: achuete, atole, avocado, balsa, banqueta, cacahuete, cacao, caimito, calabaza, camachile, camote, calachuche, chico, chocolate, coyote, nana(y), tata(y), tiangui, tocayo, zacate, and zapote. Of course, many more words of Spanish origin had been adopted by the Tagalog and other native groups into their language. A town in the province of Pampanga, originally named masicu, for a place where the fruit chico abounded, was undoubtedly renamed Mexico by the emigrants from the New World who settled there early in the 17th century.

Aztec Garden

A good number of fruits, medicinal plants and flowering plants were exchanged between Mexico and the Philippines. Besides corn (maiz in both countries), tobacco -- an American plant -- was introduced in the Philippines probably via the Portuguese in Malacca before the arrival of the Spaniards. It grew to be so popular in the islands that the government made a monopoly out of it in 1782 as a revenue-raising measure. The avocado, maguey and cacao came from Mexico. Although pepper was probably indigenous to the Philippines, the word sili undoubtedly was derived from the Mexican Chile, while the piquant local sauce called tabasko got its name from the Mexican province of Tabasco. In return, Mexico got its mango from the islands, and with so high a regard did the Mexicans hold this Oriental fruit that to the present day, beautiful young maidens still elicit the exclamation of "que manga es."

Among the fruits, vegetables and plants brought into the islands from Mexico and South America were pineapple, arrowroot, peanut, lima and yam beans, balimbing, cassava, chico, papaya, zapote, tomato and squash. Among the ornamental and medicinal plants: tuberose, spider lily, canna, Mexican poppy, camachile for its tanbark, ipil-ipil as a hedge plant, the sensitive mimosa, indigo and achuete for dye, madre de cacao, periwinkle, campanella cactus, lantana, and some kinds of peppers. The sweet potato, or camote, was already grown locally by the time Magellan landed, but other species probably came from Mexico. These items were brought mainly by friars who settled in the archipelago after staying for a year or two in Mexico.

Although presentday Filipinos are not aware of it, a number of their dances and musical compositions did not originate from Spain but from Mexico. "La Paloma" and "Sandunga Mia," for example, were composed and first heard in the New World. The barong Tagalog might have been copied from a province of Mexico. An investigation into this aspect of Filipino culture will reveal more ties between the two countries.

Even in religious matters, the Philippines came under the early jurisdiction of Mexico. In 1578, Pope Gregory XIII created the bishopric of Manila, and made it a suffragan to the archbishopric of Mexico. The first bishop, Domingo de Salazar, brought with him 30 Dominicans, four Jesuits and six seculars; we can presume that a minority of them were Spanish creoles from Mexico.

Salazar had been in the New World converting and instructing the indios for a quarter of a century prior to his appointment, and was a supporter of the policies of Fray Bartolome de las Casas and Fray Francisco de Vitoria for a more humane treatment of the natives. He came into acrimonious conflict with the civil authorities in the islands because he protected the natives against slavery, exploitation and the tyranny of the encomenderos. He returned to Spain in 1590 to advocate the restoration of the Royal Audiencia, which could check the abuses of the colonizers. He also urged the creation of a Philippine Ecclesiastical Province independent of Mexico, subdividing the archipelago into three bishoprics in Luzon and one in the Bisayas. The aged prelate was successful in his pleas before the king and the Council of the Indies: a royal decree of November 26, 1595, reestablished the Audiencia, while a royal decree of July 17, 1595, raised the See of Manila to the category of a metropolitan, with three suffragan bishoprics under it. The aged prelate, however, never saw the fruition of his labors, for he died in Spain on December 4, 1594.

Mexicans of Spanish parentage occupied numerous posts in the ecclesiastical hierarchy of the Philippines. Of the Spanish peninsular clergy sent to the islands, the majority often spent many years of missionary service in Mexico.

The third bishop of Nueva Caceres, in the Bicol region, Baltazar de Cobarrubias, was a Mexican-born and -educated friar who had received his holy orders at the Augustinian convent in Mexico City. He became bishop elect in 1603, but in a Secrel consistory held in the Vatican two years later he was transferred to the bishopric of Antequera (Oaxaca in Mexico), and moved to the See of Michoacan in 1608.

Unholy War

Another Augustinian from Mexico, Francisco Zamudio, was consecrated the eighth bishop of Nueva Caceres in 1630. Because of his Mexican background, his tenure of office in Naga (the native name for Nueva Caceres) was filled with disputes, not only with his friar brethren but with his archbishop as well. The rivalry and subsequent bitter conflict in the Philippines between the friar orders -- known as the regulars -- and the seculars, most probably started with Bishop Zamudio and culminated in the martyrdom of Fathers Burgos, Gomes, and Zamora some 250 years later.

Fray Zamudio insisted on his diocesan rights of examination and visitation over the discalced Franciscans see. In Mexico, the right of the church hierarchy over the regulars had been upheld, but in the Philippines, the latter had resisted vigorously against what they considered as an encroachment of their monastic privileges. The provisors of Manila and Cebu upheld Zamudio, but Archbishop Hernando Guerrero sided with the regulars and annulled the bishop's actions. When the archbishop and Governor General Sebastian Hurtado de Corcuera had a bitter altercation over jurisdiction, Zamudio sided with the latter, with the subsequent result that Guerrero was exiled to the village of Mariveles at the entrance to Manila Bay. Because of the vacancy in the metropolitan see, Zamudio was named Provisor General in May 1636 by the cabildo, or cathedral chapter composed wholly of seculars. He immediately absolved every one that had been excommunicated by the exiled prelate. Since Guerrero had named a Dominican for the post prior to his departure, the Catholic Church in the Philippines almost disintegrated into a schism because followers of both sides acrimoniously supported their respective points of view.

The underlying reason for this public dissension was racial. The rivalry between Spaniards born in the peninsula and those born in the colonies, the creoles or americanos, affected not only the clergy but also the lay population. The Augustinians, and the Hospitaller Orders of San Juan de Ojos, San Hipolito and Guadalupe, whose members were creoles, were opposed by the Carmelites and the apostolic colleges in that country. "While legally they (both factions} were on complete equality," writes Dr. Domingo Abella, Philippine ecclesiastical historian, "class distinctions were apparently encouraged as much as possible by the Spanish colonial policy, because the principle of divide et impera of every aristocratic system was the leading idea for the permanent subjection of the colonies."

The rivalry reached such an extent that in 1627 the Dominican Order in Mexico refused to admit creoles into its ranks, an act which the Spanish king disapproved. In the Philippines the situation had not openly reached that extreme. The insular hierarchy managed to keep the number of creoles, mestizos and indios who were embracing the religious life down to a minimum. But the racial discrimination rankled among those born in the colonies. Archbishop Guerrero and Bishop Zamudio were both Augustinians, but the former was a peninsular, while the latter was a creole, and this was probably the reason for their taking opposite sides.

The controversy was resolved by elevating the matter to the Council of the Indies in Madrid, although it could have been referred to the Viceroy of Mexico, because administratively the islands were under the jurisdiction of Mexico, but then the peninsulars feared that the viceroy would side with the creoles. A royal decree in 1639 finally solved the conflict. Zamudio was rebuked for meddling in affairs outside his jurisdiction, and ordered to return to his diocese. But the bishop never learned of his reversal, for he died several months before the decree was issued, and was entombed in the Augustinian convent in Intramuros.

Zamudio's successor in the Bicol provinces was also another Augustinian born in Mexico, Nicolás de Zaldivar. He was a resident of Madrid. After he was sworn into office in 1639, he sailed for Mexico, where he tarried for about three years. He was denounced to the Council of the Indies as "living in the city of Mexico with great scandal in all respects: he operates a gaming table in his house, where cards are played continuously." The king therefore peremptorily ordered him to leave for Manila, and instructed the viceroy to see to it that the orders were obeyed. By the end of 1642, he was performing his duties in Naga. He prudently did not continue the controversial policies of his predecessor. Shortly before his death, in 1646, he played an important role in the defense of Manila when the Dutch fleet attacked and tried to capture Cavite, where the naval arsenal and port were located.

Another Mexican-born prelate, Miguel Poblete, occupied the archbishopric of Manila in 1653. Like Bishop Zamudio, he insisted on the right of subjecting the friars under the jurisdiction of bishops, in accordance with a bull of Pope Urban VIII. He announced the withholding of all stipends for curacies if disobeyed. The monastic orders retaliated by threatening to leave their parishes. Faced with the threat of vacancy, Poblete had to withdraw his order. When the archbishop refused to appoint Governor General Diego Salcedo's nominee as one of the canons of the cathedral, he was threatened with banishment to Mariveles. Poblete reluctantly acceded to the appointment but under protest. An irked governor thereupon suspended the archbishop's salary as well as those of his canons, forcing the prelate to borrow money for his personal support. These vexatious acts hastened the aged dignitary's death, for he passed away on December 8, 1667, mourned by the people "for his virtues and Christian charity."

Culture-Laden Galleons

The most enduring link between Mexico and the Philippines were the galleons that sailed almost annually between Acapulco and Manila. Starting in June of 1565 with the San Pedro, one of Legázpi's fleet, the ship returned to Mexico with Fray Andrés de Urdaneta delineating the return route across the vast Pacific. The San Pedro carried a small quantity of spices and gold gathered in Cebu and northern Mindanao, thus initiating the long history of trade between the two countries. The ship going east became known as the Nao de China -- to this day among Mexicans while those going west were termed Nao de Acapulco. The former brought the luxury items of the 0rient to the New World and Spain, such as porcelain wares of the Ming dynasty, brocades and silk from China, spices from the Moluccas, perfumes from Arabia, rugs from Persia, fine muslins from Madras, pearls from Sulu, and the famed manton de Manila, which, despite the name, were in reality silk shawls woven in the southeastern coasts of China. In exchange, the New World poured millions of its wealth into the Far East in the form of the silver coins known as "pieces-of-eight," turned out by the Mexican and Peruvian mints.

Of the 108 galleons that crossed the Pacific in two centuries and a half, the actual number built for that purpose probably totaled less than half -- that is, about 50 vessels in all. The majority of the 108 made more than one round-trip voyage, while a score foundered on their maiden voyage. Hence, of the approximately 50 galleons constructed for the Manila-Acapulco run, about 15 were built in Mexico, five were built in other countries, and the rest were made in Philippine shipyards. The provinces of Jalisco and Guerrero on the Pacific coast undoubtedly supplied most of the galleons built in Mexico, specially during the first 50 or 60 years of its history.

The influx of Mexicans to the Philippines was reciprocated to a smaller extent by the emigration of Filipinos to that country. The first of this group were the four followers of Magat Salamat, son of the Lakandula chieftain of Tondo exiled to Mexico by Governor Santiago de Vera in 1588 after the first abortive revolt against the Spanish regime. These were Gabriel Tuambacan, Francisco Aeta (a Negrito?), Luis and his son Calao, whose family names were not recorded. Hundreds of indio sailors deserted their ships upon arrival in Acapulco or later in San Blas. Up to this day there exists a small colony of Filipinos, descendants of those who had jumped ship, residing at San Blas.

As a corollary to the galleon trade, there developed the situado, or financial aid to the Philippines. The island colony had to pay its soldiers, the salaries of bureaucrats, hospitals, widows' pensions, and other expenditures of administration. The tributes and taxes raised in the islands were vastly insufficient to meet the expenses of government and the king left it to his viceroy in Mexico to solve this problem. What could be more logical than to levy import taxes on the goods coming from Manila aboard the galleons, and use these sums as a monetary aid to the island colony? The usage was confirmed by Philip III in his decree of 1606.

At first the situado was made up of the returns from the almojarifazgo, or customs tax, collected at Acapulco. Much later, when the galleon trade could not meet the amount either -- because the ships could not make the voyage because of typhoons, shipwrecks or capture by the English -- the Mexican treasury had to draw from its own funds to help the Philippines balance its budget. At that, the arrival of the situado in Manila did not take place regularly, and the archives in Spain, Mexico and Manila contain correspondence complaining of the resulting fund shortage.

Prior to 1687 the annual situado was not fixed, and depended on the exact amount of the deficit in the islands for a given year and the availability of funds from the viceroyalty. During the last decade of the 17th century, the total annual sum of the situado was set at 250,000 pesos. The amount of the aid sent, however, varied from time to time.

In the second decade of the 18th century, Manila officials complained to the crown that the reduction by 100,000 pesos in the subsidy was unfair and causing hardship in insular administration. As governmental expenses increased with each decade, insular officials requested Madrid to increase the situado -- a demand which coincided with the request of merchants that the volume of the Manila-Acapulco trade be expanded. Bigger vessels were thus constructed, more merchandise was sent to Acapulco, and more silver dollars were shipped to Manila. By the end of the 18th century, the galleons were permitted to trade at six times their initial limit.

Starting in 1802, the trade with Acapulco began to wane. The galleons Casualidad, Montañes and Rey Carlos returned to Manila with unsold cargoes. The entry of American and European traders into the Mexican market plus the establishment of the Compañia Real de Filipinas in 1785 had encouraged direct shipping between the Iberian peninsula and the islands, cutting down on the monopolistic aspect of the galleon trade. To cap its termination, Mexico declared its independence in 1810, and in the following year the San Carlos could not land its cargo in Acapulco because the Spanish priest -- general José María Morelos had laid siege to that port. The galleon sailed instead to San Blas, where it disposed of its cargo at a big loss. Not knowing that a revolution had broken out in Mexico, authorities in Manila had dispatched in 1811 the Magallanes to Acapulco, where it became stranded in the harbor, and was able to return only four years later to become the last of the galleons to cross the Pacific. Frigates were sent from Manila by insular merchants, but no buyers could he found in Acapulco, which was in revolutionary flames, and not until 1821 did it gain its freedom. The famed galleon trade between Mexico and the Philippines had come to an end.

Nevertheless, the Mexican influence on the Philippines was to have an epilogue several years later in the brief hut bloody revolt of Captain Andrés Novales, a creole who might have been born and educated in Mexico.

"Officers in the army of the Philippines were almost totally composed of Americans," observed the Spanish historian José Montero y Vidal. "They received in great disgust the arrival of peninsular officers as reinforcements, partly because they supposed they would be shoved aside in the promotions and partly because of racial antagonisms."

Some months previously, in February 1823, a dozen of the leading suspects among the creoles who called themselves 'hijos del pais" were deported to Spain. Among them were Domingo Roxas, leading businessman and ancestor of the present-day opulent Ayala, Zobel, Roxas and Soriano families, José Ortega, general manager of the Royal Company, the barrister José Maria Jugo, Captain Jose Bayot and his two brothers, Luis Rodriguez Varela, former mayor of Tondo and self-styled count of the Philippines, Regino Mijares, sergeant-major of the king's regiment, and a dozen other suspects. Ordered to leave for Misamis Province, Novales instead convinced the brother officers and non-commissioned officers of the king's regiment to join him in a coup d'etat in June of that year. These "Americanos,", composed mostly of Mexicans with a sprinkling of creoles and mestizos from Colombia, Venezuela, Peru, Chile, Argentina, Costa Rica and other former colonies of Spain in South America, supported Novales. With about 800 native soldiers they seized early in the morning the royal palace, the city's cabildo and important government buildings in Intramuros, killed the lieutenant governor, Mariano Fernández de Folgueras, but failed to seize Fort Santiago because his brother who commanded the citadel at the last minute refused to open its gates.

The loyalist troops, led by Spanish peninsulars, mustered a counterattack, and the timely arrival of a battalion of native soldiers from Pampanga Province spelled the end of the rebellion. Novales was arrested trying to escape from Intramuros, and his followers either caught or killed. A drumhead court martial was immediately convened, and by late afternoon of that same day Novales and his principal followers were executed by a firing squad.

From that time on, Spain took good care that the Mexican links with the Philippines were terminated, and in the seven decades that followed erased the Mexican influence from the minds and hearts of the Filipinos.

REFERENCE: http://www.los-indios-bravos.com/

:cool:

Greetings to Mexico on occasion of her Independence Day, starting with el Grito de Dolores. Thereafter, for some reason many of her folkloric songs became entwined also in popular Filipino folk music in the late 19th to early 20th centuries.

On September 16, 1810, independence from Spain was declared by priest Miguel Hidalgo y Costilla, in the small town of Dolores, Guanajuato. The Grito de Dolores ("Cry of Dolores") was the battle cry of the Mexican War of Independence also known as El Grito de la Independencia ("Cry of Independence"), uttered on September 16, 1810 by Miguel Hidalgo y Costilla, a Roman Catholic priest from the small town of Dolores, near Guanajuato.

The Mexican War of Independence (1810–1821) was an armed conflict between the people of Mexico and the Spanish colonial authorities which started on 16 September 1810. The Mexican War of Independence movement was led by Mexican-born Spaniards, Mestizos and Amerindians who sought independence from Spain. It started as an idealistic peasants' rebellion against their colonial masters, but finally ended as an unlikely alliance between mexican ex-royalists and mexican guerrilla insurgency.

The Mexican Influence.

The song has its origins circa early 1910 at the time of the Mexican Revolution, which is to be distinguished from the Mexican War of Independence (1810-1821).

LA CUCARACHA - REVOLUCIÓN MEXICANA

http://www.youtube.com/watch?v=B_27Hi1In6o

B_27Hi1In6o

culturamexicana | April 12, 2009
CANCIÓN POPULAR DE LA REVOLUCION MEXICANA

La Cucaracha

http://www.pamrotella.com/polhist/lacucaracha.html

1 Cuando uno quiere a una
Y esta una no lo quiere,
Es lo mismo que si un calvo
En la calle encuentr' un peine.

Chorus:
La cucaracha, la cucaracha,
Ya no quieres caminar,
Porque no tienes,
Porque le falta,
Marihuana que fumar.

2 Las muchachas son de oro;
Las casadas son de plata;
Las viudas son de cobre,
Y las viejas oja de lata.

3 Mi vecina de enfrente
Se llamaba Doña Clara,
Y si no había muerto
Es probable se llamara.

4 Las muchachas de Las Vegas
Son muy altas y delgaditas,
Pero son mas pedigueñas
Que las animas benditas.

5 Las muchachas de la villa
No saben ni dar un beso,
Cuando las de Albuquerque
Hasta estiran el pescuezo.

6 Las muchachas Mexicanas
Son lindas como una flor,
Y hablan tan dulcemente
Que encantan de amor.

7 Una cosa me da risa --
Pancho Villa sin camisa.
Ya se van los Carranzistas
Porque vienen los Villistas.

8 Necesita automóvil
Par' hacer la caminata
Al lugar a donde mandó
La convención Zapata.

English

1 When a fellow loves a maiden
And that maiden doesn't love him,
It's the same as when a bald man
Finds a comb upon the highway.

Chorus:
The cucaracha, the cucaracha,
Doesn't want to travel on
Because she hasn't,
Oh no, she hasn't
Marihuana for to smoke.

2 All the maidens are of pure gold;
All the married girls are silver;
All the widows are of copper,
And old women merely tin.

3 My neighbor across the highway
Used to be called Doña Clara,
And if she has not expired
Likely that's her name tomorrow.

4 All the girls up at Las Vegas
Are most awful tall and skinny,
But they're worse for plaintive pleading
Than the souls in Purgatory.

5 All the girls here in the city
Don't know how to give you kisses,
While the ones from Albuquerque
Stretch their necks to avoid misses.

6 All the girls from Mexico
Are as pretty as a flower
And they talk so very sweetly,
Fill your heart quite up with love.

7 One thing makes me laugh most hearty--
Pancho Villa with no shirt on
Now the Carranzistas beat it
Because Villa's men are coming.

