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The Philippines is known to have the first hip-hop music scene in Asia, emerging in the early 1980s, largely due to the country's historical connections with the United States where hip-hop originated. Rap music released in the Philippines has appeared in different languages such as Tagalog, Chavacano, Cebuano, Ilocano, and English.
The United Nations Educational, Scientific and Cultural Organisation (UNESCO) intangible cultural heritage elements are the non-physical traditions and practices performed by a people. As part of a country's cultural heritage, they include celebrations, festivals, performances, oral traditions, music, and the making of handicrafts. [1]
Folk music musical instruments. The music of the Philippines' many Indigenous peoples are associated with the various occasions that shape life in indigenous communities, including day-to-day activities as well as major life-events, which typically include "birth, initiation and graduation ceremonies; courtship and marriage; death and funeral rites; hunting, fishing, planting and harvest ...
Intangible cultural heritage (ICH) includes traditions and living expressions that are passed down from generation to generation within a particular community. The Philippines, with the National Commission for Culture and the Arts [1] as the de facto Ministry of Culture, [2] ratified the 2003 Convention after its formal deposit in August 2006. [3]
The culture of the Philippines is characterized by cultural and ethnic diversity. [1] Although the multiple ethnic groups of the Philippine archipelago have only recently established a shared Filipino national identity, [2] their cultures were all shaped by the geography and history of the region, [3] [4] and by centuries of interaction with neighboring cultures, and colonial powers.
Sociomusicology (from Latin: socius, "companion"; from Old French musique; and the suffix -ology, "the study of", from Old Greek λόγος, lógos : "discourse"), also called music sociology or the sociology of music, refers to both an academic subfield of sociology that is concerned with music (often in combination with other arts), as well as a subfield of musicology that focuses on social ...
The imposition of martial law in 1979 led to strict government controls over cultural performances and all forms of media. So while artists like Jess Santiago and Heber Bartolome continued writing protest songs, these mostly could not be performed until the late 1970s when international scrutiny and local conditions forced Marcos to loosen the reins somewhat. [8]
In the early 1970s, Pinoy music or Pinoy pop emerged, often sung in Tagalog. It was a mix of rock, folk and ballads making political use of music similar to early hip hop but transcending class. [2] The music was a "conscious attempt to create a Filipino national and popular culture" and it often reflected social realities and problems. [2]