Reflections  on Theology of Liberation

(Revised version- July 26, 2016)
Anong Masasabi Mo?
Published in Filipino Journal 2016 September

Levy Abad , member Sparling United Church Praise Band

Courtesy of  jonathanturley

The decision of our Pastor to go on Sabbatical to do some immersion in the North and learn about the different forms of being a Church is a radical step. It is radical in the sense that it constitutes a break from the convenience of living in the city and a leap towards uncertainty. It is like leaving heaven and consciously embracing a world which is vastly different in terms of economics, culture and expressions of being a church. It can be likened to a seed touching ground and taking root and taking on the nutrients of a different terrain.

                                                                                                                                                                                                  

I remember the last time I talked to our Pastor. His views expressed in the articles in his blog, reflective of his concrete experience of the church in the north of the province surprised me, for I noticed the qualitative change in his worldview. I even told him jokingly, “Listen to yourself Pastor? It’s like you’re telling me about a different world.” The world of the marginalized. It is no longer just the articulation of a sound theology, but a substantiation of liberative idea gained by experience through preferential option for the poor/marginalized. It can be likened to Moses rejecting his role as a prince of Egypt and deciding to serve the oppressed by leading the exodus. But the question is how many in a given community will (have the readiness) be touched by the Spirit to plunge into and have a taste of the exodus experience? From having a taste of the Exodus experience of siding with the marginalized, how many will endure and have a deeper experience of the Garden of Gethsemane where you find yourself in a dilemma of choosing between preserving oneself or upholding the Kingdom of God, which the prophetic option entails?  How many will open their doors as a refuge for the marginalized? How many will risk being misunderstood for the sake of being a part of announcing and building the Kingdom of God on earth as it is in heaven?  

I remember Jesus when he told the rich man in the scripture to leave everything behind and follow him in Matthew 19:21, “If you would be perfect, go, sell what you possess and give it to the poor, and you will have treasure in heaven, and come, follow me.” I noticed that most of the prophets in the scripture or the disciples and the early apostles really prioritized serving the Kingdom of God as an option and this usually starts with immersion in a given context of oppression.  

Going back to the Garden of Gethsemane, where Jesus prayed in anguish and said “Father, if it be possible, let this cup from me, nevertheless, not as I will, but as you will” (Matthew 26:39). Further in verse 42, “My father it this cannot pass unless I drink it, your will be done.” In this instance, even Jesus felt the outcome of his radical activity of actually going to the root of everything and questioning the status quo when he entered the temple and delivered his seven woes (Matthew 23:1-36) to the authorities who are in cahoots with the Empire. Jesus, in his praxis of Redemption /Liberation, clearly saw the violent reaction coming when he told Judas “You have to do what you have to do.” We must not forget that during this period, what Jesus started was still a movement of building the Kingdom of God and not an institutionalized religion fettered by empire and theocratic greed.

Reflecting on my experience brings me back to the time my brothers and sisters in the democratic and human rights movement in the Philippines were one by one felled by bullets during the late nineties and early years of the present decade. Democracy movement in the Third World has nothing to do with how it is unknowingly appreciated in the First World that is enjoying the fruits of neo-colonial plunder and violence. Rather, it is a prophetic cry against imperialist greed in its varied forms, viewed from the perspective of justice and compassion.

Most of us were scared during those times, but as always, when the situation demands a prophetic voice and the task is placed on the table, someone will step forward and say, “I’ll do it! No matter what the cost!” Indeed, whoever wants to give light must endure burning! This also reminds me of the varying intensity of oppression which can be viewed from a First World or Third World context. Surely, one can have a prophetic experience in the First World, but this would work in a Third World context only up to a certain extent where what is needed is a radical prophetic response. For where the forces of greed are stronger and more violent, the more it swallows up the lives of the radical disciples.

In this context, reformism (cosmetic approach of feeding the poor in the service of empire) oftentimes becomes a violent reinforcement of the evil social structure or status quo, proving correct Marx’s critique that “religion is the opiate of the people.” This is true most of the time, particularly when the institution plays a passive role in the face of blatant injustice. Ergo, any attempt to honestly offer one’s time and effort on the side of the marginalized should be lifted up. As long as the marginalized groups in society exist in the midst of neo-colonial violence and greed, liberation theology and one of its central concepts, preferential option for the poor, remains valid. Indeed, my reflection on our Pastor’s experience inspired me to write this in order to lift-up our church and its dedication to justice and compassion, such as the establishment of the Migrants’ Desk, which is the rights and welfare arm of the church, job fair, human rights , gender equality and environmental education, to name a few. My reflection is also a tribute to all the Pastors who dedicated themselves in providing a prophetic voice to the marginalized for enduring persecution, arrest, torture, disappearance and martyrdom, better known as Crucifixion during the time of Jesus. They will never die!

(This article was originally published on June 7, 2012.)