8 Fellow needs an automobile
If he undertakes the journey
To the place to which Zapata
Ordered the famous convention.


:dj:

The Mexican Influence.
The song has its origins circa 1800s and was also another quite popular in the Philippines of the early 20th century. Some Philippine beaches, islands and inns still bear the name El Cielito Lindo...


Mariachi Mexico Cielito Lindo

http://www.youtube.com/watch?v=Y7AWb3eShEo

Y7AWb3eShEo

ELTUCO25 | October 16, 2008
Mariachi Mexico Cielito Lindo



Filipino rendition.

el cielito lindo

http://www.youtube.com/watch?v=uYOVkKcPnyw

uYOVkKcPnyw

huasteco749 | April 16, 2008
el cielito lindo interpretado por unos cuates filipinos que conocimos alla en singapur, bueno en sentosa una isla donde pasamos una semana y ellos trabajaban ahi en el hotel por las noches y pos nos dedicaron el cielito lindo muy a su estilo



TRÍO LOS PANCHOS - CIELITO LINDO

http://www.youtube.com/watch?v=QVQGxFDINng

QVQGxFDINng

culturamexicana | April 11, 2009
CANCION POPULAR MEXICANA INTERPRETADA POR EL TRIO LOS PANCHOS



It must be said with caution that many Mexican forumers loved Pavarotti’s rendition but utterly disliked Enrique’s rendition. Perhaps owing to nationalist fervour, wherein they say Iglesias’ performance was a travesty to their patriotic song.

Enrique Iglesias & Luciano Pavarotti - Cielito Lindo

http://www.youtube.com/watch?v=tD3mr2d-khg

tD3mr2d-khg

ivanoeck | July 27, 2007
Pavarotti & friends



De la Sierra Morena,
Cielito lindo, vienen bajando,
Un par de ojitos negros,
Cielito lindo, de contrabando.

Estribillo:
Ay, ay, ay, ay,
Canta y no llores,
Porque cantando se alegran,
Cielito lindo, los corazones.

Pájaro que abandona,
Cielito lindo, su primer nido,
Si lo encuentra ocupado,
Cielito lindo, bien merecido.

(Estribillo)
Ese lunar que tienes,
Cielito lindo, junto a la boca,
No se lo des a nadie,
Cielito lindo, que a mí me toca.

(Estribillo)
Si tu boquita morena,
Fuera de azúcar, fuera de azúcar,
Yo me lo pasaría,
Cielito lindo, chupa que chupa.

(Estribillo)
De tu casa a la mía,
Cielito lindo, no hay más que un paso,
Antes que venga tu madre,
Cielito lindo, dame un abrazo.

(Estribillo)
Una flecha en el aire,
Cielito lindo, lanzó Cupido,
y como fue jugando,
Cielito lindo, yo fui el herido.

(Estribillo)

English (in Metaphor)

Through dark tresses, heavenly one,
a pair of deep brown eyes,
(that could steal a man's heart),
lower as they approach.
Refrain:
Ay, ay, ay, ay,
sing and don't cry,
heavenly one, for singing
gladdens the heart.

A bird that abandons
his first nest, heavenly one,
then finds it occupied by another,
deserves to lose it.

(Refrain)
That beauty mark you have
next to your mouth, heavenly one,
don't share with anyone but me
who appreciates it.

(Refrain)
If your little mouth
were made of sugar, heavenly one,
I would spend my time
enjoying its sweetness.

(Refrain)
From your house to mine
there is no more than a step.
Before your mother comes,
heavenly one, give me a hug.

(Refrain)
Cupid shot off an arrow,
heavenly one,
And though he was playing,
I was wounded.

(Refrain)


:dj:

The Cuban Influence. Popular songs easily assimilated in early 20th century Filipinas. As Brazil has the Girl from Ipanema, so Cuba has the Girl from Guantanamo.

Guajira Guantanamera - Joseito Fernandez

http://www.youtube.com/watch?v=EdWo8lGLDgI

EdWo8lGLDgI

breathoffreshair360 | April 07, 2010
GUANTANAMERA Original music by Jose Fernandez Diaz Music adaptation by Pete Seeger & Julian Orbon Lyric adaptation by Julian Orbon, based on a poem by Jose Marti.

As written by José Fernández, the original lyrics to the song relate to a woman from Guantánamo, Cuba.

The better known "official" lyrics are based on the first stanza of the first poem of the collection "Versos Sencillos" ("Simple Verses") by Cuban nationalist poet and independence hero José Martí, as adapted by Julián Orbón.

GUANTANAMERA

http://www.arlo.net/resources/lyrics/guantanamera.shtml

Original music by Jose Fernandez Diaz
Music adaptation by Pete Seeger & Julian Orbon
Lyric adaptation by Julian Orbon, based on a poem by Jose Marti

Yo soy un hombre sincero
De donde crecen las palmas
Yo soy un hombre sincero
De donde crecen las palmas
Y antes de morirme quiero
Echar mis versos del alma

Chorus:

Guantanamera
Guajira Guantanamera
Guantanamera
Guajira Guantanamera

Mi verso es de un verde claro
Y de un carmin encendido
Mi verso es de un verde claro
Y de un carmin encendido
Mi verso es un ciervo herido
Que busca en el monte amparo

Chorus

I am a truthful man from this land of palm trees
Before dying I want to share these poems of my soul
My verses are light green
But they are also flaming red

(the next verse says,)
I cultivate a rose in June and in January
For the sincere friend who gives me his hand
And for the cruel one who would tear out this
heart with which I live

I do not cultivate thistles nor nettles
I cultivate a white rose

Cultivo la rosa blanca
En junio como en enero
Qultivo la rosa blanca
En junio como en enero
Para el amigo sincero
Que me da su mano franca

Chorus

Y para el cruel que me arranca
El corazon con que vivo
Y para el cruel que me arranca
El corazon con que vivo
Cardo ni ortiga cultivo
Cultivo la rosa blanca

Chorus

Con los pobres de la tierra
Quiero yo mi suerte echar
Con los pobres de la tierra
Quiero yo mi suerte echar
El arroyo de la sierra
Me complace mas que el mar

Chorus

:dj:

The Cuban and Mexican Connections.

"La Paloma" is a popular song, having been produced and reinterpreted in diverse cultures, settings, arrangements, and recordings over the last 140 years. The song was composed and written by Spanish composer Sebastián Iradier (later Yradier) after he visited Cuba in 1861. Iradier may have composed "La Paloma" around 1863, just two years before he died in Spain in obscurity, never to learn how popular his song would become.

The influence of the local Cuban habanera gives the song its characteristic and distinctive rhythm. Very quickly "La Paloma" became popular in Mexico, and soon spread around the world. In many places, including Afghanistan, Mexico, Spain, Hawaii, the Philippines, Germany, Romania, Zanzibar, and Goa it gained the status of a quasi-folk song. Over the years the popularity of "La Paloma" has surged and receded periodically, but never subsided. It may be considered one of the first universal popular hits and has appealed to artists of diverse musical backgrounds.

I must digress with the American vidmaker. La Paloma isn’t exactly a Tango unless it is played in that version. It’s origins are more Habanera. Note that in the lyrics, the word Chinita is often invoked. Obviously, there are no Chinitas in the Western Hemisphere. The only link Mexico had in the 1800s to the Orient was indeed Las Filipinas, although it was already cutoff years ago in 1821. But then again, the writer was indeed a Spanish citizen who just came back from Cuba, which was then a Spanish possession along with Las Filipinas.

"La Paloma" - 4 variations (Elvis Presley + 3)

http://www.youtube.com/watch?v=wtSZIdH7qw0

wtSZIdH7qw0

GSilverWorld | June 15, 2008
A Latin tango melody written in 1863 by Sebastian Yradier, now in the public domain. Like many good melodies, it has been borrowed a lot. Some examples from the 1950s and 60s:

1) La Paloma - Trio Los Panchos, traditional Spanish vocal. Successful Latin American recording artists in the mid 20th C, they backed Eydie Gorme on two Spanish albums.
2) La Paloma - Billy Vaughn orchestra, 1958 #20 pop instrumental, adapted to the rock+roll era.
3) The Look - Dean Martin. Original words by Bob Russell. A 1956 nonhit single, and on his LP "This Is Dean Martin".
4) No More - Elvis Presley in a great adaptation by Don Robertson and Hal Blair for the 1961 movie Blue Hawaii.



1. Cuando salí de la Habana
¡Valgame Dios!
Nadie me ha visto salir
Si no fuí yo.
Y una linda Guachinanga
S'allá voy yo,
Que se vino tras de mi,
Que sí señor.

Refrain:
Si a tu ventana llega Una Paloma,
Tratala con cariño, Que es mi persona.
Cuentale tus amores, Bien de mi vida,
Coronala de flores, Que es cosa mia.
Ay! chinita que sí!
Ay! que dame tu amor!
Ay! que vente conmigo,
Chinita, a donde vivo yo!

2. El dia nos casemos ¡Valgame Dios!
En la semana que hay ir Me hace reir
Desde la Iglesia juntitos, Que sí señor,
Nos hiremos à dormir, Allá voy yo.
(Refrain)

3. Cuando el curita nos eche La bendicion
En la Iglesia Catedral Allá voy yo
Yo te daré la manita Con mucho amor
Y el cura dos hisopazos Que sí señor
(Refrain)

4. Cuando haya pasado tiempo ¡Valgame Dios!
De que estemos casaditos Pues sí señor,
Lo menos tendremos siete Y que furor!
O quince guachinanguitos Allá voy yo


:dj:

Jose Feliciano - Malagueña
http://www.youtube.com/watch?v=IC0CepMYALQ

IC0CepMYALQ

baruch6132 | January 02, 2009



:dj:

FFDT in Panibagong Simula - Jota Malaguena

http://www.youtube.com/watch?v=avzwhmUFZok

avzwhmUFZok

GuapStar6 | March 11, 2008
An exerpt from Fiesta Filipina's 2 hour concert, Sept 2007.
comment from saiaopinoi : I think they played the 3/8 Malagueña de San Pablo, from Laguna. The first music is an excerpt from the Manton de Manila. The Habanera part is similar to the "Habanera de Nueva Vizcaya", and a few measure came from the Pandangguhan then back, to the Malagueña de San Pablo for the last figure.



Malagueña

http://www.youtube.com/watch?v=s9Y4hO6c-p8&feature=related

s9Y4hO6c-p8&feature=related

baboosh18 | December 14, 2007



Malagueña

http://www.youtube.com/watch?v=zHF5JSJ_q0g&feature=related

zHF5JSJ_q0g&feature=related

bethoven071283 | April 04, 2007
smacc dance troupe performance
Comment from one youtube forumer keinsz:
Malagueña de Catanauan. A version from Catanauan, Quezon. Two more malagueña dances are known to exist: The Malagueña de San Pablo and the Malagueña de Pila both from Laguna province.



MALAGUENA (Lapaz) Ramil Huyatid, WVRAA 2008

http://www.youtube.com/watch?v=SirNpHQENRo&feature=related

SirNpHQENRo&feature=related

kokoWinz | March 17, 2008
Grand Champion,Lapaz National High School. Western Visayas Regional Meet Cultural Contest 2008. San Jose, Antique. Artistic Director, Trainer and Choreographer-Ramil Huyatid



Malagueña dance

http://www.youtube.com/watch?v=yqcuNgPIXjI&feature=related

yqcuNgPIXjI&feature=related

marivicdelosreyes | August 18, 2008
folkdance



:dance2:

Thanks for all the info on La Paloma. Here's French chanteuse Mireille Mathieu doing it

in German: http://www.youtube.com/watch?v=0E2E1erGGbU&feature=related

in French: http://www.youtube.com/watch?v=7SXi4U-0My8&feature=related

with Nana Mouskouri: http://www.youtube.com/watch?v=wdJ2_MjSaSo

and Mireille doing it in FOUR languages: http://www.youtube.com/watch?v=f0-L7Xf_L6g&feature=related

^^ Thanks :). It's the first time I heard the French and German versions.

Muy buena la música en español de este hilo.

Nice music . :D

^^ Hola, que tal? :wave: muchas gracias. gracias por visitarnos. :colgate:

Who can forget this song? "Bésame Mucho" is a Spanish language song written in 1940 by Mexican songwriter Consuelo Velázquez.

The iconic Filipino jeepney. This Filipino band is very, very good.

ANASTACIO MAMARIL AND HIS ORCHESTRA - BESAME MUCHO

http://www.youtube.com/watch?v=VCxgHzDp6x8

VCxgHzDp6x8

onsop | January 13, 2010
More hits from Anastacio Mamaril. This video simply shows that despite all the daily woes and worries, Filipinos still manage to SMILE! :)



Latin_Besame Mucho-Ax Daliva

http://www.youtube.com/watch?v=sojxZiM3sWY

sojxZiM3sWY

necrophilousviolin | June 01, 2009
Latin_Besame Mucho-Ax Daliva



Libante Strings Quartet - Besame Mucho

http://www.youtube.com/watch?v=8HizRNUkP00

8HizRNUkP00

arnielibante | January 03, 2010
Libante Strings Quartet - Besame Mucho
Musical Quartet playing Besame Mucho in "Glass Garden". Composed of a acoustic guitar, 2violins, and double bass.

Music for all occasions.

Visit Us: www.libantestrings.multiply.com

For Inquiries: striker_arnieprince@yahoo.com
09179062273/09235784578/(02) 3530655

...Experience a World Class type of music to your Weddings, Debuts, Anniversaries, Birthdays, Corporate Events, & any other occasions...

Libante Strings is a dynamic, professional band of highly accomplished, experienced musicians who are fully committed to make your event a night to remember. Specializing in live music entertainment for weddings, private parties, debuts, anniversaries, birthdays, and corporate events, the group feature outstanding lead and harmony vocals, guitar, piano, flute, bass and violin.

Libante Strings is lead by Mr. Arnulfo Libante. He started in 1980s; was a musician of Mrs. Imelda Marcos. Playing nightly in a five - star hotels, including Manila Hotel, Philippine Plaza, Manila Peninsula, and Shangri-La Hotel. After working in hotels, he was recommended to work at Cruise Line Ships, first with Holland America Line then he was transferred at Royal Caribbean Cruise Line which travels around the world.

Libante Strings music ranges from romantic classics to contemporary pop-jazz pieces, with special fondness for bossa nova and samba. You can choose from a wide selection of musical service setups; Guitar-singer duo, classic trio and string quartet. The group offers a wide selection of musical repertoires from light classics, Broadway music to pop and contemporaries.

Let Libante Strings offer you the same world class performance and entertainment at a very reasonable rate on your special occasion. We will be glad to assist you in conceptualizing your celebration and you can personally pick out from our list of songs or you may leave the line-up to us.

Visit our website for more info and listen to our sample music.

SAMPLE MUSIC: http://www.jukeboxalive.com/audio_pla...

WEBSITE: http://www.libantestrings.multiply.com

Thank You! God Bless!

-Libante Strings



Joyce Rosales with Besame Mucho cover

http://www.youtube.com/watch?v=3BIbiOnSF-E

3BIbiOnSF-E

simatsimat | August 12, 2010
Joyce sings "Besame Mucho" cover from a recent Mexican-themed party held at Filipinas Heritage Library in Makati. Joyce is joined by other members Bryan Fernando on guitar and Ammie Maraan on percussion.



The original composer of Besame Mucho is pretty awesome and packs quite a punch.

CONSUELO VELAZQUEZ Besame Mucho

http://www.youtube.com/watch?v=iibS5UW1O5Y

iibS5UW1O5Y

latinosomos | December 28, 2007
CONSUELO "CHELA" VELAZQUEZ interpreta la bellisima melodia BESAME MUCHO de su propia inspiracion. Gracias al gran programa de tiempos pasados LA HORA AZUL de la television Mexicana.



Besame Mucho - Xavier Cugat and His Orchestra

http://www.youtube.com/watch?v=flzYMR-6kOM

flzYMR-6kOM

MrDeanMartin | June 26, 2008
Lead vocals:
Otto Bolivar or Del Campo
September 17 , 1945



Diana Krall - Besame Mucho

http://www.youtube.com/watch?v=4uEl5Z5DEDw&feature=related

4uEl5Z5DEDw&feature=related

ZoSoZeP00 | July 11, 2009
Grande performance della cantante e pianista jazz canadese,
sul brano scritto nel lontano 1940 dalla compositrice messicana Consuelo Velázquez.

A parer mio una delle versioni più belle.



Bésame, bésame mucho,
Como si fuera esta noche la última vez.
Bésame, bésame mucho,
Que tengo miedo tenerte y perderte después.

Quiero tenerte muy cerca,
Mirarme en tus ojos, verte junto a mí.
Piensa que tal vez mañana
Yo ya estaré lejos, muy lejos de tí.

Bésame, bésame mucho,
Como si fuera esta noche la última vez.
Bésame, bésame mucho,
Que tengo miedo tenerte y perderte después.

English

Kiss me, give me many kisses,
As if tonight were the last time.
Kiss me, give me many kisses,
Because I 'm afraid of having you then losing you.

I want to have you very close,
To see myself in your eyes, to see you next to me.
Think that maybe tomorrow
I'll be far, far away from you.

Kiss me, give me many kisses,
As if tonight were the last time.
Kiss me, give me many kisses,
Because I 'm afraid of having you then losing you.


:dj:

La Bamba

So what was the first thing Manny Pacquiao did after the big fight with Cotto?

Manny Pacquiao After Party/Concert @ Mandalay Bay - Entrance "La Bamba"

http://www.youtube.com/watch?v=DL7-Teb7hxQ

DL7-Teb7hxQ

allibons | November 21, 2009
after the fight with Cotto at MGM Grand, Manny celebrates his victory by having a concert LOL it boggles my mind how he can go from beating someone's ass, to having a concert within the same night. i love him so much!

kym and i paid $45 for tickets, took a cab to exalibur, took the tram to luxor, and took the moving walkway to mandalay, then walked all the way to the convention center (in heels!) and waited over 3 hours in a sea of filipino people for this haha. yeee and we got to front row :) i thought it was gonna be like an after party club event, but apparently it was a concert....very worth it haha. they even served lumpia and siopao lol

next time, i propose he gets kaba modern and legacy girls for his backup dancers :P

November 14th, 2009



I guess it’s ok to put Lou Diamond Phillips up front since he also has Filipino ancestry. He plays Richie Valens, the original composer.

La Bamba

http://www.youtube.com/watch?v=PK2HANwsUWg

PK2HANwsUWg

wackattack | September 03, 2006
Lou Diamond Phillips covering Ritchie Valens' "La Bamba".



La Bamba - Los Lobos

http://www.youtube.com/watch?v=i_3SbRIxjTs

i_3SbRIxjTs

jun19020987 | March 17, 2010
Flipping Coins (Cover)
Filipino American Hall of Fame awards night.
Hyatt Regency Hotal Chicago, Illinois



La Bamba Cover

http://www.youtube.com/watch?v=D0hkyqBP1gY

D0hkyqBP1gY

mlcmemphis | February 11, 2009
MLC Memphis - La Bamba Cover - Jackson, TN - December 2008



Juan Enchanted Evening Finale Song

http://www.youtube.com/watch?v=CykMsamNFQg

CykMsamNFQg

odguarin | September 03, 2010
Issei Guarin, 10 y.o. Filipino-Australian. Grand finale song of Juan Enchanted Evening Show. La Bamba with La Aunor Superstar, Juan Rodrigo, Madonna Hart, Linda Bishop, Aprille Lim, Eugene and the entire cast. The audience enjoyed the show, lots of photos and videos were taken. Everyone was singing & dancing to this La Bamba finale song. Clubb 55 was packed with hundreds of party people. It was quite overwhelming. A very successful show indeed despite only 3 days of preparation. Thank you everyone and thank you Lord for Your gift of talents. Special thanks to Isabella's mentors: Tina Bangel of One Voice School of Singing, Jim & Mio Paredes for guitar lessons, Van Anh Nguyen of International Artist Academy.



