Say pimiembro'n pormal ed UPSP diad luyag, kaokolan so sakey taon ya bayar ya pimiembro ya P300 odino P3000 para'd saray labay da so pimiembro'n andi-angga. Diad biektaew, wala'y $25 ya pimiembro kada sakey taon odino $ 100 para'd pimiembro'n andi-angga. Nayarin manmaliw met ya patron na UPSP diad pangitir day donasion ya ag onleksab ed P10000 ya walaan ira'y pribilihion naisulat so ngaran da ed Balon Silew tan arum ni ran palapagan na UPSP singa programa, libro (antolohia, koleksion na anlong, antikey ya tongtong) odino naibawag ira ed aktibidades na UPSP.
Diad embeneg ya limogan na UPSP nen Disiembri 27, 2009, apasiaan ya mangiletneg ya sanga na UPSP ed amin ya baley na Pangasinan, ed arum ya pasen ed Pilipinas (Camiling, Baguio, Paniqui, Manila, Mindanao etc.) tan diad biektaew: Hawaii, California, Saudi Arabia etc.
Unaan dia so sanga ed siudad na Dagupan, Alaminos, San Carlos, Urdaneta, Pozorrubio, Lingayen. Mawayang saray miembro dia no labay da met so mangiletneg na sanga ed baley da balet kaokolan ya manpatanir ed sengeg ya UPSP. Odino mimiembro ira ed sarayan sanga.
Say mamaolo ed sanga na UPSP ed
Dagupan:
Simon R. Vistro
09174914495
Alaminos:
Melchor E. Orpilla
09213156701
San Carlos:
Digna Selmo/Jesamyne Diokno/Guido Tiong
09291693774/09276262252
Urdaneta:
Erwin S. Fernandez
09152881008
Pozorrubio:
Mel V. Jovellanos
(075)5663533
Lingayen:
Catalina L. Felicitas/Elnora B. Dudang
09175086621/09197469329
Bugallon:
Sergio A. Bumadilla
09277115519
Say getma na sarayan sanga et mangalay miembro'n mangitandoro na salitan Pangasinan ed litirario tan audio-bisual ya kimey da. Nayarin mila saray sumusulat ed Inglis, Iloko, Bolinao tan Tagalog balet nakaokolan ya malinew ed poso ra so getma'n pabulaslasen so litiraturan Pangasinan. Ed arum ya salita,
kaokolan ya mankorit ira ed Pangasinan odino ibawag da'd kimey da'd pinta, musika, tiatro, panag-ukit so salitan Pangasinan.
Naigapo la so rinasimiento na kulturan Pangasinan. Itoloy
Say pimiembro'n pormal ed Ulupan na Pansiansiya'y Salitan Pangasinan (UPSP) diad luyag, kaokolan so sakey taon ya bayar ya pimiembro ya P300 odino P3000 para'd saray labay da so pimiembro'n andi-angga. Diad biektaew, wala'y $25 ya pimiembro kada sakey taon odino $ 100 para'd pimiembro'n andi-angga. Nayarin manmaliw met ya patron na UPSP diad pangitir day donasion ya ag onleksab ed P10000 ya walaan ira'y pribilihion naisulat so ngaran da ed Balon Silew tan arum ni ran palapagan na UPSP singa programa, libro (antolohia, koleksion na anlong, antikey ya tongtong) odino naibawag ira ed aktibidades na UPSP.
Diad embeneg ya limogan na UPSP nen Disiembri 27, 2009, apasiaan ya mangiletneg ya sanga na UPSP ed amin ya baley na Pangasinan, ed arum ya pasen ed Pilipinas (Camiling, Baguio, Paniqui, Manila, Mindanao etc.) tan diad biektaew: Hawaii, California, Saudi Arabia etc.
Unaan dia so sanga ed siudad na Dagupan, Alaminos, San Carlos, Urdaneta, Pozorrubio, Lingayen. Mawayang saray miembro dia no labay da met so mangiletneg na sanga ed baley da balet kaokolan ya manpatanir ed sengeg ya UPSP. Odino mimiembro ira ed sarayan sanga.