Dante Buenaventura: Up Close and Personal

Levy Abad, 4^th of July, 2016

Ang Peryodiko , August 1-15 ,2016

Volume XIV NO. 14 (Winnipeg Mb)

Wow! The months of May and June were kind of dry months for me as an amateur writer. I wasn’t able to write except for some poems about the hometown of my mother and a tribute to a human rights activist comrade who passed away.  This morning, 4^th of July, I woke up early and went to Polo Park to take a walk for one hour as my exercise and went straight to La Merage Restaurant at 90 Isabel St. to hang out with seniors, and low and behold, I saw two friends who I respect dearly as activists back in the early 70’s. For the purpose of this article, I just want to refer to them as Ate (older sister) Clara and Kuya (older brother) Ariel. They requested me not to mention their real names for they were victims of the worst torture during the time of the dictatorship. They can still sense those traumatic years.

I left the table of the Breakfast Club folks and went to chat with the historical ones for a great conversation on different subjects and for whatever reason, our conversation shifted to Dante Buenaventura. The shift was sudden that even the two friends whom I was talking to were surprised and ask me who started it. Honestly, I myself can’t recall.  They told me that Dante was the person who married them back in the old days in the movement during the Marcos Dictatorship. I asked about Dante’s role in the cultural field during the first quarter storm and Ate Clara replied that Dante was the founder of Samahang Kamanyang ng Masang Pilipino or SK for short.  Kamanyang is the Tagalog for incense. I asked her, “Really Ate?” with wonder in my tone. “Yes, Indeed! He is original,” she uttered.  Ate also confirmed to me that Dante was a member of the KM or Kabataang Makabayan (Patriotic Youth), the radical youth movement back in the first quarter storm.

I told the couple that I wrote articles about Dante, which was published in some community papers like Korea Times, Diversity times, Ang Peryodiko and occasionally in Filipino Journal. I explained the importance of writing down his achievements to serve as a light for the community in its struggles. What Dante started in the community bore much fruit, for instance, his dedication to the cause contributed a lot in the anti-dictatorship struggle in the diaspora and also in the struggle against racism. His influence can still be seen up to this day. In fact, Magdaragat just finished celebrating its fortieth anniversary of serving the community by educating the youth on Philippine culture and compassion for the motherland.

Ate told me that she recalls those days back in 1969 to 1972 when Dante was his Professor in advertisement and at the same time, the founder-director of Kamanyang  of which she was a member. She shared a story when they arrived here in 1993, they went to watch a Folklorama Magdaragat event and had goose bumps watching the presentation. She kept wondering why the dynamics of the play was so familiar, the use of the lights, the fluidity, the use of  silhouette, the acting, musical scoring, and even the movement on stage were strangely familiar, only to realize later that Dante was the founder of the group, the same reason why it was so similar to Kamanyang. Ate Clara and Kuya Ariel were shocked because they thought that Dante was in the United States at that time. It was only later on that they learned that Dante already passed away. They address Dante as Kuya (Older Brother) Dante with respect.

I asked her about the background of Dante and Ate shared some interesting information. Dante attended PETA (Philippines Educational Theatre Association), which is known up to this day for creating issue-based performances that mirror and reflect the times). He did workshop on theatre and became classmates with Lino Brocka (a Filipino film director), who was widely regarded as one of the most influential and significant Filipino filmmaker in the Philippine Cinema history) Source: Lino Brocka: The Philippines’ Greatest Director) and Ricky Lee, a writer of Paksa or Panulat Para sa Kaunlaran ng Sambayanan (Pen for People’s Progress), and a Filipino Multi- awarded author stage and screen playwright and journalist. These two are considered legends of Philippine theatre and Cinema. 

Ate recalls that she performed in one of the big productions  back in the days like the Pulang Tala (Red Star) that was shown at the Abelardo Hall in UP. In this play, she remembers reciting the poem Bilanggong Pulitikal (Political Prisoner) and Teodoro Agoncillo’s Republikang Basahan (Tattered Republic). I can sense her excitement while telling this anecdote. She added that Anak Pawis was among those plays staged by Dante during that time. Another play that was staged by Kamanyang and written by Dante is Asendero (Landowner) that tells about feudal exploitation and the struggle of the peasantry to end an oppressive system.

“Those were the days Levy,” Ate Clara uttered with fondness in her voice.  I also learned from her that the President of PUP (Polytechnic University of the Philippines ), formerly PCC or Philippine College of Commerce during their time was Dr. Nemesio Prudente who became the founder of Guerilla Anakpawis ng Kalunsuran or GAK, one of the groups opposed to the dictatorship. “During those days, Ate said, Dante would organize workshops and series of education on Political Philosophy and Ideology.” Professor Fernando Samonte was at one time invited to conduct a workshop on poetry.