Para bailar la bamba,
Para bailar la bamba,
Se necesita una poca de gracia.
Una poca de gracia para mi para ti.
Arriba y arriba
Y arriba y arriba, por ti sere,
Por ti sere.
Por ti sere.

Yo no soy marinero
Yo no soy marinero, soy capitan
Soy capitan, soy capitan

Bamba, bamba, bamba, bamba
Bamba, bamba
Bamba

Para bailar la bamba,
Para bailar la bamba,
Se necesita una poca de gracia.
Una poca de gracia para mi para ti.
Arriba, arriba.

(guitar solo)

Para bailar la bamba,
Para bailar la bamba,
Se necesita una poca de gracia.
Una poca de gracia para mi para ti.
Arriba y arriba
Y arriba y arriba, por ti sere,
Por ti sere.
Por ti sere.

Bamba, bamba, bamba, bamba
Bamba, bamba
Bamba, bamba



:dj:

Serenade your hearts with the latest music from Batanes

Thursday, 23 September 2010 00:00
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BY LURENZ IRENE SALVA RESEARCHER

The spirit of nationalism had long been a debate in most of the television programs here in the country for the past years. Majority of polls that have also taken up that issue showed results that the love of Filipinos for their own land is slowly fading. This may be seen true by some and others would’ve had believed this. But the people of Batanes had proven this notion false.

Just this month, the Ivatan Choir from Batanes launched their very first CD entiled Music of Batanes (Ivatan Folksongs)—a compilation of some of the well-loved songs from their childhood that are rooted from their ancestors. The songs, which were chosen by the choir members themselves, tell stories of love from the moment it sprung up to time when love has to part again.

According to Sophia Caccam, one of the choir’s singer, the song’s lyrics were not altered so as to preserve their original state but a bit of change in the melody and the way the songs is delivered was given way so as to incorporate the modernity in the songs.

“We’re doing this because we want to preserve a part of our rich culture, which is our music, for the future generations to come. No changes were done in the lyrics but the way it’s sang was a bit different from the one we used to know back in the days,” said Caccam.

Caccam also said that all the elements incorporated in the CD album were done by the entire group and each member was given the chance to pitch in their ideas for the betterment of the album.

“Everything in the CD is a group effort. The cover, the design and the selection of songs were decided on by the entire group. But the main man behind all the design on the CD is our conductor Patrick,” she added.

An audition was held to qualify as a member of the choir. The members range from students to professionals with each having a unique quality to share to the choir. Each member, she said is a representation of every tribe that they have in their island Batanes.

“Actually basta Ivatan, everyone is welcome in the group. Our youngest member is 15. She also happens to be the tallest among us,” she said.

Aside from singing and preserving their very rich culture, the Ivatan Choir also plans to assist their fellow Ivatan students that are working doubly hard to finish their studies.

“We basically want to help the Ivatan students in their schooling. If for example, the child’s parent will be experiencing a delay in sending in their tuition fee, we would be of service to our fellow Ivatans by generously lending them the amount that they need,” she stressed.

The group was conceived over a year ago by a group of people from Batanes who reside in Manila whose primary goal is to make projects that would promote and preserve the Ivatan culture and tradition.

For inquiries on their CD, call 415-8877 or 0917-5008576 and look for Edna Acebes. For orders in Canada and USA, a free shipping will be offered. Call 858-740-1702 or e-mail imb_yaken@yahoo.com This e-mail address is being protected from spambots. You need JavaScript enabled to view it .


http://www.manilatimes.net/index.php/lifestyle/26741-serenade-your-hearts-with-the-latest-music-from-batanes

The Brazil Connection. Many of the old songs still have the familiar melodies & tunes but the original lyrics were all lost over time (due to “political correctness” by some). The original letters of this cancion are Portuguese but we were more familiar then with the Spanish version. Also in honour of our guest from Brazil .for.ce.br.

It was mentioned by one forista in another forum that almost all of the jotas and danzas back then did have lyrics, and not just the melodies. Later we will have a look at one such danza with lyrics, the Aray! ~ a Chabacano de Cavite danza from the 19th century.

"Manhã de Carnaval" ("Morning of the Carnival") , is the title of the most popular song by Brazilian composers Luiz Bonfá and Antonio Maria.

Caterina Valente and Luiz Bonfa at the Hollywood Palace

http://www.youtube.com/watch?v=YS-33QWEtOY

YS-33QWEtOY

NORMALAB | May 31, 2007
Caterina hosts the Hollywood Palace Show and plays and sings with guest Luiz Bonfa from the score of Orfeu negro

Luis Miguel - Mañana De Carnaval

http://www.youtube.com/watch?v=vIgmTGNLSPs

vIgmTGNLSPs

eddy7788 | October 22, 2008


Luis Miguel - Manana De Carnaval

Azul la mañana es azul
el sol si le llamo vendra
se detendra en mi voz
y hasta la eternidad
en su camino ira hacia otro azul
Despues, yo no se si hay despues
si el sol volvera a despertar
porque la cancion no ha de ser verdad
porque en carnaval
Es que te busco yo
aunque no habras de estar
y mentira tu voz en el azul
Despues, yo no se si hay despues
si el sol volvera a despertar
porque la cancion no ha de ser verdad
porque en carnaval
Cantara el corazón, la razón de vivir
cantara sin hablar, ni sentir

Fuente: musica.com

:cool:

Amapola

http://www.youtube.com/watch?v=Xx6I1dFnZnQ

Xx6I1dFnZnQ

phallus55 | June 16, 2009
Jimmy Dorsey's rendition of Amapola...

A is for Americana and A is for Amapola. Any song with the stamp of Jimmy Dorsey or Tommy Dorseyor Glenn Miller is classic Americana of the 1930s and 1940s. The American influence in the waning days of the Commonwealth Era. But the original version is indeed the Spanish version. This was the first cancion I learnt from my late Lola/ abuela. Claro, ‘Twas from her and another great grandaunt that I learnt the classic songs popular during their time. :D :D

Catch Alfredo Kraus at 00:55 wearing something that looks like a Barong with a guitar, I forgot the Mexican name for the Barong.

Alfredo Kraus canta "Amapola"

http://www.youtube.com/watch?v=phMP-ZX2bN0

phMP-ZX2bN0

kraustrujillo | April 18, 2007
http://www.espacioblog.com/alfredokraus

Versión de esta famosa canción del maestro Lacalle, versionada por Kraus en 1959.


Música: Joseph M. La Calle. 1924 (España)
Letra: Luis Roldán. 1928 (Argentina)

De amor, en los hierros de tu reja,
De amor, escuché la triste queja;
De amor, que tomó en mi corazón
Diciéndome así, con su dulce canción:

Amapola, lindísima Amapola,
Será siempre mi alma tuya sola.
Yo te quiero, amada niña mía
Igual que ama la flor, la luz del día.

Amapola, lindísima Amapola,
No seas tan ingrata y ámame.
Amapola, Amapola,
cómo puedes tu vivir tan sola.

Yo te quiero...

:dj:

Seminarista filipino cantando "Solamente una vez"

http://www.youtube.com/watch?v=5-V_ZjsJvP8

5-V_ZjsJvP8

ronda80 | April 17, 2009
¿Quien ha dicho que los seminaristas no saben cantar bien?


AGUSTIN LARA - SOLAMENTE UNA VEZ (You Belong To My Heart)

http://www.youtube.com/watch?v=96NzAzGIWoI

96NzAzGIWoI

regallo8765 | September 17, 2008
UNA DE LAS MAS UNIVERSALES CANCIONES DE MUSICO POETA.


Sra. Lola Beltran seems to be wearing what looks like a Filipina Maria Clara Terno.

Lola Beltrán en Bellas Artes -SOLAMENTE UNA VEZ-, 1990..VOB

http://www.youtube.com/watch?v=CTy8iuXT3bE

CTy8iuXT3bE

RanaArvizu | March 24, 2010
Palacio de las Bellas Artes de la Ciudad de México, 1990.

24 de Marzo:
XIV ANIV. LUCTUOSO DE LOLA LA GRANDE.


TRIO LOS PANCHOS solamente una vez

http://www.youtube.com/watch?v=mZrXUEc7_2M

mZrXUEc7_2M

latinosomos | January 30, 2008
EL TRIO LOS PANCHOS cantan la bellisima melodia SOLAMENTE UNA VEZ de la inspiracion de Agustin Lara. Correccion, la que canta aqui es Manoella Torres. Aqui tenemos a Ovidio Hernandez en la primera voz. Gracias al gran programa de tiempos pasados LA HORA AZUL de la television Mexicana.


Solamente una vez
ame en la vida,
solamente una vez
y nada mas
una vez, nada mas
en mi huerto brillo la esperanza,
la esperanza que alumbra el camino
de mi soledad
Una vez, nada mas
se entrega el alma
con la dulce y total
renunciacion,
y cuando ese milagro realiza
el prodigio de amarse,
hay campanas de fiesta que cantan
en el corazon...

Fuente: musica.com

:dj:

Andrea Bocelli Live -

Cuando Me Enamoro

http://www.youtube.com/watch?v=2JR7AUWRO04

2JR7AUWRO04

progresstrain | July 08, 2008
Recorded live at an open-air concert at Lake Las Vegas Resort NV (Dec. 2006).

Guitarist -Ramon Stagnaro (Peru)
Pianist - David Foster.

LYRICS:
(Mario Panzeri / Roberto Livraghi / Daniele Pace / Alfonso Alpin)

Cuando me enamoro
Doy toda mi vida
A quién se enamora de mí
Y no existe nadie
Que pueda alejarme
De lo que yo siento por tí

Dicen que no sabré
Buscarte flores
Que no podré ofrecerte
Ningún regalo

Dicen que yo he sufrido
De mal de amores
Y que mi corazón
No se ha curado

La mia ragazza sa che non è vero
La mia ragazza sa che quando

Quando m'innamoro
Io do tutto il bene
A chi è immamorato di me
E non c'è nessuno
Che mi può cambiare
Che mi può staccare da lei

Cuando me enamoro
Doy toda mi vida
A quién se enamora de mi
Y no existe nadie
Que pueda alejarme
De lo que yo siento por ti

A chi mi dice vivi
Un altro giorno
Todos comprenderán
Que cuando

Cuando me enamoro
Doy toda me vida
A quién se enamora de mí
E non c'è nessuno
Che mi può cambiare
Che mi può staccare da lei

Quando m'innamoro
Io do tutto il bene
A chi è immamorato di me
Y no existe nadie
Que pueda alejarme
De lo que yo siento por ti

ENGLISH TRANSLATION:
When I'm In Love

When I fall in love
I give my whole life
To the one who falls in love with me
And there's no one
who with the power to dispel
what I feel for you

They say that I won't know
To look for flowers for you
That I won't be able to offer
Any gift

They say that I have suffered
Of bad loves
And that my heart
has not healed yet

My girlfriend knows that it's not true
My girlfriend knows that when --

When I'm in love
I give everything good
To the one who's in love with me
And there's no one
Who can change me
Who can take me from her

When I fall in love
I give my whole life
To the one who falls in love with me
And there's no one
who with the power to dispel
what I feel for you

To the one who says live
another day
Everybody will understand
That when

When I fall in love
I give my whole life
To the one who falls in love with me
And there's no one
Who can change me
Who can take me from her

When I'm in love
I give everything good
To the one who's in love with me
And there's no one
who with the power to dispel

(Available on DVD/CD "Under A Desert Sky")

:cool:

Estrellita, Manuel Ponce live in Nov 4 1992

http://www.youtube.com/watch?v=wqMhFMRrhKs&feature=related

wqMhFMRrhKs&feature=related

lute323 | September 16, 2007
Estrellita Manuel Ponce played by Jose Luis Gonzalez live


Gabriel Estarellas - Estrellita de Manuel Ponce

http://www.youtube.com/watch?v=6M6QQDYtD2Q&feature=related

6M6QQDYtD2Q&feature=related

xiscoplanet | May 05, 2007
Estrellita de Manuel Ponce


Trio Los Panchos - Estrellita

http://www.youtube.com/watch?v=rpq_DbdmelE

rpq_DbdmelE

mveuazte | December 16, 2007
Estrellita


Any song with a Deanna Durbin is classic Americana of the 1930s. But she also sang the classic canciones.

Deanna Durbin - Estrellita - Manuel Ponce

http://www.youtube.com/watch?v=ZC8v5_wQHGA&feature=related

ZC8v5_wQHGA&feature=related

violinthief | September 23, 2007
Durbin performs Estrellita ("little star") by Mexican composer Manuel Maria Ponce.


Estrellita del lejano cielo,
que miras mi dolor,
que sabes mi sufrir.
Baja y dime
si me quiere un poco,
porque yo no puedo sin su amor vivir.

¡Tu eres estrella mi faro de amor!
Tu sabes que pronto he de morir.
Baja y dime
si me quiere un poco,
porque yo no puedo sin su amor vivir.

(English Translation)

Little star of the distant sky,
you see my pain,
you know my anguish.
Come down and tell me
if he loves me a little,
because I cannot live without his love.

You are my star, my beacon of love!
You know that soon I shall die.
Come down and tell me
if he loves me a little,
because I cannot live without his love.

:dj:

Dónde vas con mantón de Manila?

http://www.youtube.com/watch?v=CVqe90Qqd9o&feature=related

CVqe90Qqd9o&feature=related

Martinezmadril | September 15, 2007
Espectáculo realizado por la Orquesta y solistas del Taller de Ópera del Conservatorio Julián Aguirre en el Teatro Coliseo de Lomas de Zamora, Argentina, el 13 de septiembre de 2007. Allí se presentó La Verbena de la Paloma


Donde vas con mantón de Manila?

http://www.youtube.com/watch?v=zYBDA8L9C1Q

zYBDA8L9C1Q

fonsucu | September 20, 2010

Música: Habanera concertante, de La verbena de La Paloma.
Imágenes: Ferdinand y Aizel Azcárraga.

LETRA / LYRICS

¿Dónde vas con mantón de Manila?
¿Dónde vas con vestido chiné?

SUSANA
A lucirme y a ver la verbena,
y a meterme en la cama después.

JULIÁN
¿Y por qué no has venido conmigo
cuando tanto te lo supliqué?

SUSANA
Porque voy a gastarme en botica
lo que me has hecho tú padecer.

JULIÁN
¿Y quién es ese chico tan guapo
con quien luego la vais a correr?

SUSANA
Un sujeto que tiene vergüenza,
pundonor y lo que hay que tener.

JULIÁN
¿Y si a mí no me diera la gana
de que fueras del brazo con él?

SUSANA
Pues me iría con él de verbena
y a los toros de Carabanchel.

JULIÁN
Si, ¡eh! Pues eso ahora mismo
lo vamos a ver.

(Se lanza sobre Hilarión para pegarle;
y ellas le sujetan y gritan.)

HILARIÓN
¿Qué es esto? (Acobardado.)

SUSANA
¡Julián! (Luchando con él.)

RITA
(Tirándole de un brazo.) ¡Quítate!

ANTONIA (Saliendo con los perros.)
¡Canalla, chulapo,
guripa, soez!
¡Si te echo los perros
te arrancan la piel!

(Achucha a los perros, sin soltarlos,
para que le ladren.)

CASTA
¡Guardias! (Llamándolos.)


(Dichos, los Guardias y el Sereno. Salen del café el Tabernero los Mozos 1 y 2 y toda la gente que había dentro. Mucha animación. Julián quiere otra vez pegar a don Hilarión, a quien ellas defienden.)


GUARDIAS
¡A ver, caballeros,
modérense ustés!

TABERNERO (En medio de todos.)
¡Alto aquí todo el mundo!
Esto se arremató.
Y esto se ha arrematao
porque lo digo yo.

SERENO
Pues si yo toco el pito
se acaba la cuestión.

TABERNERO
Ustedes por allí. (A don Hilarión y a ellas.)
Vosotros por allá. i
Ni usted aquí toca el pito
(Al Sereno.)
ni usté aquí toca no.

VOCES
El mozo está celoso,
el viejo es un truhán.

JULIÁN
Me callo por prudencia
mas luego ya me oirán.

SUSANA
(Cuanto más me sofoca,
le quiero más y más.)

HILARIÓN
Vamos, niñas,
que es tarde ya. (Cogiéndolas del brazo.)

SUSANA
(Por esta noche
le hago rabiar.)

RITA
¡Vente conmigo!
¡Déjala ya!

JULIÁN
¡Así te vas!
¡Vete con Dios!
¡Márchate en paz!
¡Luego después
me lo dirás!
¡Ay, señá Rita
no puedo más!
¡Esa chulapa
me va a matar!

TABERNERO Y MOZOS
Vete y en ella
no pienses ya.

CASTA
(¡Vaya una bronca
fenomenal!)

ANTONIA
¡Ese pillastre
nos va a matar!

GUARDIAS Y SERENO
Ea, señores,
lárguense ya,
que así lo manda
la autoridad.

CORO
Como se encuentren
los dos allá,
buena verbena
van a pasar.
¡Ja, ja, ja, ja!

(Finalmente, cada uno se va por su lado.)


:cool:

This danza is indeed poetry in motion. Remember the iconic Manton de Manila mentioned a few pages back? It not only gave wings to the flamenco but also spawned this classic filipiniana danza. :yes:


Bayanihan Philippine Dance Company - Mantones de Seda

http://www.youtube.com/watch?v=Jsy2P-RBxy8

Jsy2P-RBxy8

masterskribble | August 22, 2009

A strong poetic echo from the Iberian influenced past, danced to the rondalla. Like many other jotas, it has the usual stamping and the use of unstrung castanets. A special feature of the dance showcases the many ways of using the Manton de Manila.


Bayanihan National Folk Dance Company - Mantones de Seda

http://www.youtube.com/watch?v=n9NI6ndMYdk&feature=related

n9NI6ndMYdk&feature=related

octavine | October 26, 2008

Performance of the Bayanihan National Folk Dance Company of the Philippines in the ANMC 21 6th Plenary Meeting Cultural Events held at the SM Mall of Asia CenterStage (Nov 26, 2007).


SJSU PCN 2008 - Mantones de Seda

http://www.youtube.com/watch?v=Ui8A-tRbjsc&feature=related

Ui8A-tRbjsc&feature=related

blueleopard | April 21, 2008

San Jose State's Maria Clara finale.


Akbayan PCN 2008 / Mantones de Seda

http://www.youtube.com/watch?v=jDojebmvylw&feature=related

jDojebmvylw&feature=related

rogberippin | April 22, 2008
Akbayan PCN 2008
"Once Upon a Time in Little Manila"
Sunday 4.20.08

Mantones de Seda
Choreographers: Diane Arquero & Angelo Monje


FFDT in Panibagong Simula - Mantilla

http://www.youtube.com/watch?v=UKBbibeyXs8&feature=related

UKBbibeyXs8&feature=related

GuapStar6 | March 09, 2008
An exerpt from Fiesta Filipina's 2 hour concert, Sept 2007. A spanish influence dance with a Mantilla (shawl).


UMCP FCA PCN 2007 -- Mantones de Seda

http://www.youtube.com/watch?v=la6elwKWI0w&feature=related

la6elwKWI0w&feature=related

dverde | March 03, 2008

University of Maryland, College Park

Filipino Cultural Association

IDENTITY

29th Annual Philippine Culture Night
April 11, 2007

Mantones de Seda is a romantic jota dance featuring Castillian influenced elements. The men perform zapateado footwork and play bamboo castanets. The women dance whiile skillfully waving their mantones (elaborately decorated silk cloaks). In this dance, a lonely young woman encounters a handsome suitor and enjoys an intimate dance. But alas, their romance comes to an end, and both go their separate ways.

