METRONOMAD, Tao Music, 1996
of us are already dead. Our two Mumbakis at that. Lakay Pepito (Bosch)
showed us the way while Lakay Roberto (Villanueva) held us together.
To them we would like to dedicate this album.
all started during the first Baguio Arts Festival. Participating
artists from Manila had joined up with members of the Baguio Arts
Guild at a dinner at Cafe by the Ruins after the festival's opening.
As they sat around the Cafe's Dap-ay (a circular rock and stone
installation found in tribal villages in the northern Cordillera
where elders hold their council and rituals) someone picked up a
couple of pieces of pinewood meant for the fire raging at the center.
Another picked up some bamboo segments. Rum and beer bottles were
used. So were covers of pots and pans. Rocks were pounded. Sticks
flailed. A rhythm was born. Very Igorot in its influence. Then the
rock band The Blank joined with lead and bass guitars. A keyboard
was set up. A couple of guys brought out their saxophone and flutes.
Grace Nono wailed and the Bisaya and Ilonggo connected it with their
melodies. The Wandering Chink called it Rock n' Runo (a reed found
in the highlands similar to bamboo). Manong Bencab called them the
Pinikpikan, after a Mountain Province chicken dish which is prepared
with an Igorot beat.
Pinikpikan Band was never ever "officially" formed, yet
it exists. From a Baguio cafe's Dap-ay to a living room on Protacio
in Pasay, from the beaches of Puerto Galera to the mountains of
Sagada, the music has incessantly rocked and rolled. Different places,
different groupings, but always the percussion and the jamming.
The members have never been the same, yet the members always are.
Pasilan calls the concept a "collaborative idea for artists
who consider it a lifestyle based on an intuitive notion of coming
together and sharing the moment with the creative impulses of music
and art according to the participants' own understanding."
as one would say these days. An art Interface through musical rhythms.
of the unusual characteristics of this "band" is that
the participants aren't all career musicians. Most are visual artists,
installationists, filmmakers. And one or two even consider themselves
as Art Objects (in more ways than one: Object ng object sa Art 'yung
such, the music you hear is nowhere in the class of Boying Geronimo,
let alone Nana vasconcelos. Also, the "best" music we've
ever put together was created at parties or some such occasion.
This is because of the spontaneous, trance-like celebratory aspect
of the participants' lifestyles.
party with us, or better yet, invite us to your parties."
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