Draft:The Rise and Impact of Igorot Country Music VCD in the Cordillera and Beyond
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THE RISE AND IMPACT OF IGOROT COUNTRY MUSIC VCD's IN THE CORDILLERA AND BEYOND[edit]
The Cordillera Administrative Region (CAR) Philippines, boasts a rich musical heritage influenced by various factors. This article explores the rise and impact of local music VCDs on the region's unique Igorot music scene.
Early Music Scene and Traditional Distribution[edit]
The early music scene in the Cordillera region, particularly in Baguio City and its surroundings, was shaped by American influences. The presence of Camp John Hay, a former American recreational base, partly led to the widespread popularity of Hollywood movies and American country music in the late 1940s and beyond. Folkhouse bars featuring solo singers or bands thrived, but their popularity partly declined with the introduction of karaoke machines replacing live singers in the late 1990s. Throughout this period, cassette tapes and local radio stations and live performances remained the primary ways people enjoyed music.
Enter Music VCDs: A New Way to Experience Igorot Music[edit]
The late 1990s and early 2000s saw a significant shift in music consumption. Inspired by the growing trend of VCDs in Taiwan, Rafael Manuel Jr., an Overseas Filipino Worker (OFW) of Igorot descent, envisioned showcasing Igorot singers on a visual platform. He recognized the potential of VCDs to revitalize the local music scene facing challenges from the dominance of karaoke. During this time, there were already a few VCD productions released locally featuring Christian Igorot films and gospel music, but none had yet ventured into Igorot country music.
The Pioneering Work of Rafael Manuel Jr. and Rio "Felimon" Carino[edit]
Upon his return to the Philippines in 2000, Rafael began his quest to collaborate with prominent Igorot singers. Initial discussions with a singer from Vizcaya in 2001 and another popular singer from Alapang in 2002 proved unsuccessful due to funding limitations. Finally, in 2004, he connected with the renowned singer Rio "Felimon" Carino. Rio's enthusiasm for the project and Rafael's persistence to fulfill his vision finally sparked the creation of the very first Igorot country music video.
Filming commenced with the first scenes shot in front of the Benguet Capitol grounds. The music video production featured Rio alongside other talented singers like Sendong Salvacio, Aguilar Matsi, Marvin Thompson, Jason Balagtey, and Listo Langbis. The editing process took place in Betag, La Trinidad, while printing and mastering were done in Baguio City.
The very first Igorot country music VCD titled 'Kabenguetan' was officially released on October 28, 2004, with just a few hundred copies. It was met with immediate success, generating buzz among listeners, viewers on YouTube, and radio stations alike. The popularity of "Kabenguetan" paved the way for other local producers and singers to enter the country music VCD production scene (e.g., Kinnoboyan VCD).
The Allure of Music VCDs and Their Impact[edit]
Music VCDs offered a novel way to experience Igorot music. Viewers could enjoy local music performances on television screens, the internet (particularly YouTube), and personal devices. The inclusion of extra talents, background actors, and personalities further enhanced the appeal of these local production VCDs. Their popularity even surpassed pirated movie VCDs during regional events and festivals. However, this success was hampered by the illegal copying and distribution by local and migrant traders.
The End of an Era: Piracy and the Digital Shift[edit]
The popularity of music VCDs eventually waned due to two or three main reasons: piracy and technological advancements, and limited copyright protection (although this factor had a lesser impact on the decline itself).
Piracy: The illegal copying of music VCDs significantly impacted production costs, making it difficult for singers and producers to sustain the industry.
Technological Advancements: The rise of faster USB drives, mobile phones, online platforms, and computers provided alternative avenues for accessing and sharing music online. Producers struggled to compete with the ease and immediacy of digital music distribution.
Limited Copyright Protection: A third factor, though less impactful on the decline itself, was the issue of song originality and copyright protection. Some singers incorporated elements from existing local or international songs, making it impossible to fully copyright their compositions. This lack of copyright protection left them more vulnerable to pirated distribution since they could not file a legal claim. Worse, original compositions were receiving the same fate of piracy.
Dismayed by this lack of options for smaller producers, Rafael Manuel Jr. continued his efforts to find solutions. He sought the assistance of the Optical Media Board (OMB) in Manila but was advised that in order for recognition, producers needed to be registered with other agencies like PARI. He inquired about assistance for smaller producers but the response was negative.
The local producers lamented that to be registered members of these organizations would mean they would have to raise the selling price of their music videos. This, in turn, would encourage more people to resort to buying the pirated copies which were significantly cheaper (selling at 3 for 100 pesos compared to the original price of 150 pesos each at that time).
Faced with these challenges, Rafael also reached out to the National Library of the Philippines. He met with a representative, Mr. Ariero, who happily agreed to come to Baguio to meet and discuss with the producers how they could help protect their recordings through the National Library. The meeting was held at Benguet State University with local producers, singers, and representatives from local radio and newspapers attending.
A Legacy Carried Forward: The Future of Igorot Music[edit]
While music VCDs are no longer a primary format, their legacy lives on. They played a crucial role in revitalizing the Igorot music scene and introducing it to a wider audience. Today, music producers have shifted their focus to online platforms like YouTube, uploading content and relying on views and shares to generate revenue.