Ryan Herrera & Kristina Naude
Russell Santos & Maricel Hernandez
Carlos Castillo & Sharon Paraoan
Steve Encomienda & Lani Yap
Paul Tarectecan & Christine Aggabao

Taught by Don Verde
Inspired by the Bayanihan Philippine Dance Company

Note: It's unfortunate that the only people who post comments are Filipinos who want to feel superior by pointing out flaws or posting nasty comments. The performers are Filipino American students with limited knowledge of the Philippines, but a lot of pride in learning about their heritage. They've dedicated weeks learning about the cultures of the Philippines and sharing it with their community, despite limitations in budget, costumes, and resources. Comments encouraging them to learn are welcome, but if you cannot find any merit in their efforts, please keep your comments to yourself.


:cool:

Gipsy Kings – Volare

http://www.youtube.com/watch?v=oNgSeJzLJFc

oNgSeJzLJFc

recuerdos | March 12, 2006
Volare


But by no means were the Gipsy Kings the first to sing Volare. Here is the early version in Italian.

Domenico Modugno - Nel blu dipinto di blu (Volare)

http://www.youtube.com/watch?v=Z-DVi0ugelc

Z-DVi0ugelc

RabbiF | August 19, 2006
The 1958 Italian Eurovision entry. despite its age the quality if fairly good.
I've adjusted the title, happy now??



The Costa Magica on the Mediterranean
http://www.simplonpc.co.uk/CostaJPEGS/CostaMagica-03_PC.jpg

Now this is how Filipinos dance to the Volare. OFW power. I didn’t know the Filipino Dancing Waiter Phenomenon had been exported overseas to Europe. Taken aboard the Mediterranean cruise ship Costa Magica. The following vidmakers are either Portuguese or Italians. To be sure, a typical Mediterranean cruise ship employs many nationalities as Waiters. But judging from the roar of approval from the partying Latins (not to mention their making it a point to post on youtube), only the Filipino Dancing Waiters on the Costa Magica wowed the crowd & can do justice to the rhythmic beat of Volare.

Volare Costa Magica

http://www.youtube.com/watch?v=5VXrXKHs0Uk

5VXrXKHs0Uk

renatobek | December 25, 2007
Dança dos garçons Filipinos no navio Costa Magica - Dez2008


Volare com #Filipinasfeelings

http://www.youtube.com/watch?v=HWqTBP-7lrM

HWqTBP-7lrM

maricampospelomundo | December 11, 2009
Danca dos garcons filipinos durante o jantar italiano do cruzeiro inaugural da temporada 2009/2010 do Costa Magica


:dance2:

http://upload.wikimedia.org/wikipedia/commons/thumb/a/ab/Nicole_Scherzinger_2007.jpg/220px-
Nicole Scherzinger
Filipina Hawaiian Nicole also made a great rendition of her hit song Sway – Quien Sera.

quien sera?

http://www.youtube.com/watch?v=bN-G_ENTAmc

bN-G_ENTAmc

huasteco749 | April 25, 2008
otra rola con los cuates filipinos , buenos musicos muy buenos


History of "SWAY" (Quien Sera) - 4 versions- Gorme, Rydell +
http://www.youtube.com/watch?v=kSEsrs9Y_OU

kSEsrs9Y_OU

GSilverWorld | July 19, 2008
The melody was written in 1953 as a cha-cha by Mexican band leader Pablo Beltran Ruiz and titled Quien Sera. That means "Who will it be" ... who will be my next love after the one I lost. Spanish lyrics were added.

In America original English words were written and the title became Sway.
It became a #15 hit for Dean Martin in 1954, and #21 for Eileen Bartin. The song went on to become a popular part of the English repertoire. Bobby Rydell had a big hit with it in 1960, in the rock+roll era. In 1979 he hit big again with a popular disco version.

Lately artists like the PussyCat Dolls have made good recordings.

Selections:
1) Quien Sera by the Ruiz orchestra
2) Quien Sera by Eydie Gorme sung in Spanish and English, from her rare 1960 United Artists LP "I Feel So Spanish"
3) Sway - Bobby Rydell 1960 #14, from original vinyl
4) Sway disco version by Rydell. Edited and shortened here from 5:10.

My favorite of all is Rydell's 1960. It has that intriguing female chorus harmony, that was sometimes used at the time, also found on Bobby Darin's "Nature Boy" and Donnie Brooks' "Mission Bell".
Julie London did an excellent rendition on her rare album "Latin In a Satin Mood".



PEDRO INFANTE - QUIEN SERA

http://www.youtube.com/watch?v=kYorZEdoaPU

kYorZEdoaPU

robdian | December 08, 2007
ESCUELA DE VAGABUNDOS


QUIEN SERÁ

quien sera la que me quiera a mi
quien sera , quien sera
quien sera la que me de su amor
quien sera quien sera
yo no se si la podre encontrar
yo no se, yo no se
yo no se si volbere a querer
yo no se ,yo nose

CORO

he querido volber a vivir
la pasion y el calor de otro amor
de otro amor que me hiziera feliz
que mi hiziera feliz como ayer lo fui..

Fuente: musica.com
Letra añadida por carlos_t

:dj:

Plug in for the Filipino band Aeon Sound.

Quizas, Quizas, Quizas -Aeon Sound (FULL SONG)

http://www.youtube.com/watch?v=A1iUUOcZubM

A1iUUOcZubM

aeonsoundjat | September 03, 2009
HARANA

AEON SOUND
Joven A. Teus (Band Leader)
Contact No. +639195877733 +639195877733
aeonsound_jat@yahoo.com


Quizas quizas quizas - Trio Los Panchos

http://www.youtube.com/watch?v=csCAx_tAcvE

csCAx_tAcvE

vezzle12 | July 05, 2008
Trio Los Panchos


Loewe - Quizás, Quizás, Quizás

http://www.youtube.com/watch?v=ZJn_KlW5XHk

ZJn_KlW5XHk

poppymanzanedo | August 03, 2009
Producción realizada para la campaña "Quizás, Quizás, Quizás" del perfume Loewe. Versión extendida.

Siempre que te pregunto,
que cuando, como y donde,
tu siempre me respondes;
quizas, quizas, quizas.

Y así pasan los dias,
y yo hay desesperando,
y tu, tu, tu contestando;
quizas, quizas, quizas.

Estas perdiendo el tiempo,
pensando, pensando;
por lo que mas tu quieras,
hasta cuando, hasta cuando.

Y así pasan los dias,
y yo hay desesperando,
y tu, tu, tu contestando;
quizas, quizas, quizas.

Siempre que te pregunto,
que cuando, como y donde,
tu siempre me respondes;
quizas, quizas, quizas.

Y así pasan los dias,
y yo hay desesperando,
y tu, tu, tu contestando;
quizas, quizas, quizas.

Estas perdiendo el tiempo,
pensando, pensando;
por lo que mas tu quieras,
hasta cuando, hasta cuando.

Hay, y asi pasan los dias,
y yo hay desesperando,
y tu, tu, tu contestando;
quizas, quizas, quizas.
quizas, quizas, quizas.
quizas, quizas, quizas.

Fuente: musica.com
Letra añadida por clasica

:dj:

Tito Schipa - Quiereme Mucho (Love Me Deeply)

http://www.youtube.com/watch?v=4CwBrxuGKX8

4CwBrxuGKX8

pax41 | July 01, 2008


Raul Shaw Moreno con Los Panchos - Quiereme Mucho

http://www.youtube.com/watch?v=hxcznnVbPh0

hxcznnVbPh0

brian75x2 | January 15, 2009
Raul Shaw Moreno, Chucho Navarro y Alfredo Gil, el famoso trio Los Panchos (1951-1952) cantan el bolero "Quiereme Mucho" del compositor Gonzalo Roig y Rodriguez.

QUIERÉME MUCHO
(Gonzalo Roig / Augustin Rodriguez)

Quiéreme mucho
Dulce amor mío
Qué amante siempre
Te adoraré

Yo con tus besos
Y tus caricias
Mis sufrimientos
Acallaré

Cuando se quiere de veras
Como te quiero you a ti
Es imposible mi cielo
Tan separados vivir

Cuando se quiere de veras
Como te quiero yo a ti
Es imposible mi cielo
Tan separados vivir
Tan separados vivir

Es imposible mi cielo
Tan separados vivir
Tan separados vivir

:dj:

Songs from the yesteryears.

A nice rendition by the Filipino band Aeon Sound of this song.

Sabor A Mi - Aeon Sound (FULL SONG)

http://www.youtube.com/watch?v=xCFvAvcIMPs

xCFvAvcIMPs

aeonsoundjat | September 03, 2009
HARANA

AEON SOUND
Joven A. Teus (Band Leader)
Contact No. +639195877733 +639195877733
aeonsound_jat@yahoo.com


"Sabor A Mí" -Luis Miguel

http://www.youtube.com/watch?v=GQFdklf8cCo

GQFdklf8cCo

aguiladecorazon1 | November 13, 2007
"Sabor A Mí" -Luis Miguel


Trio Los Panchos - Sabor a Mi

http://www.youtube.com/watch?v=Qg_L54DW69U

Qg_L54DW69U

karakand | November 26, 2007
Gin and tonic water.

Tanto tiempo disfrutamos de este amor
nuestras almas se acercaron tanto así
que yo guardo tu sabor
pero tú llevas también, sabor a mí.
Si negaras mi presencia en tu vivir
bastaría con abrazarte y conversar
tanta vida yo te di
que por fuerza tienes ya, sabor a mí.

No pretendo, ser tu dueño,
no soy nada yo no tengo vanidad
de mi vida, doy lo bueno,
soy tan pobre que otra cosa puedo dar.

Pasarán más de mil años, muchos más
yo no sé si tenga amor, la eternidad
pero allá tal como aquí,
en la boca llevarás, sabor a mí.

Fuente: musica.com

:dj:

This beautiful song evokes memories of the Filipino traditions of the Santacruzan, the Sagalas, the Reina Elenas and the Flores de Mayo, all festivities tied to the Filipino Marian traditions held in the month of May.

Nat King Cole spells Americana but he can also sing en Castellana.

Nat King Cole - Maria Elena

http://www.youtube.com/watch?v=w-jztGSizOY&feature=related

w-jztGSizOY&feature=related

draadnagels | June 01, 2009
JUKEBOX : http://www.draadnagel.com


Best version of la cancion. Sorry for the lyrics, my keyboard at the moment has its tildes disabled, am undergoing reformatting. But you can view the tildes & the lyrics in the vid.

Gigliola Cinquetti & Trio Los Panchos - Maria Elena ( leyendado en español)

http://www.youtube.com/watch?v=r1YogMZUisI

r1YogMZUisI
Jorgeyuk | November 23, 2008

Música escrita por Lorenzo Barcelata de Vera Cruz (México) en 1936. Música conocida también por "Tuyo es mi corazón"
Escrita originalmente para la primera dama de México, la esposa del presidente Portes Gil.

Quiero cantarte mujer
mi mas bonita cancion
Porque eres tu mi querer
Reina de mi corazon
No me abandones mi bien
Porque eres tu mi querer

Tuyo es mi corazon
O sol de mi querer

Mujer de mi ilusion
mi amor te con sagre

Mi vida la embellece una esperanza azul
Mi vida tiene un cielo que le diste tu

Tuyo es mi corazon
O sol de mi querer

Tuyo es todo mi ser
Tuyo es mujer

Ya todo el corazon te lo entregue
Eres mi Fe, Eres mi Dios, Eres mi Amor

:cool:

ARANETA GRAND SANTACRUZAN 2010 - The Sagalas Up-Close

http://www.youtube.com/watch?v=w9wbBc6Fi-4

w9wbBc6Fi-4

mabuhaybeauties1 | May 24, 2010
Inspite of the crippling heat, the Bb. Pilipinas past and present winners participating in the 2010 edition of the ARANETA Grand Santacruzan managed to remain unfazed and unaffected and consistently well-poised, even after the mile-walk in high heels. The clips in this video show the women before and after the Marian procession. Who among them wore out the fastest, or did anyone of them do? Hehehe you be the judge.


ARANETA GRAND BB. PILIPINAS SANTACRUZAN

http://www.youtube.com/watch?v=arypwZk6-R4&feature=related

arypwZk6-R4&feature=related

mabuhaybeauties1 | May 23, 2010
The Annual Araneta Grand Santacruzan participated in by current and former Bb. Pilipinas winners and finalists is one of the most-awaited events in local pageantdom.

:pepper:

Dios Te Salve (Hail Mary)

http://www.youtube.com/watch?v=OnMCXJyiGEM

OnMCXJyiGEM

oliverviaje | May 24, 2010
TIENDESITAS: Grand Santacruzan & Marian Procession 2010
May 23, 2010

Tiendesitas Frontera
Ortigas Ave. corner
C-5, Pasig City, M. M.


Intramuros Grand Marian Procession 2008 - Reina de Caracol

http://www.youtube.com/watch?v=6IQ1b8csTDc&feature=related

6IQ1b8csTDc&feature=related

rOmMeL1845 | January 10, 2009
Participation of Nuestra Señora del Santissimo Rosario de Caracol at the Intramuros Grand Marian Procession 2008...


FLORES DE MAYO 2010 DIOS TE SALVE MARIA MINALIN.wmv

http://www.youtube.com/watch?v=gtLoTRL6EvI

gtLoTRL6EvI

stamonicaparish | May 28, 2010
http://www.youtube.com/user/stamonica... MAY is the month of blooming flowers in the Philippines. FLORES DE MAYO is a beautiful Filipino tradition wherein the faithful bring flowers and offer them to the Blessed Mother as a gesture of love and sharing in the joy of her Risen Son. DIOS TE SALVE MARIA is HAIL MARY THE LORD IS WITH YOU in English. It is an accompanying song during FLOWER OFFERING and SANTACRUZAN. Viva Reyna de las Flores. MAY 27, 2010 VIGILIA DE ESPIGAS, VICARIATE OF CHRIST THE KING, VICAREX XIX, STA MONICA PARISH, MINALIN, PAMPANGA, PHILIPPINES. MABUHAY!

:cheers2:

FLORES DE MAYO (Pasayahan sa Lucena) 2010

http://www.youtube.com/watch?v=kNAIw9sOWI0

kNAIw9sOWI0

jovillar1972 | May 25, 2010
Pasayahan sa Lucena 2010
FLORES DE MAYO

One of the activities of Pasayahan sa Lucena is the FLORES DE MAYO, and is one of the most awaited event of the festival. Participated by the Designers Association of the Philippines, Quezon Chapter. Each with an entry for gown made of indigenous materials and the houte couture gowns.


The Sagala

A Sagala is a religious-historical beauty pageant held in many cities, towns and even in small communities throughout the Philippines during the month of May. One of the most colorful May-time festivals in the Philippines which depicts the finding of the Holy Cross by Queen Helena, mother of Constantine the Great. Many movie and television personalities participate in the events and are featured as major sagalas and escorts. This festival was introduced by the Spaniards in the Philippines and has since become part of Filipino traditions identified with youth, love and romance.

The procession commemorates the search of the Holy Cross by Queen Helena (Reyna Elena) and her son, the newly converted emperor Constantine. After the Holy Cross was found in Jerusalem and brought back to Rome, there was a joyful celebration for thanksgiving.

A novena in honor of the Holy Cross precedes the Flores de Mayo or Santacruzan.



The History

Flores de Mayo is a Catholic festival held in the Philippines in the month of May. It lasts for a month, and is held in honor of the Virgin Mary. The Santa Cruzan is a parade held on the last day of Flores de Mayo in honor of Reyna Elena.

Flores, from the Spanish word for "flowers," also known as Flores de Mayo (Flowers of May), Flores de Maria (flowers of Mary) or alay (offering), may refer to the whole Flower Festival celebrated in the month of May in honor of the Virgin Mary. It was believed that "Flores" (short term for Flores de Mayo) was originated from a historical town of Malolos in the province of Bulacan in 1865, when the young girls made a floral offering to the Virgin Mary in the parish church.

In the Tagalog region, this custom and celebration started after the proclamation of the dogma of the Immaculate Conception in 1854 and after the publication circa 1867 of Mariano Sevilla's translation of the devotional Flores de Maria or Mariquit na Bulaclac na sa Pagninilaynilay sa Buong Buan nang Mayo ay Inihahandog nang manga Devoto cay Maria Santisima (The Flowers of Mary or the Beautiful Flowers that in the Meditations During the Whole Month of May are Offered by Devotees to Mary the Holiest).

:pepper:

Santacruzan sa Lucban, Quezon

http://www.youtube.com/watch?v=pzWMpp3-IYQ

pzWMpp3-IYQ

jovillar1972 | May 18, 2010
Grand Santacruzan 2010
Lucban, Quezon
by the Lukbaning Lukbanin Assoication Philippines
Hermano Mayor is Mr. zaldy Veluz of the famous BUDDY's restuarant.
Held a day after the Pahiyas Festival, May 16, 2010. This became the culminating activity of the reunion of Lukbanin from around the world in their native Lucban, Quezon.

Filipinos likes fiestas. They are celebrated all-year round. All over the country, especially in the summer months, May is the merriest and the most beautiful month of the year. It is the season of colorful festivals and Flores de Mayo or Santacruzan is one such festival. Stop and smell the roses. During the month of May, in the tropical islands of the Philippines, we don't have to stop -- the fragrance of flowers floats in the air. When the rains begin to pour after a long dry spell, flowers magically bloom overnight. And being predominantly Catholic, the Filipinos celebrate the beneficial rains by giving praise to the Blessed Virgin Mary. The townfolk gather the colorful flowers to decorate the Parish Church altars and aisles. They bundle the blooms in exotic arrangements for the many different festivities all together referred to as the "Flores De Mayo" (Flowers of May). Many towns celebrate Flores De Mayo with the community congregating in the afternoons to pray the rosary, offer flowers to the Virgin Mary, and share homemade delicacies and snacks. Children and adults wearing their Sunday best sing and dance to welcome the rains that will water the new crops.


Santacruzan is held annually in the warm month of May and is considered to be the "Queen of Filipino Festivals". Beautiful town belles are selected to participate in this colorful pageant parade. The stars are selected not for their looks alone, but for their embodiment of traditional feminine qualities. It is a week-long street pageant in almost every town; from the dirt road barrio to the metropolis honoring beautiful Philippine maidens and their handsome escorts under the hand-carried bamboo arcs decorated by fragrant native flowers.


May is also the month dedicated to the Blessed Virgin Mary, mother of Christ. Filipinos turn each of the 31 days in May into a charming honor to the virginal virtues in Flores de Mayo, the flowers of May fiesta. Spiritual virtue searches to reach even the young. Every day in May, children, with cut flowers and baskets of petals in hand, march down the church center aisle. As the children march down the aisle they sprinkle the fragrant petals for Mama Mary. This custom is called alay sa Birhen. In Filipino, because it is an offering (alay) to the virgin (birhen), at the main altar, the youngsters sing hymns to Lady Immaculate, and leave their bouquet of flowers loose and dethroned.