I asked her about Dante’s style of leadership. Ate Clara informed me that he was a workaholic and never stops until he almost drops dead.  She remembers that every time Dante leads a march, Dante would always be the flag bearer, always making sure that everybody is safe. After the big rallies and presentation, they would retreat to the Blue Room at the PUP to do an assessment and enjoy the company with laughter, food, drinks, among other things.  Another place that they frequent was Dante’s house where they will have meeting, assessment, discussion interspersed with laughter, food, fun, ideology and politics. Ate surely misses those years and remembers Dante fondly telling them to always love the people and fight for truth and justice. Dante did not fail to remind them on the need to immerse oneself with the masses in order to take root and so in the process, get rid of the petty bourgeois mentality.

In the midst of these exchanges, Ate suddenly told me, ”Before I forget this, Dante Buenaventura’s girlfriend during that time was really pretty and smart and at the same time the President of the Supreme Student Council”.  I asked Ate whether the lady was a Spanish Mestiza of Chinita or a Chinese mestiza and she replied that she was just so beautiful. At this point, Ate’s husband or Kuya (older brother) reminded me that there were a lot of gossips in the community, but they don’t really matter anymore, and what is important as a comrade and friend, we have to celebrate Dante Buenaventura’s life’s achievements.

As an organizer, Ate said that Dante was amazing and that he was well loved by the whole community. Being a revolutionary, he treats everyone equally because he hates feudal tendencies. He was not into building fiefdom. Ate continued that upon the declaration of martial law, all the members of Kamanyang were called by Dante for an emergency meeting at their home and it was packed.  There, Dante in a classic organizer style, assigned tasks and arranged for the members to be housed in pairs in different homes in the community to be hidden from the fascist authorities. Even before he left for abroad, different task were given on the proper disposition of members of Kamanyang to different organizations that were resisting the fascist dictatorship of Marcos.

We were so engaged in our conversation that we did not notice the time, but before we parted, Ate mentioned a song that Dante wrote and which Hermie Evangelista arranged. The title of the song is “Ginugunita ko” (Remembering) and Ate cited a few lines: Ginugunita ko ang mga sandali na kita’y kapiling, yaong yumayakap ka sa aking mga paang hubad at sa dibdib mo’y pinasisisbol ang buhay ko. Ang buhay na naging kamatayan ko pagka’t nawala ka sa akin.” Itigil mo ang luha sa mata yaong tumitigis sa kamay at paa” (I can still remember the moments that you were with me, times that you embraced the nakedness of my feet while in your chest you allow my life to blossom. The same life that became the cause of my death when you were taken away from me. Dry up the tears from your eyes that are flowing to your arms and feet) Ate Clara and Kuya Ariel who was a pioneers of the Labour Movement back in the 70’s told me that the poem is all about peasant oppression and the necessity of drying the tears and the beginning of struggle to change the world. The song was popular decades ago but its relevance does not and should not fade with time.

Solidarity: Through Fun and Struggle

Levy Abad - August 23, 2016

I saw Kelly Moist at the 5th Manitoba Filipino Street Festival or MFSF held at Memorial Boulevard and Broadway Street last August 20th.  Kelly is the President of the Canadian Union of Public Employees or CUPE- Manitoba.  CUPE had its tent along Broadway Street. It represents 23,000 public sector workers in Manitoba and 639,000 members across the country. This act of solidarity from CUPE has been evident since the 1st Manitoba Filipino Street Festival in 2012. They were there from the start to support the event and to feel the pulse of the community through fun and struggle to defend workers’ rights. Indeed, there is a time for struggle and a time for fun. I asked Kelly for a brief message and here is what she sent me, “Congratulations to our Filipino community and the Filipino Street Festival in its 5th year! CUPE Manitoba's international solidarity with the labour movement in the Philippines starts here at home in Manitoba, and we are so proud to walk with our comrades in this parade. Long live International Solidarity!”

It is amazing that CUPE saw the importance of building relationship by joining such a seemingly “non- political" event but deeply sociological and ideological. By attending MFSF 2016, CUPE was not there to preach, but just to be a humble student of culture and its myriad expression. Here is a community opening up itself to share, give back or to be understood. This gesture reminds me of a line from one of Cindy Lauper‘s song, "I see your true colors shining." This is what my community actually did through the MFSF and CUPE was there to appreciate and experience Filipino culture. Same thing goes for Unifor, Canada’s largest private sector union, with more than 310,000 members across the county working in every major sector of the Canadian economy (Unifor website). Unifor participated in the event where I saw a brother in the Knights of Rizal, Mohamed Alli, together with his brothers in the union.

It felt great to be given a chance to perform at the festival to sing my kind of Blues song titled “Buti Na Lang Nariyan Ka Pa" or It is good that you’re still around to listen and comfort. I can feel the difficulties experienced by our kababayans who are undergoing different kinds of hardship not only because of personal but systemic oppression. It is for this reason that I am thankful for people like Kelly Moist. CUPE, by the way, is a sister union of COURAGE (Confederation for Unity Recognition and Advancement of Government Employees) in the Philippines of which I was a Provincial Coordinator back in 2004 -2006.  As an activist and a singer-songwriter of songs reflective of migrants’ struggles, I really appreciate the time and effort put forth by the leadership and members of CUPE, Unifor and other organizations.

