The project is aimed to map out and document Pangasinan traditional and folk songs, make a video recording of them, and perform them. However, the project is not limited to songs using the Pangasinan language. It has included songs using the Bolinao language because of the same reason that there is a little known documented Bolinao traditional or folk songs. The Bolinao language is one of the threatened languages in the Philippines and it is spoken only in thewestern part of Pangasinan, particularly in the towns of Bolinao and Anda. Meanwhile, although the Ilocano language is also prevalent in Pangasinan, especially in the eastern and western portion of the province, Ilocano songs were not included for the reason that there are already lots of documented Ilocano music and folk songs like “Manang Biday.”

A project team was created to conduct the research and documentation of songs. Since such project is inherent in its programs, the Provincial Tourism and Cultural Affairs Office (PTCAO) automatically monitored and supervised the development of the project and extended logistical
assistance to the project team.

A training-workshop on how to go about the Music Geography Project was conducted by the NCCA Technical Consultants for the project team. Topics on Music Ethnography and Music Theory, and cultural mapping of intangible cultural properties were part of the discussion.

The project team created a target-mapping plan and categorized the Pangasinan traditional and folk songs into the following: 1.) Work-Related Songs (Fishing, Farming and Boating); 2.) Rituals and Chants (Religious songs, Gozos); 3.) Social/ Life Cycle Songs: (Love & Courtship, Weddings and Marriage, Fiestas & Celebrations, and Lullabies); 4.) Songs about Nature (Animals and Plants); and 5.) Bolinao Songs.

Initially, the project team short-listed thirty-six (36) Pangasinan songs and five (5) Bolinao songs. From the said shortlist, fifteen (15) Pangasinan songs and four (4) Bolinao songs were documented.

The project team also faced some challenges even before the actual mapping started. The project was delayed due to circumstances beyond their control like the change in administration in the provincial government and the transition phase that has to undergo with it. Thus, the project was extended two times with the approval of the National Commission for Culture and the Arts.

Along the way of the mapping and documentation, the project team also had to deselect some of the targeted songs due to lack of materials or absence of resource persons or culture bearers in the field who know the songs. In Bolinao, the culture bearers requested to deselect one of the songs because for them it is like taboo and runs against their morals and value as a community.

In spite of all the challenges, it was an amazing experience for the project team to map Pangasinan Traditional and folk songs because they were also able to discover other songs that are not commonly sung anymore in the community. Nonetheless, the project pushed on and
was completed.

The project team believes that there are more Pangasinan traditional and folk songs out there that need to be rediscovered and documented before they are gone. Time is, indeed, of the essence in doing such project in mapping intangible cultural assets in the community. Logistical and financial support is necessary in pursuing such a noble endeavor in order to preserve and promote these traditional and folk songs, and eventually safeguard our intangible heritage and sustain them up to the future generations.

This Pangasinan Music Geography Project may just be the beginning of a more comprehensive cultural work in the coming years to map and document our cultural heritage in the province.

May this project become a catalyst in pursuing similar works in the future, and may this project inspire our young generation to appreciate our songs and music and take pride in our identity as the culture from panga-asinan.

Nathaniel Joel M. Daroy
Project Development Officer III, PTCAO