Santacruzan sa Lucban (Intro. of Sagalas and Konsortes)


http://www.youtube.com/watch?v=QNSZkWhExjk

QNSZkWhExjk

jovillar1972 | May 18, 2010

The Cundiman Dulce Princesa, Sweet Princess, could also be used for the Sagalas.

http://www.youtube.com/watch?v=7Yf7UoyZ9Z8

7Yf7UoyZ9Z8

stcharlesquartet | August 10, 2007
Filipino Kundiman Love Song by Constancio de Guzman adapted for Quartet and played by the St. Charles String Quartet (during rehearsal). This selection was performed at the Library of Congress in Feb 2007 for the Asian Division Friends Society Love Poetry Reading Program in the Whittall Pavilion.

performers:
Neil Puzon, Violin
Tara Planeta, Violin
Gabe Soloff, Viola
Kirill Romanov, Cello

http://www.stcharlesquartet.com

Forgotten songs of the yesteryears. For our visitors, the Kundiman (originally spelled Cundiman) is a genre of traditional Filipino love songs. Kundiman was the traditional means of serenade or the Harana in the Philippines. But the song can also take the form of a War song or Patriotic song in the guise of a love and courtship song. Love for a woman is the metaphor for love for country.

Here is one which in English aptly means, Will You Still Remember?

Maalaala Mo Kaya

http://www.youtube.com/watch?v=8vQuvLlcQe8

8vQuvLlcQe8

fonsucu | June 24, 2010
Song: No digas que tú eres pobre [Maalaala mo kaya] , also known as Dulce Princesa. Original version in Spanish.
Music:: Constancio de Guzmán
Lyrics: Francisco Villanueva.
Singer: Guillermo Gómez-Rivera

LETRA:

No digas que tú eres pobre
por carecer de riquezas
porque el amor que es sincero
es lo que mi alma quiere;
y que haré con todo el oro
si el corazón es infiel.
Yo busco amor verdadero
que sea mío hasta el fin.

Dulce princesa gentil,
divina musa ideal
eres la flor y el perfume
de mi pecho feliz.
Al son de extraño dulzón
de una tierna canción
llenas degracia infinita
mi inquieto corazón.

Con un ritmo encantador,
suspirando de amor,
en sueños luces igual,
belleza angelical.

Eres toda mi ilusión,
la diosa de mi pasión,
la encantadora que llena
el alma de inspiración.



Photos: Manila

:dj:

So what are the ties that bind Ilocanos and Warays, apart from Ferdinand and Imelda? The Catholic Faith for one perhaps, but another is this ancient song or at least the melody of this song. I do not have the Ilocano version for now, but at least we have the Waray version and the Spanish version. The hispanic christianisation of the archipelago brought about a near uniformity in the customs of the lowlander christianised filipinos. :)

La Lengua Waray

hinolaso choir

http://www.youtube.com/watch?v=ruj1Fz7S1O0&feature=related

ruj1Fz7S1O0&feature=related

sanikadnon | March 23, 2008
they sing "kon harapit na an adlaw matunod" (at sunset) ....



Kon Harapit Na An Adlaw Matunod

Kon harapit na an adlaw matunod
Ngan ha imo hirayo ako
Naputok an kakulba ha dughan
Ngan kamingaw asay gud dako.

Pagtikang han panuro han tun-og
Mga bukad ngan dahon paghumog
Inin luha, daw burabod,
Waray hunong hin pagtubod.

Kon nadangat na an gab-i upod an kamingaw
Labi kon nabati han huni han kalaw
Pagpurak han sidlangan, pagpuni-as han adlaw
Pagkalpad han maya, dinumdom ko ikaw

Ginhingyap ka han inagi nga adlaw
Ug an himaya nga hingpit gayud.
Labi kon upod ka han pagtan-aw
Han kapusak han mga balud.
Kondi inabut ako hin kakulba
Ug an kamingaw namara-para
Kay kon tingali an ak pagla-um
Bangin daw la nim kawangon.

Sanglit han pagsalidsid han mapawa nga adlaw
Higtaas nga bukid luub hin kasilaw
Paghuni han gangis upud an kamingaw
Duyog an pagtangis gindumdom ko ikaw


Romanza Ilocana

http://www.youtube.com/watch?v=noM6Fu2AHaI

noM6Fu2AHaI

fonsucu | March 04, 2010
Del álbum Nostalgia Filipina II, Romanza Ilocana.
Canta Guillermo Gómez-Rivera.
Música:Rondalla del maestro Roberto Buena.
Letra: La pálida tarde, de Fernando María Guerrero y Leoncia Florentino.
Original Spanish version. It's been translated into other Filipino languages, among them ilocano and samarreño.


Romanza Ilocana

LETRA / LYRICS

Cuando muere la pálida tarde
y me veo tan lejos de ti
lloro mucho y el alma cobarde
en la sombra comienza a gemir,
te acaricia, te busca, te invita
a evocar sus recuerdos de amor,
mas al punto ¡ay! se marchita
de mis ansias la flor.

Es que el aislamiento cruel
el pecho me llena de hiel
al traerme los ecos
del tiempo dichoso que huyó.
Por eso no puedo sin ti
hallar el placer que perdí
ni encuentro un alivio
en mi llanto de amor.

Es tan vivo mi ardiente deseo,
tan intensa mi fiebre de amor
que de lejos te siento y te veo
a través de mi negro dolor.
En mis noches de insomnio fulguras
con tus vírgenes formas de luz
y en mi senda ¡ay! de amarguras
tú compartes mi cruz.

Si quieres que nunca el pesar
retorne en mi alma a anidar,
no dudes del fuego
perenne de mi honda pasión.
Porque aunque distante de ti
el fiel corazón que te di
sabrá idolatrarte
cual siempre te amó.

:dj:

Disclaimer: Well, I am definitely no fan of the Dictatorship, nor to Meldy and Ferdie’s nefarious activities. Howbeit I have to admit that La Imeldific was indeed La Guapa and a patroness of the Arts. Her works or what remains of them are still a legacy to Las Filipinas today. Ferdinand was indeed an enemy to many hispanists who fled overseas. He further cut down the teaching of the Spanish language sometime in 1972. Here is one song for the colourful Imelda done in classic Tango. All for the sake of Art, of course. :D

Well, the vid contains interesting State visits anyway. :D :D :D

La guapa Imelda

http://www.youtube.com/watch?v=GgJTkTIgtvg

GgJTkTIgtvg

fonsucu | October 05, 2009

Fotografías de Imelda Romuáldez de Marcos, viuda del fallecido dictador filipino Ferdinand Marcos.

Canción: Yira, de Carlos Gardel

LETRA

Cuando la suerte, que es grela,
fallando y fallando
te largue parao....
Cuando estés bien en la vía,
sin rumbo, desesperao...
Cuando no tengas ni fe,
ni yerba de ayer
secándose al sol....
Cuando rajés los tamangos
buscando ese mango
que te haga morfar...
la indiferencia del mundo
que es sordo y es mudo
recién sentirás.

Verás que todo es mentira,
verás que nada es amor...
que al mundo nada le importa
Yira...Yira...
Aunque te quiebre la vida,
aunque te muerda un dolor,
no esperes nunca una ayuda,
ni una mano, ni un favor...

Cuando estén secas las pilas
de todos los timbres
que vos apretás,
buscando un pecho fraterno
para morir abrazao...
Cuando te dejen tirao
después de cinchar,
lo mismo que a mí...
Cuando manyés que a tu lado
se prueban la ropa
que vas a dejar...
¡Te acordarás de este otario
que un día, cansado,
se puso a ladrar!

:dj:

First off, I have to point out that the Mike Velarde here is the musician Velarde who wrote the piece in Commonwealth Era Philippines. He is absolutely not the same person as the preacher guy doing gigs today. If he was, he must have an incredibly long life span equal to those of the Biblical Old Testament forefathers. Not.

This was a personal favourite of La Imelda, without a shadow of a doubt. The song was one of those done in triplicate, Tagalog, English and Spanish. It must be remembered that this was Commonwealth Era Philippines of the 1930s. The great Walled City of Intramuros was still intact before WWII and its many hispanoparlante inhabitants were also patrons of the arts. In fact, many of the old Commonwealth Era commercial advertisements were done en espanyol, like the Coca Cola advertisements published in the forums elsewhere.

This one could also be construed as an early form of a Tag-lish cancion. :D

"Dahil Sa Iyo" (Because of You) Original English/Tagalog Version

http://www.youtube.com/watch?v=iHI2RypmtmI

iHI2RypmtmI

Scythe214 | November 05, 2008
U.S. Copyright ©1964 Dexter Music Co. - Words and Music by Tom Spinosa and Mike Velarde Jr.

TOM SPINOSA: "The melody of "Dahil Sa Iyo" was originally written by Mike's father in 1936 in the Philippine Islands at the Manila Hotel where we met on one of my voyages to Manila. We were discussing it way back then. I was the orchestra leader on the USS President Lincoln. So I got acquainted with his father very well but it wasn't until 1949 that I actually wrote the English lyrics to it and made the deal with Mike. When I met Mike Jr. at the Jai-Alai night club in Manila in 1946, Mike did not have the song, but when we met again in May of 1949 he told me his father had given the song to him and I wrote the English lyrics to it.

The agreement I had with Mike was that I would take the tune to the U.S. and try to do something with it, whether through my publishing company or someone else's, and if I succeeded placing it we would divide the composers rights between us.

For the last 15 years I've been plugging it by handing out copies to Singers and Orchestra leaders throughout the world. This was possible due to my frequent travels abroad. I have a recording session scheduled on it with Tri-World Records of San Francisco."

2/12/64



Mi vida es un libro [ Dahil sa iyo ]

http://www.youtube.com/watch?v=WP_5eExDufg

WP_5eExDufg

fonsucu | July 02, 2010
Singer: Guillermo Gómez-Rivera
Song: Solo por ti [Dahil sa iyo].
Author: Miguel Velarde.

LETRA

Mi vida es un libro
en que todo está escrito,
los mil y un sufrimientos
que tanto me atormentan.
Y si hoy estoy a salvo
lo debo a tu cariño
pues solo tu querer
me pudo levantar.

Solo por ti
es muy bella la vida,
solo por ti
yo no quiero morir.
Bien debes de saber
que tú eres el origen
de todo lo que es amor
en mi escondido edén.

Solo por ti
es feliz la existencia,
y es mi ilusión
a tu lado vivir.
Puesto que ya es verdad
esta dulce esclavitud
todo el ritmo de mi canción
solo es por ti.

:dj:

DAHIL SA IYO (ORIGINAL VERSION) - Mabuhay Singers


http://www.youtube.com/watch?v=L6k_pvOFOgc

L6k_pvOFOgc

philclassic | September 20, 2009

"Dahil sa Iyo" is one of the most popular Kundiman in the Philippines. It was composed by Miguel "Mike" Velarde Jr. in 1937. Rogelio de la Rosa sung it in the 1937 movie "Bituing Marikit". The original Tagalog lyrics were written by Dominador Santiago. Sung by the Mabuhay Singers under the music supervision of Leopoldo Silos. The audio is from a vinyl phonograph played and recorded via USB turntable.




************************
ABOUT THE SONG

Miguel "Mike" Velarde Jr. composed "Dahil Sa Iyo" for the movie "Bituing Marikit", the first full length film by Sampaguita Pictures in 1937 starring Elsa Oria, the "Singing Sweetheart of the Philippines" and Rogelio de la Rosa.

One of the most popular examples of the genre of the Kundiman, this "classic Filipino love song" has been translated in many other languages.

Representing an earlier era remembered in nostalgia, it is one of the most popular songs in Tagalog, and a favorite in the Philippines as well as among Filipino communities abroad.

Its popularity in the Philippines is such that some think it ought to replace the current national anthem, "Lupang Hinirang," and that it should be played as such at a possible future state visit by American president Barack Obama to the Philippines.

"Dahil Sa Iyo" has become a standard on the repertoire of many artists performing Filipino romantic and popular music. Its canonical status as a classic Filipino love song was again confirmed by its inclusion on the 2004 runaway hit compilation album Great Filipino Love Songs.

The song is a personal favorite of Imelda Marcos, the wife of former Filipino President Ferdinand Marcos, who sang it frequently. In 2008 the song was still associated with her in Manila: "Suddenly, the heads of Peninsula Hotel lobby guests swiveled. Imelda Marcos had walked in. Without missing a beat, hotel musicians struck up 'Dahil sa Iyo.'"

Speaking of the song, its own composer, Miguel "Mike" Velarde Jr. relates: "Sometime in 1960 a famous US singer who made a personal appearance in Manila presented me a contract seeking authority to record 'Dahil Sa Iyo' in the States. The five figure offer was fabulous but I turned it down - simply because she wanted to change the title to an American title. I couldn't, and wouldn't sell the identity we are trying hard to establish. The merits of the song is its identity.'"

REFERENCE:

1.WIKIPEDIA

2. Contemporary Filipino Composers by U.P. Prof Helen F. Samson (Manlapaz Publishing Company, 2004)

3. 101 Filipino Icons (Adarna Publishing, 2007)


DISCLAIMER:

The audio presented in this video is not intended for commercial use or profit. Any commercial use may warrant royalties and/or compensation to the original publishers, artists and composers. The copying and distribution of materials posted here for commercial use is strictly prohibited by their original publishers.

Philclassic's Youtube channel is a non-profit resource and it exists strictly for the appreciation, restoration and preservation of vintage, traditional and classical Filipino music.

Maraming Salamat Po!



Sa buhay ko'y labis
Ang hirap at pasakit
Ng pusong umiibig
Mandi'y wala ng langit
At ng lumigaya
Hinango mo sa dusa
Tanging ikaw, sinta
Ang aking pag-asa

Dahil sa `yo nais kong mabuhay
Dahil sa `yo hanggang mamatay
Dapat mong tantuin
Wala ng ibang giliw
Puso ko'y tanungin
Ikaw at ikaw rin
Dahil sa `yo ako'y lumigaya
Pagmamahal ay alayan ka
Kung tunay man ako
Ay alipinin mo
Ang lahat sa buhay ko'y
Dahil sa `yo

:dj:

Other renditions done by Filipino or Foreign Artists… :colgate:

My personal fave choir … these guys can really sing without any instruments.

2005 UPSA: Strasbourg, FRANCE; Dahil Sa Iyo

http://www.youtube.com/watch?v=ddKp6YwLk6I

ddKp6YwLk6I

melvicgcano | March 22, 2007
The University of the Philippines Singing Ambassadors (UPSA)

Alsace, France



Dahil Sa Iyo by Pilita Corrales

http://www.youtube.com/watch?v=vAdQZMI5Yno

vAdQZMI5Yno

joelvanrijn | August 02, 2010



Sung by crooner Julio Iglesias, the husband of Filipina Isabel Preysler and the father of Enrique Iglesias.

JULIO IGLESIAS - 08 DAHIL SA' YO (TAGALOG) 1973

http://www.youtube.com/watch?v=t7Wfehw5mGQ&feature=related

t7Wfehw5mGQ&feature=related

filipepassos83 | June 22, 2009
AUDIO - JULIO IGLESIAS - 08 DAHIL SA' YO (TAGALOG), ALBÚM - ASÍ NACEMOS, 1973



The Lettermen - Dahil Sa Yo (Because of You)

http://www.youtube.com/watch?v=uYEGT38F6gI

uYEGT38F6gI
worship999 | August 10, 2007
One of the most beautiful songs ever written, sung by the Lettermen from the USA.....A Love song from the Philippines...simply enchanting..ah...



Rico J. Puno│Dahil Sa Iyo

http://www.youtube.com/watch?v=0U9c_1qdkxg&feature=related

0U9c_1qdkxg&feature=related
pinoytayo4ever | May 10, 2009
Rico J. Puno

Album © Greatest Hits
Song ® Dahil Sa Iyo



Sung with the American gringo twang…

[Your Charms are Mine(??)]

Jerry Vale - Dahil Sa Iyo

http://www.youtube.com/watch?v=jABPGreIktQ&feature=related
jABPGreIktQ&feature=related

itscalang | February 09, 2009
From the Greatest Hits Album



Nat "King" Cole Sings "Dahil Sa Yo" (audio only)

http://www.youtube.com/watch?v=tIXpJZzLMrU

tIXpJZzLMrU

evancortez2 | February 05, 2008
The legendary Nat "King" Cole sings the Filipino standard "Dahil Sa 'Yo"("Because of You") before a very appreciative Filipino audience at the Araneta coliseum in Manila sometime in 1961 or 1962.



A Japanese tribute …

Dahil sa iyo by Tadao Hayashi

http://www.youtube.com/watch?v=39YCw22cSfg

39YCw22cSfg

homeboy0102 | March 20, 2008
an intrumental filipino love song classic done by tadao hayashi version which he made a big hits of the late 80's. An everlasting love song recorded by the various international artist too. Enjoy!



A Polish tribute …

Polish-American tenor sings "Dahil Sa Iyo"

http://www.youtube.com/watch?v=TJAav-wG6as&feature=related

TJAav-wG6as&feature=related

dontagala | June 25, 2008
Who would have thought Polish-American tenor Mark Piekarz could sing "Dahil Sa Iyo"... giving Imelda Marcos a run for her money



3 Filipino Tenors in New York sing Dahil Sa Iyo

http://www.youtube.com/watch?v=pPNa4kAuXws

pPNa4kAuXws

21sings | January 17, 2008
Performing at the Snug Harbor Cultural Center as part of the first ever National Asian American Theater Festival representing East West Players. Lito Villareal, Randy Guiaya and Antoine Reynaldo Diel perform Filipino song Dahil Sa Iyo The 3 Filipino tenors are Lito Villareal, Randy Guiaya and Antoine Reynaldo Diel. (order from tallest to shortest) They are all in the United States in Los Angeles but are willing to tour anywhere for a performance. If interested in hiring them they can be reached at 3filipinotenors@gmail.com Thank you for your comments, we appreciate the love and support.


:pepper:

All-American choir sings like Pinoys


By Edson C. Tandoc Jr.
Philippine Daily Inquirer
First Posted 00:43:00 09/26/2010

Filed Under: Music, Culture (general), Internet, Social networking



COLUMBIA, Missouri—They sashayed, swayed their hips and flashed their sweetest smiles. And they even had the right “p”and “t” sounds.

Filipinos were amazed at how an all-American choir performed the Filipino folk song “Paru-Parong Bukid” with flourish, sounding every bit like Filipino singers.

The video-recorded performance by American college students of Northwest Missouri State University in Maryville has been going around on YouTube and Facebook, shared and reposted by thousands of Filipino viewers.

The young members of the choir Madraliers appeared to be having fun singing an old native song they probably never heard growing up.

The video, which runs for less than three minutes, shows a group of young men in black coats and young women in colorful gowns dancing as they sang “Paru-parong Bukid,” complete with the proper accent and pronunciation.

The Madraliers, composed of mostly music majors in the school, sang the folk song in two concerts in November last year: on campus and at the Liberty United Methodist Church in Liberty, Missouri.

Big YouTube hit

But the video gained popularity among Filipino Internet users only this month.

“When I originally posted the song, I did not know it would become such a big hit,” said Andrew Sanders, one of the choir members.

But another YouTube user reposted the video just early this month—and has gotten close to a 100,000 views since then.

“It just shows the power of music, being able to bring people together,” said Sanders, who has also been getting e-mails praising their performance. “It also shows that the hard work our choir does is appreciated.”

Learning the song was fun, Sanders recalled. “We wanted to get as close to having a correct accent as possible, and since we have had so many comments on how good our diction was, I believe we have achieved that goal.”

Exuberant, refreshing

“I find the style of the music exuberant, refreshing and enjoyable to hear,” said choir conductor Brian Lanier. “I was immediately intrigued by the interesting use of the language, the harmonic structure, and the humor of the text.”

This is the first time that Lanier, an associate professor of the university’s choral music education, taught his choir a song from the Philippines.

Lanier came across the folk song from a collection of pieces he got from a publisher last year, and got a translation of the lyrics.