Having been a part of the Manitoba Filipino Street Festival since its inception, I witnessed the growth of the festival through the years. For this year’s celebration, fifty one associations joined and about fifteen thousand were there to experience it. Majority of the Filipinos who went there are not rich people. Most are working class folks whose economic background in the old country is middle class or upper middle class. Most of the people who were there just came from work but did not want to miss the festivity held once a year.

Leaving the old country and severing ties or bonds even for a short period of time is tough, and events like the MFSF afford people the opportunity to come together, enjoy and take a break from life’s worries. The effort of the MFSF to provide a venue for a temporary respite from the trauma of neo-colonialism in the homefront and the pressures of first world capitalism is immeasurable. It can even lead to anxiety and depression. The act of solidarity and immersing oneself to be one with those oppressed and suffering means a lot for people in the diaspora. From the standpoint of  theology of liberation, you must leave the Pharaoh’s comfort, be with the people and be like Jesus, tabernacling in history and launching his merciful deeds of healing while also waging a critique of the status quo.

As I went around during and after the festival, I asked some friends who attended the event and these are the things they have to say about the MFSF:

Bro. Mohamed Ali, a senior member of the Guyanese community and also a member of UNIFOR has this to say, “It is very entertaining and the cultural displays of the event promote understanding and sharing of culture. It is also a way of building unity and solidarity among all communities.”  Josefino “Joe Fino” Rarama Chair of CUPE 1550, representing  Health Science Centre and Cancer Care Manitoba sent me this quote, “The Filipino Street Festival is an excellent expression of solidarity in the  community and I am glad  that I participated in it through CUPE Manitoba. This was my first time to being in the parade.” Arnold Tongol, an executive of World Financial Group or WFG and a member of the famous Winnipeg Filipino band Traffikk Jamm responded, “I am very proud and humbled to be a part of the celebration and be able to show to folks how proud we are as Filipinos.” Bernadette “Dolly” Atillo, a real estate agent of Landmhel Real Service Inc. and also a singer for her part said, “It is this time of the year again where Filipinos from all walks of life get together while reminiscing the ageless Filipino music. One also gets a chance to experience watching local bands trying to relive our Filipino music.” Melanie Wight, former Minister and MLA for Burrows and now working in violence prevention with the Red Cross, has this to share, “I’ve been in every parade and wouldn’t want to miss one!  This year, for the first time, I will be a judge. It is incredibly difficult job as everyone does a magnificent job.” Ingemar Moncada, a friend, texted me his thoughts on the MFSF, “The good thing is, makikita nila kahit paano ang pagkakaisa ng Pilipino at mabibigyan tayo ng puwang upang ibahagi ang ating kultura.” Wow, these are some of the observations that I got from leaders and friends in the community!

What made the festival alive are the different colours that were there. Colours that were meant not only to please the eyes, but more importantly, as the people’s way of expressing their happiness, loneliness, yearning, angst, blues and hope through the floats and tents, dance and songs. The street festival is a good training ground for the youth to lead and organize in the future. The present leadership will fade one day but the context for learning and the goal of unifying our people will always be there. The selfless sacrifice by the volunteers should be given emphasis and exemplified for without their dedication and hardwork, we will not be having this street festival in the first place.

Traffikk Jamm Band: Winnipeg’s Pride

 Levy Abad - August 22,2016 

When I moved to Winnipeg in 2010, I spent my first week looking for places where musicians hang out.

I learned that most of them can be found at Jimmy Olais’ basement where they go to share stories and jam about different genre of music ranging from folk, rock, country, blues etc. It was in the basement of Jimmy where I met Jojo Yso, the band leader of Traffikk Jamm.  Since then, everytime I want to have a chat with a fellow musician, I give JoJo a call. If I need a simple set up for a small event or an audio guy, it is usually Jojo who helps me.

Traffikk Jamm, according to Jojo, was formed in 2013.  The group was also part of the event that was organized by the Filipino Music and Arts Association of Canada Inc. (FMAACI ) headed by Ernesto Ofiaza and Jojo Yso as Vice-Chair.  During the First Filipino Folk Music Festival organized in November 15, 2014, Trafficc Jamm performed the best songs of the night, covering the songs of ASIN, Hotdogs, Labuyo and other famous bands.  It was a successful event with about 250 folks attending and enjoying the free concert.

 Traffikk Jamm is composed of the following:  Jojo Yso, who plays acoustic and electric guitars and does sound engineering for the group. With his background as a folk singer in the Philippines, Jojo does vocals too. Sometimes, he sings lead vocals, but most of the time, he does the back-up for Arnold Tongol the group’s lead vocalist. I asked Jojo what are some of his influences and he listed the following: Heavy Rock, Glam Rock, Top 40’s, Pinoy Rock, Folk Rock and Folk Music.  He added that his favourite artists are James Taylor, CSNY, Santana, Steve Lukather of Toto and Eagles. It is interesting to note that most of his favourites are my favourites too like Restless Heart’s When She Cries.