Say mamaolo ed sanga na UPSP ed
Dagupan:
Simon R. Vistro
09174914495
Alaminos:
Melchor E. Orpilla
09213156701
San Carlos:
Digna Selmo/Jesamyne Diokno/Guido Tiong
09291693774/09276262252
Urdaneta:
Erwin S. Fernandez
09152881008
Pozorrubio:
Mel V. Jovellanos
(075)5663533
Lingayen:
Catalina L. Felicitas/Elnora B. Dudang
09175086621/09197469329
Bugallon:
Sergio A. Bumadilla
09277115519
Say getma na sarayan sanga et mangalay miembro'n mangitandoro na salitan Pangasinan ed litirario tan audio-bisual ya kimey da. Nayarin mila saray sumusulat ed Inglis, Iloko, Bolinao tan Tagalog balet nakaokolan ya malinew ed poso ra so getma'n pabulaslasen so litiraturan Pangasinan. Ed arum ya salita, kaokolan ya mankorit ira ed Pangasinan odino ibawag da'd kimey da'd pinta, musika, tiatro, panag-ukit so salitan Pangasinan.
Naigapo la so rinasimiento na kulturan Pangasinan. Itoloy ti la sayan marakep ya kimey ta piano nagamoran so tugtuwan kawayangan na linawa daray Pangasinense!
Nagawa natan a Nobiembri 13, Biernes, ed Agew na Pangasinan, alas 9 na kabuasan, dia'd San Carlos City Gym ed Plaza, so panangisumpa daray balon opisiales na UPSP (Ulupan na Pansiansia'y Salitan Pangasinan) ed panamegley na Konseho na Siudad na San Carlos, say pangolo na siudad tan si Dr. Marcelo Casillan. Wala'y misa na alas 7 na kabuasan tan panangitagey na bandira na alas 8 na kabuasan.
San Carlos will celebrate Pangasinan Day on November 13, the 113th birth anniversary of the late Speaker Eugenio Perez, with a cultural program.
The celebration begins with a Holy Mass at the St. Dominic Parish at 7:00 a.m., followed by a flag-raising ceremony and wreath-laying at the bust of the Speaker at the city plaza which is named Speaker Eugenio Perez Memorial Amphitheater.
The program will be conducted purely in the Pangasinan language, including the national anthem, which will be sung by the choir of the Virgen Milagrosa University Foundation.
A variety of musical entertainment depicting the province's culture will be provided by the DepEd District 2 teachers, the Tambayo Cultural Group, the San Carlos College Drum and Bugle Corps, the Aniweng na Kawayan Group from Dagupan City courtesy of Dagupan City Vice Mayor Belen Fernandez, and the Perpetual Help University System from Malasiqui.
A member of the Perez Family is expected to address the gathering.
The Ulupan na Pansiasia'y Salitan Pangasinan will also hold its oath-taking for its officers. The group is headed by book author Mel Jovellanos of Pozorrubio. (CIO)
ANACBANUA (The Child of the Sun), the first digital feature film in the Pangasinan language.
Synopsis:
A middle class and Western educated poet (Umaanlong) returns to the Pangasinan region, the land of his birth and his ancestors where he was uprooted for a very long time. He is sick with a lingering physical, mental and spiritual illness. He meets the Musia (Muse) who takes care of him during his illness. The Musia performs a series of rituals that identifies the cause of the Umaanlong’s disease and appeases the ancestral and nature spirits inhabiting sacred spaces in Pangasinan’s physical landscape.
While in half-sleep, the Umaanlong’s soul leaves his diseased body. The soul flight transports the Umaanlong to places and timezones in Pangasinan’s landscape and history where he undergoes cosmic immersion, a deep and intense spiritual experience for chosen people like him where the self gets absorbed in the universe. The Umaanlong discovers the Ogaw (Child) who serves as a spirit guide in his magical journey. In this cosmic immersion, the Umaanlong undergoes a series of gradual and violent transformations similar to the fermentation of fish sauce, slaughtering of livestock, pounding and shaping of burning metal rods in the anvil, the moulding of the clay into pottery, and the baking of the moist bricks in the fire of the kiln. These series of rituals are tests a novice undergoes when he is called and destined to serve his people. Through this soul travel, the uprooted poet reclaims his primal and ancestral connection to the water (danum), to the land (uma), and to the people (katooan), key figures that mark Pangasinan’s landscape, history and identity.
Like his ancestors who belonged to the exclusive ranks of traditional healers, storytellers, and wise leaders in the ancient communities of Pangasinan, the Umaanlong completes these series of difficult tests in a novice’s initiation. The Umaanlong returns to the real world offering himself and his art towards the humanistic progress of his community and the people of Pangasinan. In this renewed and higher state of being, the Umaanlong reunites and becomes one with the Musia.
The Director:
Christopher Gozum was a graduate student of theater in the University of the Philippines. He won two Palanca Awards for Literature in 2001 and 2002 for his two full-length plays War Booty and The Pasyon of Pedro Calosa and the Tayug Colorum Uprising of 1931.
He is an alumni of the 2006 Asian Film Academy fellowship program(AFA)in Pusan, South Korea where he attended a series of filmmaking workshops, mentoring program in directing and a short film production with renown Asian film directors and young Asian filmmakers.