He got help from the wife of his accompanist Richard Boettner in teaching his choir members the correct way of singing the song. Boettner’s wife Bing is a Filipino who hails from Bacolod City.

“I invited her to come and help me with the language as well as share some insight into the song and its meaning,” Lanier said.

Lanier recorded Bing speaking the lyrics line by line. He rehearsed the song with his choir members for several weeks and when he felt they were ready, he invited Bing back to hear the result.

Bing, a registered nurse, has been living with her husband Richard in Missouri since 1988 after they got married in the Philippines.

Correct dance steps

She grew up knowing the folk song by heart so she also helped in teaching the Madraliers the correct dance steps.

Sanders recalled: “She showed us a lot about the song as far as interpretation goes, with the original dance moves that she learned when she was a little girl singing the song.”

Bing recalled dancing the song as a student in the Philippines.

“Just the mention of the song brought back many pleasant memories of childhood and school days,” Bing said. “I grew up with it. It was also part of our music class.”

Bing focused on teaching the American choir members the Filipino way to pronounce the “p” and “t” sounds. The bigger challenge, however, was how to make the American students sway as gracefully as Filipinos would dance normally and effortlessly.

Hard work

Her hard work paid off: “I listened to them sing during practice and also during one of the performances. They did sound like Filipino singers.”

Those who saw the live performance enjoyed the song, too. Many of those who watched last year’s concert were musicians themselves, but Lanier said they “were very enthusiastic and they enjoyed the actions and the humor in the song.”

Lanier is particularly interested in exploring music from other cultures. He usually includes a song or two from other countries in his choir’s yearly repertoire.

He said: “I believe that through the study of music we can gain insight into the heart and soul of people from other countries.”

So what did “Paru-parong Bukid” tell him about the Filipino culture?

“I think the Philippine people have a wonderful sense of humor,” Lanier said. “They are not afraid to laugh at themselves. They can write beautiful music and appreciate life.”


Link:http://www.youtube.com/watch?v=-aCinWb0-ks

Pandanggo Rinconada
Philippine folk dance from Nabua

Z_A0H2_tIS8

Obviously the dance was an offshoot of the Spanish fandango that was introduced to the natives' repertoire of festival dances. The Pandanggo Rinconada derived its name from the sub-region of the Bicolandia where a distinct Bikol dialect is spoken. That subregion comprising the Camarines provinces is called Distrito de Rinconada. the other sub-regions of Bikol are Bikol Estandarte (Naga district), Bikol Albayano, Bikol Catanduanes, Bikol Masbatenyo and the Bikol Sorsogon also called Bisakol due to the heavy Bisayan influence in their language particularly Waray. In fact, some linguists classify the dialect spoken in Gubat, Sorsogan as Waray.

The Pandanggo Rinconada is a staple among the Christmas veladas (evening programs or shows) in Nabua, Camarines Sur.

HgprrPSJNGw

Zamboanga Hermosa Chorale "Bienvenidos"

K8_iPanITvs&feature=related

Full credits to cutecarl22 | January 27, 2008
Zamboanga night
@
Pagadian City

last September 18,2007

:dj:


>>>An example of Zamboangueño Song

Another popular song is Zamboanga Hermosa which praises the beauty of the women of Zamboanga. The song originated in the pre-war era, but it was only during the later part of the 1930’s when it was made popular by Matias Ranillo, Sr.,(a Dipolognon) Governor of Zamboanga Province. Later, a Cebuano Vod-a-vil show director, Borromeo Lou, popularized it. A Zamboangueño well-known local write and poet in Spanish who wrote the lyrics was Vicente Orendain. The following are the lyrics of Zamboanga Hermosa

ZAMBOANGA HERMOSA

Zamboanga Hermosa, preciosa perlita
Orgullo de Mindanao
Tus bellas dalagas son las que hermosean
Tu deliciosa ciudad


>>>>>>this is "Zamboanga City's Official Hymn"

Flores y amores que adornan tu jardin
Eres la imagen del bello eden;
Zamboanga hermosa, preciosa perlita
Orgullo de Mindanao

A much earlier song, composed during the Spanish regime is Leal y Valiente Villa de Zamboanga.


Zamboanga Hermosa - Major Chords (With Lyrics)

dvlLQ-i1pt0&feature=related

Full credits to BehGerElle14 | November 03, 2009
11th track of Major Chords album. Cancion de La Bella Ciudad de Zamboanga! Asia's Latin City!


Zamboanga hermosa

W2JmekBejv4&feature=related

Full credits to fonsucu | March 13, 2010
Del álbum Nostalgia Filipina II, Zamboanga hermosa ( de la tradición popular zamboangueña).
Canta Guillermo Gómez-Rivera.
Música: Rondalla del maestro Roberto Buena.

LETRA / LYRICS

Zamboanga hermosa,
preciosa perlita,
orgullo de Mindanao.

Tus bellas mujeres
son las que hermosean
tu deliciosa ciudad.

Las flores y amores
que brindas en tu jardín
son dulces recuerdos
de un viejo edén.

Zamboanga hermosa,
preciosa perlita,
orgullo de Mindanao.


:dj:


>>>this is "Zamboanga City's Official Hymn"

Indeed, 'tis haunting and melifluous ... :cheers2: beautiful instrumental, heck it can also make for great lounge music.

KUNDIMAN DE 1850: Jocelynang Baliwag -Pedro Concepcion (Very Rare Vinyl Copy)

http://www.youtube.com/watch?v=FGhl55Ud9y8

FGhl55Ud9y8

philclassic | August 21, 2010 | 4 likes, 0 dislikes
A favorite among the Tagalog (Bulacan) revolutionaries of 1896, its printed score was found among the papers of Juan Molina, leader of Orquesta Molina. The score bore an inscription: Musica de Legitimo Kundiman Procedente del Campo Insurrecto (Music of the Legitimate Kundiman that Proceeds from the Insurgent's Camp).

Cast in the slow triple time of the traditional Tagalog kundiman, the song has two parts. The melody of the song has been praised for its haunting but melifluous quality.

The first letters of the first words of the six-stanza lyrics spell out the name "Pepita" which refers to Pepita (nickname of Jocelyna) Tiongson, a beautiful Tagalog woman from Baliuag, Bulacan, to whom the song is dedicated. The songs melody is hauntingly sad, revealing an underlying pensiveness, a certain nostalgic vein.

SOURCE OF INFO:
Cultural Center of the Philippines Encyclopedia of Philippine Art Vol IV p. 242

JOCELYNANG BALIWAG
1896, Baliwag, Bulacan
Lyricist and Composer Unknown
Music from "Kundiman de 1850"

P- Pinopoong sinta, niring calolowa
Nacacawangis mo'y mabangong sampaga
Dalisay sa linis, dakila sa ganda
Matimyas na bucal ng madlang ligaya

E- Edeng maligayang kinaloclocan
Ng galak at tuwang catamis-tamisan
Hada cang maningning na ang matunghaya'y
Masamyong bulaclac agad sumisical

P- Pinananaligan niring aking dibdib
Na sa paglalayag sa dagat ng sakit
'Di mo babayaang malunod sa hapis
Sa pagcabagabag co'y icaw ang sasagip

I- Icaw na nga ang lunas sa aking dalita
Tanging magliligtas sa niluha-luha
Bunying binibining sinucuang cusa
Niring catawohang nangayupapa

T- Tanggapin ang aking wagas na pag-ibig
Marubdob na ningas na taglay sa dibdib
Sa buhay na ito'y walang nilalangit
Cung hindi ikaw lamang, ilaw niring isip

A- At sa cawacasa'y ang kapamanhikan
Tumbasan mo yaring pagsintang dalisay
Alalahanin mong cung 'di cahabagan
Iyong lalasunin ang aba cong buhay.

Audio from a vintage 10 inch vinyl phonograph record ( VLP 4008 : "Sunset Music Vol. I, Leopoldo Silos and his Symphonette, featuring Pedro Concepcion, guitar" Villar Records, Mareco Inc.)

-Philclassic's Filipiniana Music Archive

^^^^ The piece is also Jocelynang Baliuag. A rendition of a classic done in modern contemporary times. I wish I could play the guitar like that. Excellent work by Pasigenyo. :cheers2:

http://www.youtube.com/watch?v=a48b_UJ3VJ4

a48b_UJ3VJ4

From the vidmaker::
pasigenyo | November 13, 2009
**** COPYRIGHT MATERIAL FROM THE PHILIPPINE GUITAR **** **** NO FREE SHEET MUSIC / TABS ****
Another requested piece by lagrima111552. This is a rush job and I wish I could have done a better job with the baseline. The piece is very typical of the olden kundiman melodies but is still hauntingly beautiful.

I've taken a fancy to string instrumentals recently. Even at times more relaxing than those with vocals ... anyways, I see that the Spirit of the Habanera is very much alive in this excellent one... :cheers2:

Kundiman Art Song: Hatinggabi (Very Rare Copy)

http://www.youtube.com/watch?v=FIRu_9PpCN4

FIRu_9PpCN4

philclassic | August 12, 2010

Hatinggabi is one of the most memorable of Filipino kundiman, penned by Prof. Antonio Molina. Audio from a vintage 10 inch vinyl phonograph record ("Kundiman, Love Songs of the Philippines, The Villar Symphonette under the direction of Leopoldo Silos." Villar Records. Undated).

===========


Antonio Molina
1894-1980


Antonio J. Molina was a National Artist of the Philippines. A musical great, he was considered the peer of two other great Filipino musicians Nicanor Abelardo and Francisco Santiago. His talent was prodigious: he was the first violincellist of pre-war times, a composer, conductor, pedagogue, and music administrator.

Molina was born into a musical family Quiapo, Manila on 26 December 1894. His father Juan Molina was an influential government official who also founded the Molina Orchestra. His first formal music lessons was violin and solfeggio under Celestino de Vera, then a member of his father's orchestra.

He attended the Escuela Catolica de Nuestra Padre Jesus Nazareno in Quiapo. He continued high school and college at San Juan De Letran where he obtained abachelor of arts degree in 1909.

Complying with his father's wishes he pursued a Bachelor of Laws initially at the UST. He transferred in his second year of law studies to the Escuela de Derecho de Manila, where he finished his studies. He attained a teacher's diploma in violincello at the UP Conservatory of Music in 1923.

His first composition was "Matinal" in 1912 and it is preserved in an unpublished volume "Miniaturas", Volume I. He did a professional work, as concert soloist, composer, and conductor in Hanoi, French Indochina (now North Vietnam). Back in the Philippines, he was appointed to teach harmony, composition, music history, and violincello at the UP Conservatory of Music]]. He was also the first Filipino composer who was invited to perform his works to Malacañang. From being a consultant in music education at the Bureau of Public Schools, he also became the dean of the Centro Escolar Conservatory of Music. He also founded the first chamber music group, the CEU String Quartet which was professionally organized and financed by its music school.

As a conductor, he lead the first performance in the Philippines of Bach's Christmas Oratorio presented by the combined Knox and Central Church Choirs (1947), as well as the first performance Mozart's opera Don Giovanni, presented by the Manila Little Theater Group at the FEU Auditorium (1950). He is also remembered as the conductor of the first televised choral concert, featuring the Centro Escolar University Conservatory Chorus, over then DZAQ-TV Channel 3 (1953).

As a composer Molina was credited with over 500 compositions, including: o Hatinggabi, among earliest violin selections o Malikmata, piano o Ana Maria, zarzuela o Misa Antoniana Grand Festival Mass o Ang Batingaw, Kundiman- Kundangan; (chamber music) o Kung sa Iyong Gunita, Pandangguhan; (vocal music) o Amihan, Awit ni Maria Clara o Larawan Nitong Pilipinas, among others.

A true pioneer, he was one of the first composers to incorporate pentatonic scales and ethnic instruments such as the kulintang, and gabbang in his symphonies.

Molina influenced many prominent Filipino musicians including Lucresia Kasilag and Felipe de Leon.

He died on 29 January 1980 at age 86 and was honored with a state funeral befitting a Philippine National Artist.


Awards and Distinctions * Diploma of Honor, Manila Music Lovers Society, 1940 * Commemorative medal and diploma, Department of Education, Health and Public Welfare, 1942 * "Choral Conductor of the Year" and "Music Researcher of the Year," Music Lovers Society, 1949 * Honorary doctor of laws, honoris causa, CEU, 1953 * Araw ng Maynila Award in music, 1969 * Phi Kappa Phi Award and the UP Alumni Association Professional Award, 1972 * Republic Cultural Heritage Award, in 1965 and 1972 * National Artist of the Philippines, on 12 June 1973

SOURCE:

Samson, Helen F. Contemporary Filipino Composers. Quezon City: Manlapaz Publishing Company, 1976.

CCP Encyclopedia of Philippine Art Volume 3. Manila: Cultural Center of the Philippines, 1994

Versions of the Medianoche, Hatinggabi... :cheers2:


Hatinggabi by Maestro Jose Valdez

http://www.youtube.com/watch?v=qP2jp961Hm8

qP2jp961Hm8

dmagagon | October 23, 2010

A great arrangement for solo guitar of an Antonio Molina classic "Hatinggabi" by Maestro Jose Valdez as heard in the cd Philippine Classics by Maestro Jose Valdez.



10-string Guitarist Perfecto De Castro performs Antonio Molina's "Hatinggabi"

http://www.youtube.com/watch?v=68uYJjWT_v0

68uYJjWT_v0

perfektus | October 13, 2009

Originally written for violin and piano, "Hatinggabi" is one of the Philippines' most beloved compositions by National Artist for Music, Antonio Molina. This version is arranged by Maestro Jose Valdez.

This piece is included in Perfecto's "A Journey through 10 Strings" CD, available on

CDBaby.com: http://cdbaby.com/cd/perfectodecastro

and iTunes: http://phobos.apple.com/WebObjects/MZ...

Performed on a 2009 Greg Brandt 10-string guitar, recorded on a JVC Everio HD video camera.



Hatinggabi - Antonio Molina Violin and Rondalla

http://www.youtube.com/watch?v=EmGdo9kDj24

EmGdo9kDj24


nsoliven | October 03, 2009

Philippine Chamber Rondalla with special guest Ms. Leonor Llorin Paliguin plays Antonio Molina's "Hatinggabi" Special Rondalla arrangement by Bayani de Leon.

One of my favorites! This song was used as the theme song of one of the five remaining pre war movies, Tunay na Ina (1939). The movie stars Rosario Moreno, Rudy Concepcion and Tita Duran. This is the best version for me, I just the love the duet!

The video clip below also features the little Tita Duran singing "Maawa sa Isang Pulubing Bata."

TN-PyoTw67A&feature=search

video posted by SIMON7153 Just saw this next vid today ... :D only for aficionados of course :lol: .... We have seen many photos and videos of Manila and the Philippines from afar, its buildings and parks in the old days ...

Well, if anyone wants to catch a glimpse of Philippine society up close in the late '30s and how they socialized and interacted in parties and soirees, one has to begin in Frame 07:45 ... :D it is easy to see that their society back then was culturally sophisticated and well groomed.

tunay(1939) 1/7 ... Pls Fast Forward to Frame 07:45 for a nice rendition of Buhat

http://www.youtube.com/watch?v=yVOeqGh5Ofw

yVOeqGh5Ofw

jotiv69 | October 16, 2010

A lovely lullaby sung by a lovely lady... Who could this be? :cheers2:

ili ili Tulog Anay - (version by Pauleen Luna)
http://www.youtube.com/watch?v=5NEVv2dcgTQ

5NEVv2dcgTQ

TropangPaGoodlookz | January 11, 2009


Ili Ili Tulog Anay - (version by Pauleen Luna) v2
http://www.youtube.com/watch?v=7Ydnol2vtuE

7Ydnol2vtuE

TropangPaGoodlookz | January 11, 2009

3 versions by 3 schools :cheers2: - UST, UP and the University of South Carolina in what seems like an all American cast.

UST Singers Alumni- Ili-Ili Tulog Anay
http://www.youtube.com/watch?v=QGhAsWse8aE

QGhAsWse8aE

JengLeung | August 05, 2008
Idaho International Choral Festival
July 2008


UPCC 2000 Ili-ili Tulog Anay a Hiligaynon lullaby
http://www.youtube.com/watch?v=LA8r0kzDvlk

LA8r0kzDvlk

flipla | January 28, 2007
University of the Philippines Concert Chorus 2000 in Oslo, Norway
Conductor: Janet Sabas Aracama
Soloists: Analou Austria and Ma. Joy Malaga


Ili-Ili Tulog Anay. Arr. by Priscilla Magdamo (2 of 6)
http://www.youtube.com/watch?v=qHc3Yme_kow

qHc3Yme_kow

EliMartha | April 27, 2010
Second song sung by the University of South Carolina Graduate Vocal Ensemble during the lecture-recital on Philippine Choral Music conducted by Eliezer Yanson Jr. April 22, 2010

Jolilorlyn Quitain, Sarah Abbott, Stephanie Beinlich, sopranos; Ginger Jones, alto

:cheers2: fascinating Visayan lullaby.

Ili-Ili Tulog Anay - Traditional (arr. by Jose Valdez)
http://www.youtube.com/watch?v=w8SlrYZd9N0

w8SlrYZd9N0

pasigenyo | April 23, 2010
**** COPYRIGHT MATERIAL FROM THE PHILIPPINE GUITAR **** **** NO FREE SHEET MUSIC / TABS ****
I recently counted how many pieces I've played so far in the Philippine Guitar book. With this latest addition, the count stands at 35. I thought I was almost through with the book until I realized there are still 35 more pieces to go!!!!. So I just hit my midpoint milestone and it only took me 3 years to get here. The song from which this piece is based, as I understand from the discussions out there, is an Ilonggo (Visayan) lullaby. I think it's appropriate to post the lyrics here.


Ili, ili, tulog anay
wala diri imo Nanay
kadto tienda, bakal papay
ili, ili, tulog anay

Mata ka na,
tabangan mo
ikarga ang nakompra ko
kay bug-at man singputos ko
tabangan mo ako anay

Ili, ili, tulog anay
wala diri imo Nanay
kadto tienda, bakal papay
ili, ili, tulog anay


Translation:

Hush, hush, sleep little one
your mother is not here,
she went to buy some bread
hush, hush, sleep little one.

You are awake,
come and help
carry the things I bought
because it is heavy
help me little one

Hush, hush, sleep little one
your mother is not here,
she went to buy some bread
hush, hush, sleep little one.

An Ilocano Folk song. :cheers2:

Ti Ayat Ti Meysa Nga Ubing
- Traditional (arranged by Jose Valdez)
http://www.youtube.com/watch?v=iZDnmO2_EuQ

iZDnmO2_EuQ

pasigenyo | November 19, 2009

Ti ayat ti maysa nga ubing,
Nasamsam-it ngem hasmin
Kasla sabong nga apag-ukrad
Iti bulan ti Abril

Ti ayat ti maysa a lakay,
Aglalo no agkabaw,
Napait, napait, napait a makasubkar.

Anansa a tao lelong,
Agsapulka tay balo
A kapadpad ta ubanmo
Ken dayta tuppolmo
Ta bay-am a panunuten
Ti ayat ti maysa nga ubing
Aglalo, aglalo no addan makin-aywanen

Ti ayat ti maysa nga ubing,
Nasamsam-it ngem hasmin
Kasla sabong nga apag-ukrad
Iti bulan ti Abril.

Ti ayat ti maysa a lakay,
Aglalo no agkabaw,
Napait, napait, napait a makasubkar.