Another star of Traffikk Jam is their lead guitarist Erwin San Juan.  “Erwin has played for different bands in the Philippines during the late 80s to 90s. He was the lead guitarist/bassist for the late Paul Toledo, better known as the Rod Stewart of the Philippines. Paul wrote and popularized award-winning songs like Lumba-Lumba, Pasosyal-sosyal, and Babe Come Home to Me and many more of course” (Traffikk Jamm FB page). If you listen to Erwin play the lead guitar, you will be amazed as he can sound like the slow hand Eric Clapton or the lead guitarist of the Eagles when they play Hotel California.

Two more amazing members of Traffikk Jamm are Willie Liwanag the bassist and Noel Marana who plays the drums.  Willie and Noel occasionally do vocals for Traffikk Jamm. Both of them are also famous in the Winnipeg music scene with their own bands for so many years. They were also members of the Mike Hanopol’s back-up band during latter’s concert here in Winnipeg. Well I have a common connection with them. Mike Hanopol stayed in my house when he did a gig in Mississauga, Scarborough and downtown Toronto. I did the front act for Mike Hanopol and Lolita Carbon in Mississauga back when they did a concert on August 14, 2009, dubbed as Papuring Awitin at Musikahan . If I am not mistaken, I think I already met Willie and Noel at the basement of Jimmy Olais during my first few weeks of moving to Winnipeg.

 Last but not least is Arnold Garcia or AC of Naked Wednesday Band from Vancouver BC who got a nice tenor voice and who does the lead vocals for most of their songs. AC is also working as an executive for WFG or World Financial Group. AC also helped me in my recording by doing the second vocals for my song You and Me through the Years, which will be a part of my upcoming English album.

I inquired from a classically trained musician, Jose “Bobie” Nepomuceno, of what he can say about Traffikk Jamm’s quality of playing music.  Bobbie commented that “Traffikk Jamm has synergy when they play.  They already have mastered the dynamics of playing.” Bobie added, “As of 2016, Traffikk Jamm can be considered as one of the best in the Filipino community of Winnipeg. The members of Traffikk Jamm are serious in their craft and they are friendly and always grounded.”  Another friend Michael Mostajo, who is one of the finest DJs in the community says, “In my opinion , Traffikk Jamm is a very experienced and well-seasoned  where all the members, including myself, have been in the music business for many years, thus showing it in their performances as well as in their appealing stage presence and choice of music comprising mostly of OPM music, favourite standards and a bit of popular music...In regard to lead singer Arnold Tongol, he is a fabulous singer and stage performer and truly adds to the dynamics of the band as a whole.”

Traffikk Jamm’s repertoire is my favourite. Their music incorporates elements of Classic Rock and Top 40 Music.  This hardworking and dedicated band will make your heart thump and your feet stomp with their energetic covers of famous songs.  They usually sing Manila of the Hotdogs, Tuloy Pa Rin of Labuyo, Aking Awitin by Bong Gabriel/ Side A band, Usok of Asin and Habang Maybuhay of Wency Cornejo and many more.

So what can I say about Traffikk Jamm? When I ran for Winnipeg North as a candidate last October 19, 2015, I cannot forget that Jojo and Arnold helped me out with my fundraiser by providing some musical numbers. Jojo also does music set- up and sound engineering services. He gave me reasonable rates for a poor man’s campaign. When the OPM Legends concert came to Winnipeg on March 14, 2015, I performed with haLf man haLf eLf and Traffikk Jamm as front act. We were the first ones to perform at the Regent Casino Concert Hall. Since then, I have played as front act with Traffikk Jamm for countless times among them were the recently concluded Food-O-Rama at the PCCM grounds last August 6 and 7, 2016 (737 Keewatin St.) and at the 5^th Manitoba Filipino Street Festival (MFSF 2016) where around 15,000 thousand folks filled up Memorial Blvd and Broadway Street in front of the Legislative Building. Come August 27, 2016, I will also be a part of the front act for the Traffikk Jamm’s event at the Senior’s Hall at 49 Euclid Avenue.  Another exciting event this October is the Winnipeg Filipino Beer Festival (WFBF), in cooperation with Vocal Arts Centre of Bobie Nepomuceno. Traffikk Jamm will again be featured together with other great bands and guests. Hope to see you all there and we will be singing and dancing to the music of Traffikk Jamm.

Teo Mance: Revisited

 Levy Abad, August 13, 2016

Early August, I went to the Forks with my wife to listen to buskers. We hang out at the Human Bean Café to listen to Al and requested him to play Mr. Bojangles when suddenly Tim Miyai, another friend busker, came by to listen to Al, his full time work buddy. I asked Tim if he knows of a Filipino folk singer who was busking way back at the Forks? He said he knows one and his name is Teofilo “Teo” Mance. Tim added that Teo used to play with at the Forks with his Caucasian partner as his buddy.  I also learned from Tim that it was about the time that he was inspired to do busking. "I was kind of inspired by Teo to busk, you know," Tim said.

