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Kinabuhi  Musika

Lahi ra basta Bisaya!

Cebu’s pride has always been its homegrown musical talent. Pilita Corales, Dulce, Sheryn Regis, and Morrisette are just a few of the well-known musicians that hail from Cebu. Cebuano music, in essence, has its own particular characteristics that set it apart from other music genres in the country. 

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If we were to listen to the traditional Visayan folk songs today, most people would skip or hesitate to listen to them because many believe they do not fit in today's generation. But back in the day, songs like Pilita Corales’ Usahay and Matud Nila were very much famous among young boys who wanted to serenade and impress the young ladies. 

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Meanwhile, the Bisaya birit songs which are a staple to almost every Cebuano fiesta contests are melodramatic ballads or song hits that allow singers to express themselves. Some of the most famous biriteras in the country are Raki Vega and Sheryn Regis who also incidentally hail from Cebu, the Queen City of the South.

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We also have the novelty genre that was made popular by Max Surban and Yoyoy Villame. This genre—a karaoke favorite—never fails to bring a smile on one’s face with its quick-witted lyrics that translates one's thoughts on life, love, social events, and even political themes.

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Much later, Bisrock—a combination of "Bisaya" and rock—emerged as a form of Cebuano rock music that instantly became a cultural phenomenon and gained recognition and applause among young Cebuano people. Songs like Liar Evil (2006) by Aggressive Audio and Prinsipal (2005) by Missing Filemon are two of the most well-known songs of this genre.

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Finally, we have the Visayan Pop or Vispop founded in 2013, which was initially a competition for a new generation of Bisaya composers who wanted to give a fresh perspective on writing Bisaya songs. However, it quickly evolved as its own genre with a goal to change people’s attitude and perspective towards anything Bisaya. Jewel Villaflores’ Duyog (2014), Kyle Wong and Martina San Diego’s Balay ni Mayang (2014)—co-written by Marianne Dungog—, and Kurt Fick’s HAHAHAhasula (2015) are some of the song pioneers of the genre.

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Though the Cebu music scene has recently started making more waves among crowds, their venue choices for gigs still widely center around restaurants, cafes, or mall spaces since concert spots in the country remain scarce.

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The infographic below shows the meager amount of designated entertainment venues in the Philippines.

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Cebu has hosted many music performances, live gigs, concerts, open mic events, and other stage productions— throughout the years. The versatile establishments and venues found within the city—on top of the much loved music industry in Cebu—has made the province a go-to destination for musicians and song artists alike. 

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Join the Midnight Roll crew as we explore some of the Cebuano artists’ most played-at venues around the city.

The onslaught of the pandemic took an even bigger toll on the music industry, particularly on live performing opportunities. Bandwagon’s survey on 101 Filipino musicians showed that the artists experienced a drop in income because of COVID-19.

 

With in-person concerts and gigs still on hold indefinitely in the country, it is not only the musicians’ careers that are affected but also those of concert production crews.

 

Jed Madela, a well-known OPM hitmaker, expressed that though many musicians have found performing opportunities on social media, they don't get as much pay as what they usually receive in live concerts or corporate events. Their music performances before COVID-19 were more often than the virtual events now, and the talent fee they receive is unarguably bigger if they perform in-person.

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Even then, social media has also created wonders for artists all over the globe. Jonathan Manalo, creative director of ABS-CBN music, shared that the shift to digital streaming platforms helped musicians to still generate revenue amid the pandemic.


Data in 2019 from the managing director for Spotify Southeast Asia Gautam Talmar shows just how much music streaming has helped Filipino artists around the country.

 

Manalo also added that digital revenues surely rose since people listened to music more during quarantine.

Through music streaming platforms like Spotify, Cebuano musicians are able to sing to crowds beyond their regular gigs and open mics to reach audiences from places outside the province.

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Below is a map of the Top 5 monthly listeners of some of the most well-known Cebuano artists on Spotify as of November 2021.

Along with all these new changes in the music industry, what else is in store for the Cebuano local music scene and its artists? Listen to the Midnight Roll podcast with renowned Cebuano songwriter, Jude Gitamondoc, as he shares the history, the challenges, and the future of Cebuano music.