Anansa a tao lelong,
Agsapulka tay balo
A kapadpad ta ubanmo
Ken dayta tuppolmo
Ta bay-am a panunuten
Ti ayat ti maysa nga ubing
Aglalo, aglalo no addan makin-aywanen
Aglalo, aglalo no addan makin-aywanen

Or translated into English would almost seem like a Shakespearean "How Much Do I Love Thee" :cheers2:

The amazing thing is that Katrina is playing the piece in an L.A. mall.

KATRINA PLAYS FILIPINO MUSIC GAANO KO IKAW KAMAHAL ON THE PIANO
http://www.youtube.com/watch?v=NAhwU4W90_M

NAhwU4W90_M

katrinasaroyan | September 04, 2008
http://www.katrinasaroyan.com/
Los Angeles based Harpist/Pianist Katrina Saroyan plays filipino music on the piano.


Jonathan Badon’s version. Actually from what I gather, the song’s lyrics were written by Levi Celerio.

GAANO KO IKAW KAMAHAL
http://www.youtube.com/watch?v=Se9i_qcoOAc

Se9i_qcoOAc

thresholdthrong | September 30, 2007
A Filipino immortal love song composed by E. Cuenco

Levi Celerio lyrics:

Ikaw lamang ang aking iibigin magpakailanman
Ang pag-ibig ko sa iyo ay tunay
Nais ko sanang patunayan
Huwag ka nang mag-alinlangan
Ang pag-ibig ko'y hindi kukupas
Tulad din ng umagang may pag-asang sumisikat

Ang ating buhay maikli aking Hirang
Kung kaya kailangan ang pagsuyong wagas kailanman
Ang sumpa ko sa iyo ay asahan
Ikaw lamang ang aking iibigin magpakailanman

Ang pag-ibig ko'y hindi kukupas
Tulad din ng umagang may pag-asang sumisikat
Ang ating buhay maikli aking Hirang
Kung kaya kailangan
Ang pagsuyong wagas kailanman
Ang sumpa ko sa Iyo'y asahan
Ikaw lamang ang aking iibigin magpakailanman
Ang sumpa ko sa iyo'y asahan
Ikaw lamang ang aking iibigin magpakailanman

On the Guitars. :cheers2:

Gaano Ko Ikaw Kamahal - E. Cuenco (arr. by Jose Valdez)
http://www.youtube.com/watch?v=VQj598vap_I

VQj598vap_I

pasigenyo | April 03, 2009
**** COPYRIGHT MATERIAL FROM THE PHILIPPINE GUITAR ****
**** NO FREE SHEET MUSIC / TABS ****
Composed by E. Cuenco...arranged for guitar by J. Velez...played crappily by me..from The Philippine Guitar book.



Amazing Cool Kid. :cool: :cool: :cool:

Gaano Ko Ikaw Kamahal (Acoustic Version)
http://www.youtube.com/watch?v=t0Bp5nwOLXA

t0Bp5nwOLXA

deryk2784 | December 15, 2008
This is one of my all-time favorite Filipino classic love songs.

I've tried taking on a more chill-out approach to it to practice my guitar-playing, and also because I most definitely do *NOT* have the voice to sing it the way it was originally sung.

I'm not as cool as the real Filipino singers of way back when. :)

This same trio did a piece way back then and the dude was mis-identified by me as Rusty Umali Jr.... my bad.

Gaano Ko Ikaw Kamahal
http://www.youtube.com/watch?v=RrWo4LnMi-w

RrWo4LnMi-w

cecilecruz | May 22, 2007

jonathan arevalo coo, kit viguilla-navarro, ninette tenza-umali

http://4.bp.blogspot.com/_nxUb2kYKSvI/TS3DC5OtbqI/AAAAAAAAY2Q/2dR_138UFHA/s1600/Paroparong%2BBukid-%2B38-Elsa%2BOria1-sf.jpg

http://3.bp.blogspot.com/_nxUb2kYKSvI/TS3DDLTPcpI/AAAAAAAAY2Y/ofE1qfzbdxk/s1600/Paroparong%2BBukid-%2B38-%2BElsa%2BOria2-sf.jpg

"Paroparong Bukid" (1938)
Sampaguita Pictures Inc.
Release Date: May 31- June 12, 1938/ Grand Theater
Director: Octavio Silos
Cast: Elsa Oria and Rudy Concepcion

Flyer and info taken from Mr. Simon Santos' blog: video48.blogspot.com (http://video48.blogspot.com/)

Paroparong Bukid -Rosita Sta. Fe (Very Rare 78 RPM Shellac Record)

p3uMRs6nJWE&feature=relmfu

Thanks to Philclassic!

You can find rare tagalog balitaw and kundiman songs here:

http://www.youtube.com/user/philclassic

^^ I think Video48 has a stockpile of rare films we won't find in record bars today.

^^ yeah ady, many of classic pinoy films that are not in original dvd can still be found in his shop video48, though in VHS format. I really want to visit his shop in Quezon city but I can't find time.

Anyway, I now find pre-war pinoy films interesting because of video48. :D

FIRST FILIPINO RECORDING ARTIST: MARIA CARPENA

http://1.bp.blogspot.com/_QG0DcWI2sG0/TLxMK573QEI/AAAAAAAACNQ/d3ucUP7C1Os/s1600/Maria-Carpena-A.jpg

Soprano and sarswela star Maria Carpena was born on October 22, 1886, in Santa Rosa, Laguna. She was one of the eight children of Camilo Carpena, a rice grower and leaseholder of friar lands, and Maria Evangelista of Biñan, Laguna.

Carpena started singing in the church choir of Santa Rosa as tiple (soprano). She was sent to study in the Colegio de Santa Rosa in Manila and received her musical education under renowned composer Fulgencio Tolentino. Her voice and personality often attracted attention whenever she performed as a choir soloist in school activities.

At the age of 15, she debuted in a benefit concert at the Zorrilla Theater in 1901. This performance led her to love the theatre that she later appeared in a Tagalog sarswela under the direction of Cirilo Samonte. “This theatrical engagement was against the wishes of her father who disowned her” (Manuel 1955).

For a time, she continued her schooling “thru charity, helping the mothers in their works in embroidery and singing” (Manuel 1955). However, she eventually stopped going to school and later married Jose Alcantara. In 1904, when she was 18, she was widowed two kids, Florita and Jaime Alcantara.

Nonetheless, she continued to sing in the church choir as well as perform onstage. She was later discovered by Tagalog dramatist and sarswela producer, Severino Reyes when he heard her sing at Biñan Church. He teamed her up with Victorino Carrion in the sarswela Walang Sugat and the tandem became very popular. Carpena also appeared with other actors in the plays Minda Mora, Lakas ng Dugo, and La Confianza Mata al Hombre.

Carpena’s beauty, charming personality, and captivating voice made her one of the most acclaimed performers of her time. As Professor H. Otley Beyer described her: “She was a real nightingale. She would sing at the Luneta to 20,000 people and her voice would be heard clear through Manila Hotel.”
She died in 1915 in Manila.

http://www.himig.com.ph/features/22-maria-carpena

Patriotic Kundiman : Ang Maya - sung by Maria Carpena (circa 1910)

47ZGGq3daq4

"Ang Maya" or 'Filipinas Para Los Filipinos' is actually a veiled patriotic Kundiman composed by Maestro Jose Estrella, the "Father of Philippine Waltz", during the American colonial era. Its Tagalog lyrics in metaphors were written by the poet Jose Corazon de Jesus. Interpreted by Maria Carpena, the "First Filipino Recording Artist", and published by Victor Records of America (circa 1910).

video source: http://www.youtube.com/user/philclassic

RARE PRE-WAR TAGALOG MOVIE FLYER: ELSA ORIA IN "NASAAN KA IROG?" (1937, PARLATONE HISPANO-FILIPINO INC.)

Source: Mr. Simon Santos, video48.blogspot.com

http://2.bp.blogspot.com/-wxY8AqNMHtQ/TWOubsA6HzI/AAAAAAAAZE8/uxLEfpwXT3A/s1600/Nasaan%2Bka%2BIrog-37-%2BElsa%2BOria-sf.jpg

http://1.bp.blogspot.com/-6T-UStZM0iA/TWRmuwBnFjI/AAAAAAAAZG8/bLuTkK7LO0w/s1600/Nasaan%2BKa%2BIrog-37-%2BElsa%2BOria2-sf.jpg

"Nasaan Ka Irog" (1937)
Production: Parlatone Hispano-Filipino Inc.
Release Date: March 11, 1937/ Fox Theater
Music: the late Nicanor Abelardo, Miguel Velarde, Jr., Leon Ignacio, Juan Silos, Jr., and Benito Trapaga
Director: Carlos Vander Tolosa
Cast: Elsa Oria, Angel Esmeralda, Tito Arevalo, Prima Vera and the SSS Trio, Bimbo, Moonlight Troubadours, Parlatone Symphony Orchestra, etc.

Elsa Oria, dubbed as the singing sweetheart of the Philippines, was a box-office queen during her time and most of her movies were sensational hits. She was also known as the "Jeanette McDonald" of Philippine movies and best remembered in musical hit movies like Nasaan Ka Irog, Bituing Marikit and Madaling Araw.

Source: Mr. Simon Santos, video48.blogspot.com

Rosario is a 2010 drama film directed by Albert Martinez, an official entry to the 36th Metro Manila Film Festival. The story was about Manuel V. Pangilinan's grandmother. The film stars Jennylyn Mercado, Yul Servo, Dennis Trillo, Isabel Oli, Sid Lucero, Philip Salvador, Eula Valdez and with a very special participation of Dolphy. Ogie Alcasid composed the theme song for the movie titled, "Ang Aking Buhay" and will be sang by Jennylyn Mercado.


http://3.bp.blogspot.com/_WsHaniQkI4s/TQmxNRvONVI/AAAAAAAAP34/pmS60jWixEs/s1600/rosario.jpg

Plot

The story revolves around Rosario (Jennylyn Mercado), a paragon of beauty and grace, intelligent, sophisticated, a liberal thinker, a young and liberated Filipina in the 1920s who has just arrived from New York, and is spending her vacation in their hacienda.

The daughter of Don Enrique (Phillip Salvador) and Doña Adela (Eula Valdez), Rosario was a passionate woman who lives according to her heart’s desires. She was a woman ahead of her time.

There, she meets and falls in love with Vicente (Yul Servo), an older man who manages the tobacco plantation owned by Rosario's family. When Rosario's father finds out about his daughter's scandalous affair, he sends Rosario to a convent.

She escapes, and elopes with Vicente to Manila where they raise a family. But Rosario's life of married bliss slowly crumbles when Vicente becomes ill with tuberculosis, and she is lured to committing adultery. Temptation and scandal still hound Rosario as she continues to defy the moral restrictions of her time.
Based on a true story and set in one of the most colorful periods in Philippine history, ROSARIO is destined to be a modern masterpiece in Philippine filmmaking. It is a monumental yet intimate portrait of a woman's emancipation and the sometimes painful consequencesof following one's desires.


Cast

Jennylyn Mercado as Rosario
Yul Servo as Vicente
Dennis Trillo as Alberto Fernandez
Isabel Oli as Carmen
Sid Lucero as Carding
Phillip Salvador as Don Enrique
Eula Valdez as Doña Adela
Tonton Gutierrez
Dolphy as the elder Jesus
John Estrada as Jose


Facts

This is Albert Martinez's first directorial feature film.
This is Jennylyn Mercado's first title role for a film.
This is TV5's (Studio 5) first movie project.
Bea Alonzo was first considered to play the role of Rosario.
An on-the-set Spanish consultant was hired to guide actors when they need to deliver lines in Spanish.
Rosario is the first to use new Arri Alexa camera (in the Philippines).


The 2010 Metro Manila Film Festival Awards

Rosario got 7 awards at Gabi ng Parangal last December 26, 2010.
2ND Best Picture
Best Supporting Actor - Dolphy
Gatpuno Antonio Villegas Cultural Award
Best Cinematography - Carlo Mendoza
Best Edting - John Wong
Best Production Design - Joey Luna
2010 Best Float

Film Snapshots

http://2.bp.blogspot.com/_WsHaniQkI4s/TQmpBATKn8I/AAAAAAAAP3A/Q8pQROx98KU/s1600/17.jpg
http://1.bp.blogspot.com/_WsHaniQkI4s/TQmlvYk0HZI/AAAAAAAAP24/BLphyUJMuSA/s1600/3.jpg
http://3.bp.blogspot.com/_WsHaniQkI4s/TQmwL748gHI/AAAAAAAAP3Q/NZzGtadFc6I/s1600/12.jpg
http://3.bp.blogspot.com/_WsHaniQkI4s/TQmxdG3Px5I/AAAAAAAAP4I/4HCLcfzFadM/s1600/R%2BIsabel%2BOli%2B005.jpg

Film trailer


EvfYxQU3eNE

photo source (http://www.ohmski.info/2010/12/rosario-review.html)
---
It was a joy watching this film, really. Now that mainstream cinema industry focuses more on profit rather than pursuit of artistic value, well I believe this film got cheated from the top place in the recently concluded MMFF 2010. Plot, story, cinematography, photography and cast-wise, it has more bragging rights than Ang Tanging Ina Last na Ito which landed Best Picture. The other MMFF entries were just plain potboilers. Hopefully, TV-5 will make more films from this tradition and reinvigorate our film industry more.

^^ Ditto! I also watched Rosario and I have same sentiments as yours.

It was a joy watching this film, really. Now that mainstream cinema industry focuses more on profit rather than pursuit of artistic value, well I believe this film got cheated from the top place in the recently concluded MMFF 2010. Plot, story, cinematography, photography and cast-wise, it has more bragging rights than Ang Tanging Ina Last na Ito which landed Best Picture. The other MMFF entries were just plain potboilers. Hopefully, TV-5 will make more films from this tradition and reinvigorate our film industry more.

I rented and watched Ang Tanging Ina Last na To.... And it wasn't even funny anymore. It was quite essentially a horrible piece of crap. I can't believe it won best picture. I mean seriously, do they know what even a decent picture is? The cinematography was sooo unbelievably outdated.

When will they release Rosario to DVD/Blu Ray? I really hope BR...

I rented and watched Ang Tanging Ina Last na To.... And it wasn't even funny anymore. It was quite essentially a horrible piece of crap. I can't believe it won best picture. I mean seriously, do they know what even a decent picture is? The cinematography was sooo unbelievably outdated.

When will they release Rosario to DVD/Blu Ray? I really hope BR...

Everything about Ang Tanging Ina is "pilit." The best picture conferment was really not worth it. I haven't an idea about the DVD release, but If you can't wait there are torrents of the film available in the web.

^^ There is a slim chance for a Rosario DVD, given its flopped cinema sales. sadly.

[QUOTE=esagerato;59425337]So nice to find this video clip on youtube. This is a clip from "Tunay na Ina," one of the 5 surviving pre war movies. It stars Rosario Moreno and Rudy Concepcion, one of the popular "loveteams" of that era. So sad that only 5 pre war movies are extant. Most were either lost or destroyed during WWII. It would be so great to watch these movies full of values that are now gone forever.

Good day - Lately I have been hooked to you tube watching various old time black and white pinoy klassik films - they are a real treasure. try popping into jotiv69. he has more than 20 blk and white films for you to enjoy. happy viewing!

^^ There is a slim chance for a Rosario DVD, given its flopped cinema sales. sadly.

Damn it what a waste. People are just far too dumb to appreciate actual greatness. How fucking annoying.

RARE PRE-WAR TAGALOG MOVIE FLYER: ELSA ORIA IN "NASAAN KA IROG?" (1937, PARLATONE HISPANO-FILIPINO INC.)

Source: Mr. Simon Santos, video48.blogspot.com

http://2.bp.blogspot.com/-wxY8AqNMHtQ/TWOubsA6HzI/AAAAAAAAZE8/uxLEfpwXT3A/s1600/Nasaan%2Bka%2BIrog-37-%2BElsa%2BOria-sf.jpg

http://1.bp.blogspot.com/-6T-UStZM0iA/TWRmuwBnFjI/AAAAAAAAZG8/bLuTkK7LO0w/s1600/Nasaan%2BKa%2BIrog-37-%2BElsa%2BOria2-sf.jpg

"Nasaan Ka Irog" (1937)
Production: Parlatone Hispano-Filipino Inc.
Release Date: March 11, 1937/ Fox Theater
Music: the late Nicanor Abelardo, Miguel Velarde, Jr., Leon Ignacio, Juan Silos, Jr., and Benito Trapaga
Director: Carlos Vander Tolosa
Cast: Elsa Oria, Angel Esmeralda, Tito Arevalo, Prima Vera and the SSS Trio, Bimbo, Moonlight Troubadours, Parlatone Symphony Orchestra, etc.

Elsa Oria, dubbed as the singing sweetheart of the Philippines, was a box-office queen during her time and most of her movies were sensational hits. She was also known as the "Jeanette McDonald" of Philippine movies and best remembered in musical hit movies like Nasaan Ka Irog, Bituing Marikit and Madaling Araw.

Source: Mr. Simon Santos, video48.blogspot.com

:banana: howdy esagerato
hey, I never knew the title was also a movie; always thought it was purely a kundiman... anyways, I read somewhere that there is in fact a Spanish version written by the Hispano Filipino nationalist poet Jesus Balmori of the Nasaan Ka Irog by Nicanor Abelardo. Just in case any of you guys happen to come across those rare copies, ... much appreciate it :colgate:

Rosario is a 2010 drama film directed by Albert Martinez, an official entry to the 36th Metro Manila Film Festival. The story was about Manuel V. Pangilinan's grandmother. The film stars Jennylyn Mercado, Yul Servo, Dennis Trillo, Isabel Oli, Sid Lucero, Philip Salvador, Eula Valdez and with a very special participation of Dolphy. Ogie Alcasid composed the theme song for the movie titled, "Ang Aking Buhay" and will be sang by Jennylyn Mercado.


http://3.bp.blogspot.com/_WsHaniQkI4s/TQmxNRvONVI/AAAAAAAAP34/pmS60jWixEs/s1600/rosario.jpg

Plot

The story revolves around Rosario (Jennylyn Mercado), a paragon of beauty and grace, intelligent, sophisticated, a liberal thinker, a young and liberated Filipina in the 1920s who has just arrived from New York, and is spending her vacation in their hacienda.

The daughter of Don Enrique (Phillip Salvador) and Doña Adela (Eula Valdez), Rosario was a passionate woman who lives according to her heart’s desires. She was a woman ahead of her time.

There, she meets and falls in love with Vicente (Yul Servo), an older man who manages the tobacco plantation owned by Rosario's family. When Rosario's father finds out about his daughter's scandalous affair, he sends Rosario to a convent.

She escapes, and elopes with Vicente to Manila where they raise a family. But Rosario's life of married bliss slowly crumbles when Vicente becomes ill with tuberculosis, and she is lured to committing adultery. Temptation and scandal still hound Rosario as she continues to defy the moral restrictions of her time.
Based on a true story and set in one of the most colorful periods in Philippine history, ROSARIO is destined to be a modern masterpiece in Philippine filmmaking. It is a monumental yet intimate portrait of a woman's emancipation and the sometimes painful consequencesof following one's desires.


Cast

Jennylyn Mercado as Rosario
Yul Servo as Vicente
Dennis Trillo as Alberto Fernandez
Isabel Oli as Carmen
Sid Lucero as Carding
Phillip Salvador as Don Enrique
Eula Valdez as Doña Adela
Tonton Gutierrez
Dolphy as the elder Jesus
John Estrada as Jose


Facts

This is Albert Martinez's first directorial feature film.
This is Jennylyn Mercado's first title role for a film.
This is TV5's (Studio 5) first movie project.
Bea Alonzo was first considered to play the role of Rosario.
An on-the-set Spanish consultant was hired to guide actors when they need to deliver lines in Spanish.
Rosario is the first to use new Arri Alexa camera (in the Philippines).


