Bayang Barrios' Ethnic Colors
by Data Tolentino
Kampus Magazine / May 1997
Yes, Maria, she got her name from the first word in the Philippine National Anthem. Lupang Hinirang was blaring from Bunawan, Agusan del Sur town plaza that morning of June 12, 1968, and with the first line, Bayang Barrios was born.
"Tradisyon kasi sa aming mga Manobo, na kung anong unang marinig, yun ang magiging pangalan ng bata," she explained. ("Junelie" was later appended, as the priest required that the child have a "Christian name.")
Bizarre for some, but for those familiar with the music of Joey Ayala and the former Bagong Lumad, Bayang is no stranger having performed in and around the country with the group for eight years. Bayang is finally stepping out of Ayala's shadows and into her own spotlight. She has already made a name for herself in the cultural scene, doing a number of shows for the Cultural Center of the Philippines, representing the country in international competitions, and recently winning album of the year honors from the Catholic Mass Media Awards.
She's come a long way from singing on a makeshift stage of soft drinks cases, and joining choirs in high school and college, both spent in her native Agusan.
"Bata pa lang ako, mahilig na ako sa music. Marunong akong mag gitara, kahit kaunti. Pero hilig ko talaga ang kumanta,"she said.
In fact that was how she met Joey Ayala. While fooling around with her guitar and making noise during a play rehearsal, Ayala noticed her singing voice and invited her to join the group he was forming. 'Sabi ko, sige, subok lang." she said. Before she knew it, she found herself turning down a teaching job in her alma mater, and a P7,000-a month singing stint in one of the local clubs. She joined Joey and Cynthia Ayala, Noe Tio, and Onie Badiang to form Ang Bagong Lumad.
It was, in a word," Wow."
"Ang dami kong natutunan. Sa composition, naging influence ko sya. Lalo na sa pag tugtog ng mga instrumento na [katutubo]," she said - surprisingly—with a hint of regret.
According to her, she never touched any of the Manobo's indigenous instruments for fear of being ridiculed by the other children. "Kasi sa amin noon, may discrimination. Kung Manobo ka, mabaho ka." She never learned to play the instrument until she joined Bagong Lumad. "Why only now? I asked. "But now I'm proud. It's even becoming my identity." Which is about as exotic as another allusion to her image.
She is being compared to one of her earliest musical influences. Bayang did not feign surprise when told she was being hailed as another Nora Aunor. She's heard it before, from different people, and on different occasions.
But image matters little to an artist. Or at least it matters less than some things. What she'd really like to hear, Bayang stresses, is her songs on the radio.
'Natutuwa nga ako na narinig ko yung 'Pagnanalo ang Ginebra' sa radyo. Kahit hindi ako yung nag sulat noon, tuwa na ako," she said.
Bayang has reason to be ecstatic over the song's airing. Written by Gary Granada, Pagnanalo may well be Bayang's break into a bigger audience. Her CMMA-awarded debut album, Makulay failed to make a dent in and the services offered by artists like Popong Landero, Mike Villegas of Rizal Underground, and Joey Ayala, the LP's recording company let it sit on the shelves even after wining Album of the Year.
"Kasi pag CMMA, ang [connotation] malalim-lalim. Ewan ko kung ano balak nila basta sana year, ma-promote na kasi mag tu-two years na,"she said.
Mainstream monarchs might have found it "too deep" but Bayang swears, they're all simple personal experiences that most anyone can relate to: everything from barkadas breaking up, to falling in love, to getting over one's identity crisis.
Notable among Bayang's songs are Nasaan na tayo ngayon? A nostalgic piece penned by Bayang, as she reminisces about her early days with Bagong Lumad, and their subsequent disbandment. Mike Villegas and Hiruko Yabut's acoustic love song, Habang Narito Pa, flaunts Bayang vocal prowess.
With only a guitar and Yabut's Koto, Bayang gently croons about love, time and spending it wisely.
Ka Tribo Ko, embodies Bayang's awakening and acceptance of her Manobo heritage. Bayang energetically pounds out an ethnic sounding beat, accompanied by bass and electric guitars, to produce an upbeat, melodic fusion of the modern and the ancient. An aural experience, the song conveys Bayang's passion and pride in her tribe.
Bayang has the voice. Powerful and hard-hitting, it can also be gentle and soothing when the songs call for it. Her songwriting is simple and content is limited to her personal experiences which she admits, is what the album is all about.
"Sinubukan kong mag sulat ng environmental song, or tungkol sa mga [issues], pero wala pa ako sa stage na 'yun," she admitted.
Now she is part of Lean, a musical on student-activist Lean Alejandro, who personified the term "youth leader" in the 80s. "Ang role ko ditto cadre, isa sa mga underground na parang spy," she said. According to Bayang, the final details of the script are being fine-tuned, but she got to read the first copies of her character's songs, and quickly concluded: "ang ganda."
Her dreams remain simple, she says: "Matugtog lang 'yung album ko, marinig lang ng masa, ng tao, masaya na ako,"she said.
The opportunities of artists like her are there, she insists. She is glad there is more room for acceptance for various themes and artists, most of all women artists. "Ang ganda-ganda tingnan. Actually parang babae nga'yung nag dodominate. Magaganda ang gawa nila at di lang basta-basta. Malayo na ang narrating ng kababaihan," she said.
She can at least certainly speak for herself.