He founded his independent film company Sine Caboloan in 2007 dedicated to producing independent digital films about the Pangasinan region and its’ people.
His films and videos include Charlie Brown (1998), The Independence Mission (2005 Cultural Center of the Philippines Award for Alternative Film and Video), The Pilgrim’s Journey (exhibited during the 2006 Cinemalaya Independent Film Festival), The Calling (Best Short Film for Digital Lokal during the 2007 Cinemanila International Film Festival), Surreal Random MMS Texts for a Mother, a Sister, and a Wife who Longs for You: Landscape with Figures (Ishmael Bernal Award for Young Cinema during the 2008 Cinemanila International Film Festival), and recently The Child of the Sun, his first full-length feature film which will have its Philippine premiere during the 2009 Cinemanila International Film Festival.
Christopher is a diasporic independent Filipino filmmaker presently working as a videographer and editor in the Kingdom of Saudi Arabia. He is a Pangasinan with Ilocano roots. He was born in the Central Pangasinan town of Bayambang in the northern region of the Philippines.
Anacbanua (The Child of the Sun), the first digital feature film in the Pangasinan language, will have its Philippine premiere during the 11th Cinemanila International Film Festival at the Market!Market! Cinemas in Bonifacio Global City from October 15-25, 2009.
This film is made by Christopher Gozum of Sine Caboloan. He hails (born and raised) from Bayambang, Pangasinan. “If a [Pangasinense] stops speaking his native tongue right at the very heart of his homeland or even away from home, he will start to smell like a rotten fish. He is also as good as dead because he had lost his soul,” he said in an interview with Kuya Ging Cardinoza as written in his Inquirer article, Finally, a Pangasinan full-length movie.
Carlos Sampayan Bulosan (born to Ilocano parents in Binalonan, Pangasinan, Luzon, Philippines, November 24, 1913,[1] died in Seattle, Washington on September 13, 1956) was a Filipino American novelist and poet best-known for the semi-autobiographical America Is in the Heart.
Carlos Bulosan was born in The Philippines in a rural village of Mangusmana, in the town of Binalonan, Pangasinan. There is considerable debate around his actual birthdate, as he himself used several dates, but 1911 is generally considered the most reliable answer, based on his baptismal records, but according to the late Lorenzo Duyanen Sampayan, his childhood playmate and nephew, Carlos was born on November 2, 1913. Most of his youth was spent in the country side as a farmer. It is during his youth that he and his family were economically impoverished by the rich and political elite, which would become one of the main themes of his writing. His home town is also the starting point of his famous semi-autobiographical novel, America is in the Heart.
Like many Filipinos during the time, he left for America on July 22, 1930 at age 17, in the hope of finding salvation from the economic depression of his home. He never again saw his Philippine homeland. No sooner had he arrived in Seattle, was he immediately met with the hostility of racism, forcing him to work in low paying jobs. He worked as a farmworker, harvesting grapes, asparagus and other kinds of hard labor work in the fields of California. He also worked as a dishwasher with his brother and Lorenzo in the famous Madonna Inn in San Luis Obispo. He was active in labor politics along the Pacific coast of the United States and edited the 1952 Yearbook for ILWU Local 37, a predominantly Filipino American cannery union based in Seattle.
After many years of discrimination, starvation and sickness, Bulosan had to undergo surgery for tuberculosis in the Los Angeles County Sanitarium, now the USC Medical Center. The tuberculosis operations made him lose most of the right side of his ribs and the function of one lung. He was confined in the hospital for two years where he took advantage and read one book per day for 365 days a year. He became a prolific writer and protective voice concerning the struggles Filipinos were forced to live in.
There is some controversy surrounding the accuracy of events recorded within America Is in the Heart. He is celebrated for giving a post-colonial, Asian immigrant perspective to the labor movement in America and for telling the experience of Filipinos working in the U.S. during the 1930s and '40s. In the 1970s, with a resurgence in Asian/Pacific Islander American activism, his unpublished writings were discovered in a library in the University of Washington leading to posthumous releases of several unfinished works and anthologies of his poetry.
His other novels include The Laughter of My Father, which were originally published as short sketches, and the posthumously published The Cry and the Dedication which detailed the armed Huk Rebellion in the Philippines. One of his most famous essays was "Freedom from Want," commissioned by President Franklin Delano Roosevelt as part of a series on the "Four Freedoms" and published on March 26, 1943 in the Saturday Evening Post.