The 2010 Metro Manila Film Festival Awards

Rosario got 7 awards at Gabi ng Parangal last December 26, 2010.
2ND Best Picture
Best Supporting Actor - Dolphy
Gatpuno Antonio Villegas Cultural Award
Best Cinematography - Carlo Mendoza
Best Edting - John Wong
Best Production Design - Joey Luna
2010 Best Float

Film Snapshots

http://2.bp.blogspot.com/_WsHaniQkI4s/TQmpBATKn8I/AAAAAAAAP3A/Q8pQROx98KU/s1600/17.jpg
http://1.bp.blogspot.com/_WsHaniQkI4s/TQmlvYk0HZI/AAAAAAAAP24/BLphyUJMuSA/s1600/3.jpg
http://3.bp.blogspot.com/_WsHaniQkI4s/TQmwL748gHI/AAAAAAAAP3Q/NZzGtadFc6I/s1600/12.jpg
http://3.bp.blogspot.com/_WsHaniQkI4s/TQmxdG3Px5I/AAAAAAAAP4I/4HCLcfzFadM/s1600/R%2BIsabel%2BOli%2B005.jpg

Film trailer


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photo source (http://www.ohmski.info/2010/12/rosario-review.html)
---
It was a joy watching this film, really. Now that mainstream cinema industry focuses more on profit rather than pursuit of artistic value, well I believe this film got cheated from the top place in the recently concluded MMFF 2010. Plot, story, cinematography, photography and cast-wise, it has more bragging rights than Ang Tanging Ina Last na Ito which landed Best Picture. The other MMFF entries were just plain potboilers. Hopefully, TV-5 will make more films from this tradition and reinvigorate our film industry more.
Hey hey hey what have we here? :colgate: Coming at the heels of the Nasaan Ka Irog post, this gem of a movie just proved this old adage wrong ~ (they don't make movies like they used to anymore). Well, certainly they still do in this case! It is exhilirating to see quality works of art such as these here still being produced. what a pleasant surprise, indeed!

now if I could only grab any copy of it and watch it ... ;)

performed by the guys

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nice rendition by this FilAm tenor who claims he cannot speak any Fil. language...

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:cool:

Damn it what a waste. People are just far too dumb to appreciate actual greatness. How fucking annoying.

There is something wrong with our moviegoers today. Can't blame movie producers if all the movies they produce today are nothing but a whole bunch of crap with rehashed storyline, bad direction, script and acting. As long as it's a feel good movie, moviegoers will go and see them and the movie will surely become a box office hit. Movies with high quality such as Rosario are bound to flop because people often stereotype these movies as baduy and old-fashioned. Even our taste in movies is deteriorating. :(

:banana: howdy esagerato
hey, I never knew the title was also a movie; always thought it was purely a kundiman... anyways, I read somewhere that there is in fact a Spanish version written by the Hispano Filipino nationalist poet Jesus Balmori of the Nasaan Ka Irog by Nicanor Abelardo. Just in case any of you guys happen to come across those rare copies, ... much appreciate it :colgate:

Hey Mercato! Welcome back to us! been busy with things lately. I hope I'm back for good. :lol:

Yeah, I know that there is a Spanish version of Nasaan Ka Irog entitled(Dónde estás, mi vida?) but I can't find the lyrics online. I came across a Spanish version of the Kundiman "Pakiusap" in a book about Kundiman in a bookstore though. I'll go back to that bookstore when I have time to see If I can find a Spanish version of Nasaan Ka Irog as well. :)

Good day - Lately I have been hooked to you tube watching various old time black and white pinoy klassik films - they are a real treasure. try popping into jotiv69. he has more than 20 blk and white films for you to enjoy. happy viewing!

Yes, thanks to that guy, perhaps I was able to watch 60% of all the movies uploaded in his profile. :) It's great to see timeless classics such as Anak Dalita, Biyaya ng Lupa and many more in youtube. :)

FIRST FULL-LENGTH FILIPINO FILM: HONORATA "ATANG" DE LA RAMA IN "DALAGANG BUKID" (1919, MALAYAN PRODUCTIONS)

sources:

photos:
video48.blogspot.com
pelikulaatbp.blogspot.com

plot:
New Structure II
Stockholm University, Department of Cinema Studies
Nadi Tofighian

http://img7.imageshack.us/img7/2274/atangdelaramasf.jpg

http://img228.imageshack.us/img228/600/dalagangbukidtearozoril.jpg

Production: Malayan Productions
Release Date/Screenings: September 12-, 1919 in Teatro de la Comedia; September 25-, 1919 in The Majestic.
Press: Manila Nueva, September 13, 1919; The Citizen, September 18, 1919; The Citizen, October 9, 1919; Graphic, October 13, 1928; Graphic, October 20, 1928
Songs: Nabasag ang Banga, Awit ng Pabo at Loro and several others
Director: Jose Nepumuceno
Writers: Leon Ignacio & Hermogenes Ilagan
Cast: Atang Dela Rama & Marcelino Ilagan

PLOT: Dalagang Bukid is a love story about a young flower vendor, Angelita (Atang de la Rama), who is betrothed by her parents to a rich, old man, Don Silvestre, but she loves Cipriano, a law student. The play consists of three acts and is filled with music (18 songs), which made it suitable for a screen adaptation with an accompanying orchestra. The film showed many of the woes plaguing the Filipino society, as well as issues relevant for the society of the time: gambling, Americanisation, infidelity, poverty, the power of money versus the power of love, parents view on marriage, and corrupt government officials.

The home of Angelita, the pretty heroine, is a certain picture of many Philippine families, although it somewhat exaggerates the negative tones. Angelita, the flower girl of the Cabaret, the “Dalagang Bukid”, loves Cipriano with the sincere and spontaneous passion of her twenties.

Cipriano is a Law student who loves her back equally. The parents of Angelita, without much financial resources, limited in their moral honesty because of the gambling demon, don’t see with good eyes the love of the happy couple, where tenderness and affection are abundant but money the great dominating ingredient, is missing. This is why Mrs Biang is inclined into accepting the propositions from Don Silvestre, an old loan shark, rich in aches and gold, who still has a young heart and allows himself to visit the cabarets and buy flowers from the pretty florists [ladies] such as Angelita; this doesn’t prevent him from lending money with a high interest, low mortgage, and still give away some money to Angelita’s parents, who see in Don Silvestre the source who will let them continue without working, the father spending time in his favourite sport at the “chicken fighting games” and her, the mother gambling.
Meanwhile, Angelita and her brothers, all younger and working as shoe shiners at the threshold of the Church of the Holy Cross, maintain the expenses of the house with their honest and hard work. Don Silvestre, who is a pro in these issues, takes over the will of Angelita’s parents and since he was able to have Angelita win a beauty contest in “La Vanguardia” thanks to the power of gold, he requests the parents to have the florist as his wife. They accept and a date is fixed for the wedding, which is the next day of the formal crowning of Angelita as the Beauty Queen. But Cipriano, who just finished his studies brilliantly after many long nights of studying, goes to the home of his beloved in the moment that she is going to get in Don Silvestre’s car to be taken to the Crowning ceremony. Already secretly in agreement from the day before, the love birds go in the same car of the old loan shark towards a church where they are wed in holy matrimony by a generous minister of God: having finished the ceremony they go to the Crowning event where the whole world learns about their union. Don Silvestre faints and this is how the movie finishes.

News Article Source:
JAMES DR OF
http://pelikulaatbp.blogspot.com/2010/05/atang-peping-and-dalagang-bukid.html

http://4.bp.blogspot.com/_N8MQ8O_U8tc/S-gevI2VZiI/AAAAAAAAJQQ/YhdwdWbkc0I/s1600/Atang,+Peping+and+Dalagang+Bukid+p1.jpg

http://4.bp.blogspot.com/_N8MQ8O_U8tc/S-ge2UlQaRI/AAAAAAAAJQY/gUplJjcR9ZQ/s1600/Atang,+Peping+and+Dalagang+Bukid+p2.jpg

Article by Joe Quirino
Published in Philippine Graphic, July 29, 1991

FLYERS TAKEN FROM MR. SIMON SANTOS' BLOG
video48.blogspot.com

http://1.bp.blogspot.com/_nxUb2kYKSvI/TS0eU-j-UpI/AAAAAAAAY1Q/F0z03hbMRNI/s1600/img847-sf.jpg

http://1.bp.blogspot.com/_nxUb2kYKSvI/TS0dWrYj3TI/AAAAAAAAY1A/nccI3BfS7Nk/s1600/img848-sf.jpg
"Luha" (1932)
Jose Nepomuceno Production/Malayan Production
Release Date: September 2-6, 1932/ Tivoli Theater
Director Dr. Fausto Galauran
Cast Rosa Rivera, Jaime Castelvi, Francisco Zamora, Violeta Del Prado

No puedo olvidarte / Hindi kita malimot

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Fonsucu

Original version in Spanish. Música: Josefino Cenizal.
Letra: Manuel Bernabé.
Imágenes: Fotos de René Gaviola.
Intérprete: Guillermo Gómez-Rivera.


LETRA

En todos mis ensueños
tu imagen siempre surge
porque en mi subconsciente
clavada estas tú

Por eso que te ruego
y que Dios ya me perdone
para que no me olvides
porque te adoro yo

No puedo olvidarte,
siempre pienso en ti,
no puedo olvidarte,
por siempre te amaré.

Sin temor yo te juro
que tu belleza en flor
vive hoy en mi ilusión
y en mi creer

No puedo olvidarte,
no dejo de pensar
en tu amor y en tu arte
que es todo mi querer

Y si pensaras
en quererme
acuérdate mi vida
que siempre pienso en tí

now here's my excuse again to post a continuation of Rizal... :D

credits to the hispanofilipino site for hosting the files on Rizal's poems and for the spanish and english versions ... :cool:

"Canto del Viajero" por Delfina San Agustín de González

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antonmg2 on Jul 20, 2008
"Canto del Viajero" por José Rizál. Declamada por la Sra Doña Delfina San Agustín de González (1905-1992) - Recitadora Filipina en Castellano. La estrella mas grande del teatro Español en Las Filipinas. Encantadora, y artista de la palabra. Mi estimada abuela.


DR. JOSE RIZAL

CHAPTER FIFTEEN: The Trial

CANTO DEL VIAJERO

Hoja seca que cuela indecisa
y arrebata violente turbión,
asi vive en la tierra el viajero,
sin norte, sin alma, sin patria ni amor.

Busca ansioso doquiera la dicha
y la dicha se aleja fugaz:
¡vana sombra que burla su anhelo! ...
¡Por ella el viajero se lanza a la mar!

Impelido por mano invisible
vagara confín en confín;
los recuedos le harán compañia
de seres queridos, de un día felíz.

Una tumba quizá en el desierto
hallará, dulce asilo de paz,
de su patria y del mundo olvidado ...
¡Descanse tranquilo, tras tanto penar !

Y le envidian al triste viajero
cuando cruza la tierra veloz ...
¡Ay! no saben que dentro del alma
existe un vacio de falta el amor!

Volverá el peregrino á su patria
y a sus lares tal vez volverá,
y hallará por doquier nieve y ruina
amores perdidos, sepulcros, no más.

Vé, Viajero, prosigue tu senda,
extranjero en tu propio país;
deja a otros que canten amores,
los otros que gocen; tu vuelve a partir.

Vé, viajero, no vuelvas el rostro,
que no hay llanto que siga al adiós;
vé, viajero, y ahoga tu penas;
que el mundo se burla de ajeno dolor. (04)


THE SONG OF THE TRAVELLER

A withered leaf which flies uncertainly
And hurled about my furious hurricanes,
So goes the traveler about the world,
No guide, no hope, no fatherland, no love.

Anxiously he seeks a better fortune
And fickle fortune always takes to flight;
A shadow vain that mocks at his desire!
For her the wanderer has plowed the seas,

Driven on by hands invisible,
Wandering from land to weary land,
Only memories to keep him company,
Or loved ones and of bygone happier days.

A tomb perhaps upon the desert
Calls him -- refuge sweet of peace, --
Where, by his country and the world forgotten,
Tranquil he may sleep who knew such pain.

And if they envy this sad traveler
When he speeds so swiftly round the world,
Ah, little do they know that in his soul
Exists an aching void for want of love.

Should the wanderer turn back to his country,
And to his home, it may be, make his way,
He would find but snow and ruins everywhere,
All Love destroyed, and sepulchers, -- no more.

On, then, traveler, pursue your journey,
Stranger to the land where you were born.
Letting others sing their songs of love
And feel their joys, while you fare on again.

And traveler, as you go, do not turn back,
For none will shed a tear to say farewell,
Go, pilgrim, try to drown your sorrow,
Because the world but scoffs when strangers grieve.

source: video48.blogspot.com

http://3.bp.blogspot.com/-aLutBFhHG6E/TV8OISRspLI/AAAAAAAAZCs/icdyLvB6-VM/s1600/La%2BMonjita-1931-%2BRosa%2BRivera-%2BCarlos%2BPadilla-sf.jpg

"La Monjita" (1931)
Malayan Pictures Corporation
Release Date: April 17-21, 1931/ Cine Tivoli
Cast Rosa Rivera, Carlos Padilla
(Images above and below: URIAN Anthology Book 1990- 1999)

Napakasarap sariwain ng mga panahong ang awiting likha ng mga Pilipino ay tungkol sa kanilang payak na pamumuhay sa nayon at sa kabukiran, taliwas sa mga awitin ngayon na karamihan ay ginagaya lamang sa mga banyaga o di kaya naman ay walang kahulugan o may halong kabastusan.

SA LIBIS NG NAYON
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SA LIBIS NG NAYON

by Santiago S. Suarez

Kahit na gabing madilim sa libis ng nayon
Taginting nitong kudyapi ay isang himatong
Maligaya ang panahon sa lahat ng naroroon
Bawa't puso'y tumutugon sa nilalayon

Puno ng kawayan ay naglangitngitan
Lalo na kung hipan ng hanging amihan
Ang katahimikan nitong kaparangan
Pinukaw na tunay nitong kasayahan.

Kung ang hanap mo ay ligaya sa buhay
Sa libis ng nayon doon manirahan
Taga-bukid man may gintong kalooban
Kayamanan at dangal ng kabukiran

a dozen:)
these are also folk music
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plBSsxaAFa4

hlaC0_jU05E

kids playing angklung
Fv1DiaaBA_w

hvYsIkl18D4

fM6PCivneTU

82l7qqAylsI

c4MFHInQr2E

anyone knows which specific manobo language is this
ralHsvlzTYg

t3_0IRU7vT0

crFSA6abM6M

HAPPY INDEPENDENCE DAY!

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^^ thanks for sharing this, Kiretoce--I reposted it on my FB profile :)

^^ No prob. Enjoy! :okay:

@ esagerato: thanks for these informative postings on prewar Philippine films--I need to find the source, but I once read that even Manila's movie houses were superior to many in Asia such that even the Japanese came to study Philippines' design in air-chilled cinema houses of the 1930s.

Aside from that, I recall a showing of a prewar Carmen Rosales - Tita Duran film Panambitan here in Honolulu back in 1972. I'm wondering where that film ended up if it is not on the list of the five remaining extant films of pre-December 1941. Would you know?

http://i28.photobucket.com/albums/c211/hawayano/Sampaguita_films.jpg

prewar studio shot

@ esagerato: thanks for these informative postings on prewar Philippine films--I need to find the source, but I once read that even Manila's movie houses were superior to many in Asia such that even the Japanese came to study Philippines' design in air-chilled cinema houses of the 1930s.

Aside from that, I recall a showing of a prewar Carmen Rosales - Tita Duran film Panambitan here in Honolulu back in 1972. I'm wondering where that film ended up if it is not on the list of the five remaining extant films of pre-December 1941. Would you know?

Thanks for the interesting info. I always thought Panambitan as a beautiful Harana song and didn't know a movie existed until I saw pre-war movie flyer of Corazon Noble mentioning the movie.

According to Dr. Clodualdo Del Mundo, film scholar and DLSU professor, in his book Native Resistance and Colonialism there are 3 reasons on the disappearance of nearly all the movies produced during the pre-war era.

1) World War devastated the Manila, where the home studios were located.

2) Films that survived the war were shown repeatedly in the movie houses until they could no longer be projected on screen.

3) Films were left exposed to chemical elements like Fungi that ate away the images and sounds of these films.

So Panambitan probably suffered the same fate as the other films that survived the war. It disappeared due to human neglect. :(

Actually, the survival of the 5 pre-war movies happened by chance.

1) Giliw Ko(1939)- A former LVN employee happened to hold on to a 16 mm print of the movie a personal remembrance. When this last remaining print was turned over to the government, it was sent to Australia for restoration.

2) Ibong Adarna(1941)- This movie survived in LVN's storage room.

3) Tunay na Ina and 4) Pakiusap(1939 and 1940)- Lino Brocka, one of the greatest filmmakers of Philippine cinema, happened to come across these movies being shown in a rundown theater in Escolta Manila. He immediately bought these movies to the puzzlement of the theater owner.

5) Zamboanga- Film scholar Nick Deocampo discovered this long-lost movie at the US Library of Congress.

http://i28.photobucket.com/albums/c211/hawayano/Sampaguita_films.jpg

prewar studio shot

Thanks! If you can find more articles, photos of the movies and moviestars of the golden age of philippine cinema(1930's-1950's), feel free to post them here. :)

anyone who can provide a list of recent filipino films na ok? sans slapstick comedy films and rom-com staples...

interesting film about ph-us war (foreign production) :cheers:
v9xrTUj880g

"Tinimbang ka ngunit kulang"

What a nice movie

This would be National Heritage in Music

Recuerdos de Filipinas y sus cantares (Philippine salon scene 1860)

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Uploaded by blueyoyi on Oct 4, 2011


This is part of a medley of 19 Filipino song & dance (2:40) genres paraphrased for piano by Diego C. Perez, a teacher, sometime in 1860. Perez did not rework the tunes but strung them simply "as is" with idiomatic pianistic transitions. This was typical salon music setting in those times where flute, violin, guitar, cello and Spanish bandurria were at home in parties or gatherings of affluent Filipinos.

The UP Dance Company reconstructs Philippine dances - 2:40 - with assistance from Prof. Cora Inigo. This was part of a presentation by the University of the Philippines, College of music entitled - MUSICS OF PHILIPPINE NATIONHOOD. Original Philipine music from the 17th century to 1986.

I can not help notice the strong Spanish influence .... sometimes there are parts that can be mistaken as Mexican. Not a surprise at all as the Philippines like Mexico was a colony of Spain for over 300 years.
lo horrible! ¡Qué dulce! hehehahaa!!!!!

Antonio Molina - MALIKMATA - Enzo

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Uploaded by blueyoyi on Jul 10, 2010

The closest I can think of for the Filipino word malikmata is .... a mirage ... an illusion. This haunting, emphatic yet occasionally gentle composition was by Filipino National Artist Antonio Molina and has been adopted for so many genres including dance and poetry. In this composition, one can easily hear the big influence Debussy had on the composer.
Wish you like the way Enzo interpreted the piece. THANKS !!

Music for the Holy Week

Reina de Cavite

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Uploaded by Mimee2627 on Oct 26, 2011

Music composed and written by Don Julian Felipe.

Himno a Nuestra Señora de Peñafrancia

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Uploaded by markanthonynapao on Oct 12, 2011

This is the full version of Resuene Vibrante
(Himno a Nuestra Señora de Peñafrancia)
Composed by Fr. Maximo Juguera and Arranged by Maestro Ronaldo Dolor