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Protest music against the Marcos dictatorship
The different forms and trends of protest music against the Marcos dictatorship mostly first became prominent during the period now known as the First Quarter Storm, and continued until Ferdinand Marcos was deposed during the 1986 People Power revolution; some of the trends continued beyond this period either in commemoration of the struggle against the Marcos dictatorship, or in opposition to the political return of the Marcos family to a prominent place in Philippine politics.
Music protesting the policies and actions of Ferdinand Marcos' administration mostly first became prominent during the First Quarter Storm, a period of social unrest during the first three months of 1970 when Ferdinand Marcos' debt-driven spending triggered the 1969 Philippine balance of payments crisis and subsequently, a series of student-led protests.
At the time, mainstream music in the Philippines had not yet seen the rise of the later trends Pinoy rock, Pinoy jazz, and the Pinoy pop which would be referred to as the "Manila sound", so the protest music of this period was mostly the music of the picket lines, university campuses, and what activists then referred to as "the parliament of the streets".
Among the most prominent protest songwriters of this period were Jess Santiago and Heber Bartolome, who continued to create and perform their protest songs through the days of Martial Law and beyond.
The imposition of martial law in 1979 led to strict government controls over cultural performances and all forms of media. So while artists like Jess Santiago and Heber Bartolome continued writing protest songs, these mostly could not be performed until the late 1970s when international scrutiny and local conditions forced Marcos to loosen the reins somewhat. Many of the underground movement's songs from the first three or four years of Martial Law were never documented, and are now only either recorded orally, or rescued in academic efforts to preserve the history of the era.
Among the first songs from this period to be written down and preserved were those composed by University of the Philippines student organization the UPLB Tulisanes, founded by students Wency Olaguer, Bayani Espiritu, Virgilio “Siokoy” Rojas, Lynn Martinez, Pedro "Bornix” Abad, and Dennis “Tengo” Alegre. The group was able to sing their songs in public because they only did so in small jam sessions within the relative freedom offered to them by the UPLB campus. They thus had the freedom to discuss the human rights abuses of the Marcos dictatorship and the specific cases of the UPLB students such as those of the Southern Tagalog 10 who had become desaparacidos.
Also documented were the songs attached to cultural performances such as musicals and plays. A prominent example were the songs in Boni Ilagan's play "Pagsambang Bayan", first staged by the University of the Philippines Repertory Company in September 1977 under director Behn Cervantes and musical director Susan Tagle, who were promptly arrested for staging it.
Those who organized strikes, rallies, and other protest actions often invited the cultural group Tambisan sa Sining, whose performances included musical pieces by Tambisan co-founder Napoleon Abiog (who often used the nom de guerre Benjie Torralba), who would become the group's chair after Marcos was deposed. Another group prominent on the picket lines was the female duo of Karina Constantino-David and Becky Demetillo Abraham, who formed the band Inang Laya, and became well known for their adaptation of the Andres Bonifacio song Pag-ibig sa Tinubuang Lupa.
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Protest music against the Marcos dictatorship
The different forms and trends of protest music against the Marcos dictatorship mostly first became prominent during the period now known as the First Quarter Storm, and continued until Ferdinand Marcos was deposed during the 1986 People Power revolution; some of the trends continued beyond this period either in commemoration of the struggle against the Marcos dictatorship, or in opposition to the political return of the Marcos family to a prominent place in Philippine politics.
Music protesting the policies and actions of Ferdinand Marcos' administration mostly first became prominent during the First Quarter Storm, a period of social unrest during the first three months of 1970 when Ferdinand Marcos' debt-driven spending triggered the 1969 Philippine balance of payments crisis and subsequently, a series of student-led protests.
At the time, mainstream music in the Philippines had not yet seen the rise of the later trends Pinoy rock, Pinoy jazz, and the Pinoy pop which would be referred to as the "Manila sound", so the protest music of this period was mostly the music of the picket lines, university campuses, and what activists then referred to as "the parliament of the streets".
Among the most prominent protest songwriters of this period were Jess Santiago and Heber Bartolome, who continued to create and perform their protest songs through the days of Martial Law and beyond.
The imposition of martial law in 1979 led to strict government controls over cultural performances and all forms of media. So while artists like Jess Santiago and Heber Bartolome continued writing protest songs, these mostly could not be performed until the late 1970s when international scrutiny and local conditions forced Marcos to loosen the reins somewhat. Many of the underground movement's songs from the first three or four years of Martial Law were never documented, and are now only either recorded orally, or rescued in academic efforts to preserve the history of the era.
Among the first songs from this period to be written down and preserved were those composed by University of the Philippines student organization the UPLB Tulisanes, founded by students Wency Olaguer, Bayani Espiritu, Virgilio “Siokoy” Rojas, Lynn Martinez, Pedro "Bornix” Abad, and Dennis “Tengo” Alegre. The group was able to sing their songs in public because they only did so in small jam sessions within the relative freedom offered to them by the UPLB campus. They thus had the freedom to discuss the human rights abuses of the Marcos dictatorship and the specific cases of the UPLB students such as those of the Southern Tagalog 10 who had become desaparacidos.
Also documented were the songs attached to cultural performances such as musicals and plays. A prominent example were the songs in Boni Ilagan's play "Pagsambang Bayan", first staged by the University of the Philippines Repertory Company in September 1977 under director Behn Cervantes and musical director Susan Tagle, who were promptly arrested for staging it.
Those who organized strikes, rallies, and other protest actions often invited the cultural group Tambisan sa Sining, whose performances included musical pieces by Tambisan co-founder Napoleon Abiog (who often used the nom de guerre Benjie Torralba), who would become the group's chair after Marcos was deposed. Another group prominent on the picket lines was the female duo of Karina Constantino-David and Becky Demetillo Abraham, who formed the band Inang Laya, and became well known for their adaptation of the Andres Bonifacio song Pag-ibig sa Tinubuang Lupa.