Carlos Sampayan Bulosan (born to Ilocano parents in Binalonan, Pangasinan, Luzon, Philippines, November 24, 1913, died in Seattle, Washington on September 13, 1956) was a Filipino American novelist and poet best-known for the semi-autobiographical America Is in the Heart.
Carlos Bulosan was born in The Philippines in a rural village of Mangusmana, in the town of Binalonan, Pangasinan. There is considerable debate around his actual birthdate, as he himself used several dates, but 1911 is generally considered the most reliable answer, based on his baptismal records, but according to the late Lorenzo Duyanen Sampayan, his childhood playmate and nephew, Carlos was born on November 2, 1913. Most of his youth was spent in the country side as a farmer. It is during his youth that he and his family were economically impoverished by the rich and political elite, which would become one of the main themes of his writing. His home town is also the starting point of his famous semi-autobiographical novel, America is in the Heart.
Like many Filipinos during the time, he left for America on July 22, 1930 at age 17, in the hope of finding salvation from the economic depression of his home. He never again saw his Philippine homeland. No sooner had he arrived in Seattle, was he immediately met with the hostility of racism, forcing him to work in low paying jobs. He worked as a farmworker, harvesting grapes, asparagus and other kinds of hard labor work in the fields of California. He also worked as a dishwasher with his brother and Lorenzo in the famous Madonna Inn in San Luis Obispo. He was active in labor politics along the Pacific coast of the United States and edited the 1952 Yearbook for ILWU Local 37, a predominantly Filipino American cannery union based in Seattle.
After many years of discrimination, starvation and sickness, Bulosan had to undergo surgery for tuberculosis in the Los Angeles County Sanitarium, now the USC Medical Center. The tuberculosis operations made him lose most of the right side of his ribs and the function of one lung. He was confined in the hospital for two years where he took advantage and read one book per day for 365 days a year. He became a prolific writer and protective voice concerning the struggles Filipinos were forced to live in.
There is some controversy surrounding the accuracy of events recorded within America Is in the Heart. He is celebrated for giving a post-colonial, Asian immigrant perspective to the labor movement in America and for telling the experience of Filipinos working in the U.S. during the 1930s and '40s. In the 1970s, with a resurgence in Asian/Pacific Islander American activism, his unpublished writings were discovered in a library in the University of Washington leading to posthumous releases of several unfinished works and anthologies of his poetry.
His other novels include The Laughter of My Father, which were originally published as short sketches, and the posthumously published The Cry and the Dedication which detailed the armed Huk Rebellion in the Philippines. One of his most famous essays was "Freedom from Want," commissioned by President Franklin Delano Roosevelt as part of a series on the "Four Freedoms" and published on March 26, 1943 in the Saturday Evening Post.
June 3 to 7 – Visual Arts – Paintings and Sculpture of Traditional Pangasinan
June 8 to 14 – Literary Exposition by Anacbanua and Exhibits of Pangasianan
Poetry and Essays
June 10 – Poetry Reading by Anacbanua / Film Showing – Sine Caboloan/
Christopher Gozum
June 11 – Stage Play by CCP: "Pragress" by F. Sionil Jose
June 12 – Musical Festivities: Pangasian National High School Rondalla /
Mangatarem National High School Rondalla
June 14 – Cultural Fashion Show – Filipiniana Twist of Traditional Pangasinan
June 16 to 19 – June Bride featuring the Pangasinan stylist and bridal suppliers
June 20 to 21 – Father's Day Celebration – Featuring Toy Collectors of
Pangasinan
June 22 to 28 – Photo Exhibit – The Traditional Pangasinan – like Puto and
Bagoong making
If music is the soul of a nation, then what is Pangasinan music?
Last November 2007, when I attended the first conference on revitalizing Pangasinan language and cultural heritage where I presented a paper on Pangasinan studies, a guy in his late teens with uneven teeth chatted me up while I was browsing magazines and books on a table he was watching over. In the course of conversing with him, he told me that he was a member of a band at his school.
It flashed in my mind that recently a progressive group of Kapampangan youth had successfully launched a music feast known as RocKapampangan featuring different renditions of "Atin cu pung sing sing" in rock by different bands. So, I broached to him this idea: "Why not do the same in your school?" I remember telling him that by doing so his band would be pioneering in promoting Pangasinan Rock at the same time reacquainting Pangasinan youth with their native language.
Months later, the following year, I was told that a festival of that sort was being planned in San Carlos City only to be aborted. Why I felt a little sad about it is that music is in the family's business.