As a singer-songwriter myself, writing about peoples’ struggles in the diaspora, I was intrigued by Teo Mance. Everywhere I sing, somebody would tell me that there was once a guy sporting a pony tail who performs folksongs in the best venues here in Winnipeg. Most of the senior buskers in the Forks also affirm that they know Teo.

Mar Mance, a friend folksinger and brother of Teo informed me that playing the guitar and singing is the passion of Teo and it was Teo who influenced  him. He continued that “Love for music was kind of strong in our family and was reinforced by Teo’s passion. Actually, Teo was hiding from our mother to play his guitar since our mother was very strict and a disciplinarian. We had a fireworks business and small farm properties. As young kids, we were deprived of many things that most growing kids our age enjoy. Teo is older than me by just over ten years.  He asked me to join a rondalla group when I was in fourth grade so that we can have a guitar in the house. He practiced while Mom was away.  He then left to work in Germany at the age of 21 where he found his freedom playing the guitar and got really good at it. The rest is history.”

In the article of Leigh Anne Sommers published in Filipino Journal in October 1989, she wrote that Teo Mance immigrated to Germany in 1971. I learned from Mar Mance that Teo arrived in Winnipeg back in 1974 and joined a band named Mikrobyo (The Microbes) as a lead singer. During this time, Teo used a stage name Phil Mance, according to the Filipino Journal 1989. Mar commented that “Teo thoroughly enjoyed entertaining many audiences, including performing at the Filipino New Years Eve ball at the Holiday Inn” (Filipino Journal, 1989). Mar further said that when he arrived here in 1989,” Teo was already regularly performing at the Holiday Inn or what we know now as the Delta Hotel.

I read the artist bio that Mar Mance sent me and found that Teo played in a lot of places. While he was in Germany, he played professionally at Danny’s pan. I don’t know if this place still exists. He also performed in Denmark. Here in Manitoba, he played at Act 11, The Cork and Fork, Matheos, El Cafe, a favourite hang-out of the activist community back in the  mid-80s, Vidoni’s, St. Regis Hotel, Desottos, Summer Breese Cafe and Manhattans. Teo also had gigs in British Columbia, Washington, Oregon, California and Florida.  The Filipino Journal article also mentioned that he played at Vidoni’s standing room only. Wow, I can imagine how successful Teo was during those times when folksongs, ballads etc. were still the music of the day. How I wish I witnessed those days. Today, as a singer-songwriter, I am one of the few in the Filipino community who is just keeping the embers of folk music burning until the genre rises again from the dead.

Filipinos in Winnipeg now numbering seventy thousand while back in the days of Teo, we were only half of this number. In those the days, the struggle to be recognized was really tough and for Teo to shine in a period when multiculturalism was still young, is really a huge  achievement in terms of being out there representing the community in the field of culture as a Filipino troubadour.

In order to learn more about Teo, I went on YouTube to find some performances of Teo Mance and found some videos posted by Gordon Francis Hamilton. One can listen to Teo’s rendition of Balita (News ), a song of Asin, a famous Filipino folk band (Salt of the Earth). He also has a cover of the song Imagine by John Lennon, Words by the Bee Gees, Yesterday (Beatles), How can I tell you? by Cat Stevens,  Sailing by Rod Stewart and Babe by Styxx. Teo`s tenor voice is warm but at the same time cool. Listening to him gave me answer as to why a lot of folks wanted to listen to him. Most of the songs that he sings are easy listening music and meaningful that ordinary mainstream Canadians as well as newly arrived migrants can easily relate to.

A couple of years ago, I met Claudia Tadiarca, a younger sibling of Teo Mance. Knowing that I am a singer and songwriter who performs acoustic like his brother, she confirmed that Teo moved to British Columbia. She also shared that since Leigh Anne, the dear partner of Teo, passed away of cancer, Teo withdrew from performances.  I was not surprised to hear this because as an artist, I am familiar with the mind set of musicians but I felt sorry for an older brother musician. It must have really been heavy for him to carry. Most of the folk singers here in the Peg who I talked to always say that Teo was always with Leigh Anne on gigs in the Forks. They were natural buddies supporting each other everywhere. They drove around the City, set up the sound system together and while Teo is performing Leigh Anne is just nearby.  Usually, when misfortune like this happens, people just say life goes on, but for me, as a writer and folksinger, I have to take a pause and remember Teo Mance, a musician whom I never met, but is always around, stuck in the memory of a lot of folks who were touched by his music. Teo is still in BC, but wherever he is, it feels good to revisit his achievements in projecting the Filipino community in the City of Winnipeg from 1974 to the early 90’s through his performances. Thanks Teo for paving the way and inspiring future artists!

Food-O- Rama 2016- So Yummy!

Levy Abad - August 7,2016

Winnipeg- I had a great time at Philippine Canadian Centre of Manitoba’s (PCCM) 1st Food-O-Rama 2016 (August 6-7, 2016) event held at the grounds of 737 Keewatin St.! The two-day event was a success, kudos to the organizers, vendors, advertisers, fellow musicians and artists, volunteers and of course, to the community. Everyone was looking forward to Food-O-Rama, and just like me, they imagined and guessed the food that will be exhibited and sold. It was worth the wait and met my expectation because all the Filipino food that I wanted to taste and that I can boast to my friends in the multicultural community were there.

