Dis/Re-integration of Traditional Vocal Genres:

Cultural Tourism and the Ayta Magbukun “Koro Bangkal Magbikin,”

in Bataan, Philippines

(4th International Council for Traditional Music – Performing Arts of Southeast Asia Study
Group Symposium, Penang, Malaysia, July 31- August 5, 2016)

by Amiel Kim Quan Capitan

(abstract of the conference paper)

One of the largest settlements of Negrito group called Ayta Magbukun is found in the
small of town of Abucay located in the province of Bataan, Philippines. Aside from the innate
historical significance of Abucay that puts the town on the list of places to visit in the province, it
is home of a well-known choir group called “Koro Bangkal Magbikin.” The choir consists of
young and talented Ayta Magbukun and is the under the management of the local tourism council
of the province. Now becoming one of the tourist attractions in Bataan, the group faces
challenges and dilemmas – one, being an object of cultural tourism themselves and two, as
designated representatives of Ayta Magbukun culture.

My study explores how an indigenous people engage with touristic activities, how
tourism affects the interest and performance of the choir, and most importantly, how are Ayta
Magbukbun vocal genres transferred to the young generation. This study seeks to answer the
following questions: (1)What are the vocal genres of the Ayta Magbukun that are in the brink of
disintegration in the community? (2)How does the Ayta Magbukun engagement with touristic
practices particularly the “Koro Bangkal Magbikin” choir, who is the cultural representative of
the group, becomes a catalyst in the proliferation or extinction of their traditional vocal genres?
(3) What are the possible ways and steps done by the community and local tourism council that
can initiate the continuance of Ayta Magbukun vocal genres? In this study, I provide
ethnographies of the “Koro Bangkal Magbikin” members, community elders, their audience, and
the tourism officers as well as my own reflexive thoughts to draw a large picture of their
interactions that lead to the sustainability and/or total extinction of Ayta Magbukun vocal genres.
When Ethnomusicology meets Music Education: Musings on Philippine music Instruction in Basic
Education Music Classes Today

(International Conference on Education 2016, Boracay Islands, Philippines,

December 9-11, 2016)

by Amiel Kim Quan Capitan

(abstract of the conference paper)

In the recent shift of the Philippine curriculum, from Basic Education Curriculum to K-12, course
in Philippine Music, particularly dealing with indigenous music cultures, still retain its place in the array
of topics in music classes. Musical ethnographies written by Filipino ethnomusicologists in the 70’s to
80’s, find its worth in the basic education sector. Training, lectures, and written manuals were given to
classroom teachers to facilitate the delivery of Philippine music instruction in the country. The Cultural
Center of the Philippines (CCP) spearheaded this tedious work of training music educators nationwide. It
has been more than two decades since the publication of the first training manual for Philippine traditional
music instruments and nothing of that kind has ever been widely published and disseminated after.

This study explores current situation of Philippine Music instruction, particularly on indigenous
music, in basic education sector. Insights for this study were garnered through interviews and focused
group discussions with fellow musician-educators coupled my own experiences being an
ethnomusicology graduate student and a classroom music teacher. The result indicates that most of the
teachers were having problems with regards to resources such as instruments, notations, and readings.
Hence, it affects the quality of music instruction, which led to students’ lack of interest in learning the
course thus decreasing its relevance in the lives of the learners. Recommendations from the participants
were collected to draft measures on how the two disciplines, ethnomusicology and music education, can
meet for betterment of the course in the basic education program.
 Starting them Young: Early Musicianship using Indigenous Materials for
Urban Learners

(Southeast Asian Directors of Music Congress: Seeding the Musical Ground,

Yangon, Myanmar, March 23-25, 2017)

by Amiel Kim Quan Capitan

(abstract of the conference paper)

The Kodály music program was initiated in Philippine Women’s University Jose Abad Santos
Memorial School Manila campus last School Year 2015-2016 as part of an ongoing research on the
effectiveness of the Kodály approach in developing the musical skills of primary and secondary students.
It is based on Zoltan Kodály’s philosophy, that each child has a right to learn music. Hence, the goal of
the approach is to increase the students’ level of interest in music by providing them with activities that
would continually challenge them to reach a high level of musicianship.

Two certified Kodály music educators and faculties of the PWU School of Music implemented
the Kodaly curriculum for JASMS. The classes involved numerous musical activities that are mostly
based on indigenous materials such as songs, spoken rhymes, pattern for instruments, and games. This in
turn will be used to learn different Western musical concepts.

A survey was conducted at the end of the year to assess the responses of the students to the
curriculum. The results showed that 88% of the students enjoyed their music class very much. This holds
true especially for the sections that had consistent attendance in classes and performance assessment
throughout the year.