My beloved grandfather can play the trumpet; I think, well, well enough to be invited whenever an important occasion happens in our barrio like fiesta or a funeral wake. I imagine him playing the trumpet to the tune of "Malinak lay labi." It's the only song I can sing since I was a grade-schooler ignorant of what the lyrics meant. It's the only Pangasinan music that I can think of immediately without actually thinking. Anyway, I regret that my grandfather did not teach me the trumpet but more than this I regret what happened to Pangasinan music all these years. It has got to do with a national policy implemented when I was not yet born but when I entered school, the whole of my generation and the next were made to suffer so that the meaning of that beautiful song became buried deep in our memory.
That language policy has been around since 1974 when bilingual instruction in schools was approved to the detriment of the other languages including Pangasinan because the use of local languages in schools as medium of instruction was indefinitely suspended. Do you still wonder why Pangasinan music is not heard in most radio airwaves or why Pangasinan bands continue to ape music foreign to their ears but no stranger to an indifferent audience accustomed to Western and popular Tagalog songs? Most Pangasinenses are not trained to listen to their own music that embodies their being as a people, as a nation. Because they were made illiterate in their own language, how can they compose great songs that would express their aspirations and longings as a people? How is Pangasinan music? I could shout on top of my lungs to bewail and protest the deafening silence.
But I'm happy to note that this is not the whole picture.
Sometime in 1984 a professor at a local university who did her dissertation on Pangasinan folk literature at UP organized a performing arts group to showcase Pangasinan music.
First called Tambayo Cultural Group, in 1988 they got invitations from civic organizations, government offices and cultural associations to perform at seminars, conferences and workshops.
Under the stewardship of five former presidents: Gilmer Bautista, Genaro Manolid, Larry Milanes, Jess Estabillo and Nathaniel Valerio, this student organization came to be known today as the Tambayo Singers.
It was last year, at the book-launching of the founder's daughter, when I finally met the group. At the dinner I talked to Shirley L. Milanes, one of the six singers and married to the musical director of the group, asking some timid questions and betraying my joy of having known that they exist, that all are not lost for Pangasinan music.
True to their name, they offered solace to the audience, mostly Pangasinenses who are, for the first time, listening in unison to the cadence and tempo of the national anthem in Pangasinan.
It had a cathartic effect on me – something in me had reawakened – but I also feel the revulsion of having to endure listening to music all these years in languages not entirely alien to me yet they caused almost irreparable damage to the indigenous musicality of my people. Nevertheless, a veteran broadcaster keeps this musicality alive.
Raul "Insiong" Tamayo, who is himself a singer, livens up the mood with his amusing, light-hearted songs in Pangasinan. Listening to him, I could not help myself grinning. His compositions depart from the folk songs like "Managsigay" or "Dumaralos", which evoke the unhurried life in the sea and in the farm.
Or the communal chants, verses in themselves, performed around a bonfire and during harvests before the colonizer Juan de Salcedo set foot on the coasts of Pangasinan.
Biting but funny, Tamayo satirizes the excesses of individuals known and dear to every Pangasinense. In "Malabir Ka" he lampoons a wife addicted to gambling who was also a nagger.
In "Ponciano" he takes issue on some (here a family he hilariously named Ponciano from the word poncia in Pangasinan meaning party or gathering) who makes a living out of attending parties and other gatherings where food is served.
In 2004 Tamayo was named one among the most outstanding Pangasinenses in the field of music. Last year he was commissioned to write a Pangasinan hymn to be translated into Tagalog! I argue, however, that there is no need for that because we already had.
"Malinak lay labi," in English "calm is the night," is not only a love serenade of a man to his beloved. It is more than that. Mita Q. Sison-Duque says it's "a love song to Pangasinan."
And I tend to agree. Taken metaphorically, that woman, Urduja if you will, personifies Pangasinan, our homeland that we love and care because we owe her our life and freedom.
It is a patriotic song that appeals to Pangasinenses wherever they are, either scattered throughout the country or abroad. Whenever they remember Pangasinan in their loneliness or go home to visit, their sufferings are made bearable and their anxieties seem to fade away.
Pangasinan appears as a spring of hope and dreams to the masses, a fountain of wisdom to its thinkers and a source of wealth to a selfish few. For more than a century, this country song had touched the hearts of millions of Pangasinenses.
Nobody knew who wrote it but the genius of its author tells us that behind the literal meaning lies the message – love of country.
Let us love Pangasinan by promoting our culture and loving our language. Sing new songs to her, mistress of our heroes, who rekindled in them the fire that forged an ancient civilization on the banks of Agno. Let these new songs, yes in Pangasinan, express love, patriotism, loyalty, anger, hate, humor, and injustice – everything in the realm of human emotions – in every musical genre.
Prepare for a musical revolution and get ready to rock.
[First published in Northern Watch, March 22, 2009]