Did you know? Jude Gitamondoc has composed, arranged, produced and/or contributed songs for Filipino singers and artists, including Regine Velasquez, Piolo Pascual, KC Concepcion, Gary Valenciano, Eric Santos, and Kyla, among others.

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The following transcript of the questions and answers in the podcast have been selected, translated, and edited for clarity.

Section 1:  How has Cebuano music evolved over the years? For example, how different was the music scene in the 2000s compared to the 2010s?

- Cebu is at the center of the Philippines so it has become a sort of melting pot of all cultures in the country. Since artists react to the context or to the situation they are in—and with Cebu being a melting pot of influences—you can see that the music here is varied. The expressions are varied, therefore, you find a lot of different genres here. There is not one music genre that’s overpowering here in Cebu. 

 

The problem is, we are also still exploring how to make it sustainable for our artists. It’s amazing to see the energy from our local artists but this energy will die if the career is not sustainable, if the artists are just doing it on the side. So I think one of our growing pains as a music industry is exploring the economic side of it but also not giving up on our ideals. That balancing act is there.

 

I believe we’ve grown a lot but we are still just starting. We have many great artists but there’s also a lot more things to know about the industry. It’s good to learn from musicians in Manila and even from all over the world because music has become an international medium that everyone can participate in. The process of music production has since been democratized so we have a lot to learn from all of the other musicians we hear out there.

Section 2:  What were the challenges faced by the local music industry ever since the start of Cebuano music?

- If you choose a life to be an artist, challenges will automatically be present especially if you really focus and commit to it as your career. There will always be hobbyists and that’s perfectly acceptable, those hobbyists. There are those who the purists call the “sell outs”. They are focused only on making money, not giving mind to integrity. There are also others aimed at integrity and self-expression but with no connection to the audience.

 

The challenge really is, especially here in Cebu, is for the fans to realize that music entails money for it to be produced. Music is so accessible right now: you just click a button and you have the music that you need or you want at that moment. Because it’s so accessible, people tend to forget that there is value in that. The more accessible it is, the more we take it for granted, and the more we forget the value that the artist put into that song. We have to give back to the artist.

 

That’s one of the main challenges I see right now, reminding people that there is value in music. That does not only apply to fans. It also applies to business institutions. Really, it boils down to people, both fans and business establishments, to realize that there is value in music. We have to stop the idea that artists need to starve for their art. Why can’t they earn from their art like any other professionals?

Section 3:  With the country slowly going back to normal as quarantine restrictions ease, what do you think is in store for the local music industry in the next few years?

- I think it’s still premature to make a forecast right now with how volatile our situation is. As I said, the artists will always find a way, they will find creative solutions to problems. So I’m not totally pessimistic about it. Everything is still a balancing act like in deciding when to start putting up public performances. If we have a show, extreme safety measures must be followed. And if we start having events right now, how many people will be able to go? There is still that fear factor of it being a big risk. If only a few come to watch the show, can we even out the expenses? We can’t help but feel like the pandemic should be part of the equation everytime we consider our options. I’m just carefully optimistic about the future of the industry.

Section 4:  What tips or advice can you give to aspiring Cebuano musicians?

- Value yourself. Value your art; know how to value whatever it is that you produce. Don't wait for people to discover you. Right now, everyone is going independent because the system has been democratized. So you must know how to value yourself by investing in yourself. If you want to be a producer, work your day job so you have money to invest in a computer, a keyboard, a guitar. Invest in your art.

 

Knowing how to value yourself is also knowing how to teach people to value your art. Stop giving away everything for free. Show them that your music has value. They need to support you by paying you properly in exchange. And valuing yourself also means knowing your rights, especially in your craft. Everything right now is globalized and digitized. Once you put your songs out there, for example on Spotify, it's not beneficial for you to only think of local reach. Your songs will be heard by an international audience. Meaning, you have the responsibility as an artist to know what's going on right now globally and what royalties you're being paid for the use of your songs. You have to know these things when you start independent. That's one way to value yourself: to know your rights as an artist and be updated on the developments of the industry.

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