It was back in May when Bong Roscuata of the Asian Community News Magazine told me that they are cooking a great event that would complete the presentation of the Filipino Community. He added that he and Lou Fernandez, President of PCCM, conceptualized the event. I asked Kuya (older brother) Lou Fernandez about the significance of organizing Food-O-Rama and he said, “This is meant to feature culinary diversity in Winnipeg and promote Filipino cuisine in the multicultural buffet of the city.” Johsa Manzanilla, one of the volunteers and an officer of ANAK or Aksyon Ng Ating Kabataan said, “We often don’t think about where the food “comes from”- how the dish has developed over time, how it was made to be served, and where and how each ingredient was grown and gathered. We just consume it and enjoy it with our taste buds and senses. Learning about the history of our dishes connects us to the history of our culture and makes us think about how our people have been coming together for generations to eat, drink and be.” These words set the tone for the holding of this important event. Viewing it from the perspective of the community’s cultural history in Winnipeg, we already have the Manitoba Filipino Street Festival, now on its 5^th year, showcasing different Filipino cultures. There is also the Filipino Music and Arts Canada Inc. (FMACCI) under the leadership of Ernesto Ofiaza, that organized the First Filipino Folk Music Festival back in 2013. Now, here we have the Food-O-Rama to complete the cultural landscape and thus bring more colour and diversity to the multicultural texture of Winnipeg.

I like to mention some of the Filipino businesses that participated: Ems Lan Bistro, Jimel's Bakeshop, Bakerite, Noemi's Cuisine, The Modern Carinderia, Charita's Cuisine and Tessie's Catering Services. They brought the best recipes that they can offer for the community to savour with gusto.  Other food businesses were also invited like Churros Stop, Kyu Grill (Japanese Cousine), Simba Safari Grill, Habanerosombrero and of course, main stream Mini Donuts.

Food and Music

Aside from the food that triggers the taste buds’ memories, there was the entertainment part of the program scheduled from 6:00 to 10:00 in the evening. It brought back memories of the old country through songs performed by Traffikk Jamm, Cabuyao Band, Emogen Ventura, Geena Navales and yours truly. These artists rendered cover and original Fil-Canadian music. On the second day of the event, August 7^th, other artist also came to participate like the Fusmado Band, Vina Dimayuga, Dolly Atillo, AJ and JZ, Hazel Escano and Geena Navales, Sherylyn Padua-Policarpio  and myself again singing Dito sa Winnipeg (Here in Winnipeg), I Love Canada (A song about love’s betrayal), and Buti Na Lang Nariyan  Ka Pa (It is good that you’re still around as a friend).

Excellent audio engineering

As a musician familiar with the work of audio engineers, I can say that Bobie Nepomuceno of Vocal Arts Centre and Audio Services, who provided the lights and sounds, did a great job. This is worthy to mention because even if you have all the best speakers and performers in the world, if the audio is garbage then the event crumbles The musicians were inspired to perform because of the sound mixing by Bobie . Also, one cannot forget to mention the assistant of Bobie, Kaiser "Kai" Bermudo and Jun Isla, President of the Filipino Seniors Group (FSG), for helping out with stage management, sound system set-up and clean-up. Bobie shared that Paul Morrow of Filipino Express, who is also an able sound engineer himself, provided assistance during the event by patching cables and doing some "live streaming” of the performances for both days. Jojo Yso of Traffikk Jamm also shared his talent in the management of some technical aspects of the audio.

I would also like to mention Aksyon ng Kabataan's (ANAK)  that organized Filipino traditional games like Piko, Patintero, Tumbang Preso ,Dr. Kwak Kwak and many more, which the  kids and even adults really enjoyed playing. These traditional Filipino games seemed trivial, but they were powerful since they managed to evoke nostalgia of my childhood friends when we were playing these games.

Sponsors key to success
We know very well that in order for an event to be successful, funding plays a crucial role to make this happen. So where do you get the support  to sustain a big community event like this? This was the million dollar question that Kuya Lou Fernandez answered. He told me that sponsors like Vickar Automotive Group, Young’s Ethnic Food Store, CASERA credit union, Jim Gauhtier, Saladmaster, Charmaine Hernandez Mortgage Broker (Centum) TRI –M Windows and Doors, Maneet Jassal Realtor, played a key role that brought to fruition PCCM’s Food-O-Rama.

