02/06/2026
ETHNOGRAPHY OF SPEAKING THE BIKOL FOLK SONG
Ni Cynthia D. Nolasco
1998
Wika at Pagpapalaya: Mga Papel ng Ika-8ng Konggreso ng Linggwistiks sa Pilipinas
[EXCERPT]
An observer in the Bikol region will immediately note the closeness of ties between daily life and song among the people. The folk sing at work, while resting, at play and in worship. They sing when they are happy, when they are disappointed or heartbroken, when they are afraid, and when they are penitent. They sing to their babies, the older children, to their lovers, their parents, to God and the saints. There are songs sung before dawn, during the day, in the evenings and at midnight. There is a vast and varied repertoire of melodies and lyrics upon which the people draw for songs to suit both occasion and purpose for which singing is appropriateโฆ
โฆ Hence, we see that folksinging in the region happens under a host of diverse conditions. The folk sing their songs in a variety of social situations and settings, with a variety of singers and for a variety of purposes. However diverse these conditions are, the folk implicitly know which song and which singing style accompany which purpose, which occasion, which physical setting, which time of day, which type of singer or singers and audience, and other such elements which, broadly speaking, constitute the folksinging context. Complementarily, the folk also know which elements do not match or combineโฆ
โฆ These examples of appropriate and inappropriate behavior indicate that folksinging is not merely the act of singing songs transmitted over time but rather a complex activity involving a โcorrectโ text, context, participants and performance and a โcorrectโ combination of these elements. It is a form of behavior involving choices on these components which are made, often unconsciously, by the folk.
Broadly defined, folk songs are the songs of, for, and by the folk which is โany group of people whatsoever who share at least one common factor (such as) occupation, language or religionโ (Dundes 1965: 2). These are the melodies and lyrics as well as their performance which are created and/or recreated by the folk, performed primarily by and among themselves to accompany the daily life of the community, and the expressive of a meaningful personal or social or group experience.
The specific defining characteristics of folk songs are communal recreation, variation, aural transmission, and performance in small groups. Communal recreation is the basic element which distinguishes folk songs from other types of songs. While originally composed by individuals, folk songs have been and are acted on, re-created and re-fashioned by the community in a process of purposeful selection and adaptation, unlike popular songs which are taken over ready-made by them. Thus folk songs are truly a communal product and possession.
Consequently, they exist only as variants of the original compositions whose melodies and/or lyrics, together with their authors, are now perhaps forgotten. While popular songs are congealed in form, folk songs invite variation in their tunes and their wordsโฆ
โฆ The ethnography of speaking the Bikol folk song is a description and analysis of its text, context and performance and the shared conventions governing its conduct and interpretation. It is a description and analysis of the rules governing the use of the folk song in the Bikol region, the rules and conventions governing its form, its doing and performance, and setting which are intimately related to the rules governing its means of interpretation. There are shared conventions that distinguish it from other nonfolklore communicative modes, that is, through its text, its conduct or performance, and the situation where it may be found.
To produce, comprehend and use โcorrect and well-formed, contextually appropriateโ folk songs, the folk draw on what might be termed their folksinging competence, an implicit knowledge of the rules and conventions involving the text, performance and context of this verbal art.
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