Other business establishments that contributed and actively participated: (Caldwell Banker), RONA, Moneris, Birchwood Honda (Regent), Forex Cargo, Vocal Arts Centre, CKJS (AM 810), Pilipino Express, SARBIT, Sunshine’s Creations Party, Sahara Oasis Spa, UPS McPhillips, Jackie De Quiroz (Century 21), Joel Duque, Immigration Consultants of Canada Regulatory Council (ICCRC, DSMACS Consulting Inc., KFC, Yoli Better Body System, DMC Production, CCFCC, Pratts Wholesale Limited, Baon Manila Nights, International Minute Press, Twist Bistro, Entrepreneurship Manitoba, M. PALAPUZ Construction Inc., Daylight Electrical Ltd., Small Farms Manitoba, Norwest Coop Community Food Centre, Culture Card, Fun Shots Photo Booth, Lente Photography, I-Remit Global Remittance and  204 FM.

"Bring PCCM closer to community"

Knowing the process of organizing community events, it takes a great of deal of time, effort and resources to realize Food-O-Rama. Liza Fontillas, one of the Food-O-Rama volunteers and an I-Remit staff said “the goal of the event is to bring PCCM closer to the community and open PCCM to the people.” She furthered, “the Board of PCCM (Jonalyn Espero, Pastor  Reymus Cagampan, Cesar Villamayor, Rey Sangalang,Jing Asperin,Sonny Balmes,Lito Taruc, Eril Deculing, May Deculing,Joanne Viviesca, Rodge Lopez, Chito Barcenas, Nap  Ebora, together with all the volunteers   from Tau Gamma Phi, Isabela Association of Mb, Friends of Filipino Immigrants and Aksyon ng Kabataan or ANAK INC. and Lourdes Federis, the event organizer/coordinator, all played a decisive role in the success of the event.”

The 1^st Food-O-Rama was indeed a memorable experience not only for those who have grown to the taste of Filipino food but also for those who want to introduce their taste buds and savour traditional Filipino food. At the end of the day, everybody was happy. This early, they are already looking forward to the next Food-O-Rama. It surely made everyone feel home away from home!

(Published in Philippine Canadian News- Winnipeg's first Food-O-Rama a Success,August 8, 2016)
(Ang Peryodiko , Volume XIV NO.15 August 16-31,2016 Winnipeg Manitoba, Canada )

Finest love songs in Filipino

@inquirerdotnet

Philippine Daily Inquirer

12:16 AM February 13th, 2016

Love is once again in the air and it’s beginning to fill the local airwaves as Feb. 14 approaches.

It is unfortunate though that you can hardly find a radio station, like the defunct NU107.5 and RJ105.9 UR, that plays some of the finest local love songs during Valentine’s Day.

So before we forget about our homegrown music, here are 14 of the most beautiful love songs in Filipino that are worth listening to this season of love.

1.    “Kapag Sinabi Ko Sa Iyo” (When I Say To You). Only a genius like Gary Granada can write such a wonderful love song that neither promises nor romanticizes.

2.    “Kun’ Di Man” (If not). One of the earliest compositions of Chikoy Pura, this serenade from The Jerks has earned a cult status in the Pinoy rock music scene for its catchy melody (and title).

3.    “Rosas ng Digma” (Roses of War). Written by Danny Fabella and a favorite among youth activists, the song is about a Red fighter who fell in love with his comrade.

4.    “Panata’t Pag-Ibig” (Pledge and Love). From “Lean: A Filipino Musical,” this Gary Granada song was performed by Chikoy Pura and Cooky Chua as the couple

Leandro “Lean” Alejandro and Lidy Nacpil.

5.            “Walang Hanggang Paalam” (A Goodbye Without End). This tearjerker by Joey Ayala was featured in the movies “Ang Bagong Buwan” and “Donsol.”

6.    “Laging Ikaw” (Always You). A splendid love song by the poet Jess Santiago that will definitely make you smile with its witty lyrics.

7.    “Sangandaan” (Crossroads). Pete Lacaba wrote this soundtrack, which was sung by Pat Castillo for Mike de Leon’s landmark film “Sister Stella L.”

8.    “Pag-Ibig Lang” (It’s Only Love). A perfect wedding song that tells how personal differences can become insignificant when it comes to love.

9.    “Dinamayan Mo Ako” (You Stood By Me). This heartwarming song from one of the country’s

pioneer reggae bands, Cocojam, is not reggae at all.

10.          “Himig Ng Pag-Ibig” (Song of Love). Lolita Carbon’s voice

will surely touch your soul in this classic Asin song.

11.          “Yun Lang” (Just That). Performed by Arthur Manuntag and Mike Villegas, the song is Pete

Lacaba’s translation of the timeless “That’s All.”

12.          “Pagdating Ng Bukas” (When Tomorrow Comes). This sentimental song by Labuyo from the “Manila Sound” era is a personal favorite.

13.  “Kanlungan.” The most popular in the list, this Buklod original was brilliantly written by Rom Dongeto.

14.  “Sana.” A poetic, patriotic love song from the progressive band MusikangBayan. Lyrics and music

     by Levy Abad Jr.

Let’s make good use of this romantic opportunity to rediscover and appreciate our own language.

—DANIEL ALOC,tierra.giya@yahoo.com

Read more http://opinion.inquirer.net/92820/finest-love-songs-in-filipino