July 10, 2014 Jupiter "Guru Pradosham" Curse
REALIGNMENT OF CHABACANO IDENTITIES IN RAP LYRICS AU AARHUS UNIVERSITY ARTS Eeva Sippola 18 SEPTEMBER 2014 … languages may not only be ‘markers of identity’ but also sites of resistance, empowerment, solidarity, or discrimination. Pavlenko & Blackledge (2004:4) AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 LANGUAGE & MUSIC (RISAGER 2006:190) • • • • How does linguistic/linguacultural practice… take place in .. a multilingual experienced community? What themes are verbalized by discursive practice? How is cultural practice included: buildings and objects, sound and music, the use of the body, etc.? And how is this totality organized socially? AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 3 AIMS Shed light on the functions and weight of language ideologies in an endangered creole community, through their construction and negotiation in music. Which discourses are activated in rap? How are young speakers reshaping and realigning their identity through and with their linguistic practices? 1. 2. AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 4 CHABACANO • • • • One of the few Spanish-based creoles worldwide The only one in Asia Spoken today in three locations in the Philippines, Zamboanga being the most vital Local Philippine languages, little knowledge of other creole varieties AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 Cavite City Barra de Maragondon Ternate Detail of “Bahia de Manila, I Parte Central de la Isla de Luzon, Islas Filipinas, 1a hoja” (Coello 1852). © Institut Cartogràfic de Catalunya. AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 GMANetwork, August 26, 2013 AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 METHODS ! ! ! Small scale case study focusing on rap in the endangered Chabacanospeaking community in Ternate Combination of qualitative sociolinguistic and ethnolinguistic methods Analysis of language use and lyrics based on: ! ! ! AU Sociolinguistic interviews and lyrics of rap songs (Ternate 2014) Participant observation (Ternate 2003 >) Cultural keywords ”particularly culture-rich and translation-resistant words that occupy focal points in cultural ways of thinking, acting, feeling, and speaking” (Goddard, 2014) AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 8 POSTCOLONIAL PHILIPPINES Ethnically diverse, highly multilingual country • Over a hundred local languages and two official languages: English and Filipino Influence of colonial languages • High number of Spanish loanwords • Official English, also as school language Local languages face challenges • The rise of a nationalist language policy after WWII • LWC and the use of regional languages in education AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 9 CHABACANO TODAY Confidence in Chabacano Forman 2001 • • Dangers of western categorizations in labeling Chabacano Orthographic choices and the impact on language promotion Effects of gradual creolization Lipski 2010 • • Confusing and ambiguous references Affecting the status and attitudes towards Chabacano today Language endangerment in the Manila Bay region Lipski 1986-7 Molony 1977 • Attestation of low speaker numbers and language shift Lesho & Sippola 2013 • • • Break in intergenerational transmission in Cavite City Proportional numbers of speakers decreasing Changes from urbanization & closeness of Manila AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 MALDITA Porque • • • • • Chabacano success from 2009 Pinoy-Pop song to fame via YouTube and Zamboanga radio stations Discovery by a Manila-based record company Nationwide popularity which led to a Tagalog version of the song Today Maldita has been Tagalized, and their songs are in Tagalog AU AARHUS UNIVERSITY ARTS Picture from http://ebtenorio.wordpress.com/2009/10/27/porque-by-maldita-band 18 SEPTEMBER 2014 11 AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 12 CHABACANO IN TERNATE TODAY Vulnerable, threatened (Lesho & Sippola 2013) Total bilingualism in Tagalog, losing L1 speakers • Language shift in progress • Youth language as “mixed” with Tagalog or English • Attested features: Phonetic; palatalization of k/t/s. Grammatical elements and structures; possessive pronouns, relative particles, conjunctions, word order, topic and object marking, indefinite terms, reciprocal construction Twofold language attitudes Traditional, local language / language of the poor • AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 13 FACTOR CAVITE TERNATE 1 5- 3,000 - 7,000 ~3,000 3. Proportion of speakers within the total population 1 2 4. Trends in existing language domains 2 3+ 5. Response to new domains and media 1 2 6. Materials for language education and literacy 2 2 7. Governmental and institutional language attitudes and policies 4 2 (4 2014) 2-3 2-3 2 2 1. Intergenerational language transmission 2. Absolute number of speakers 8. Community members’ attitudes toward their own language 9. Amount and quality of documentation Lesho & Sippola 2013 AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 14 TERNATE RAP SCENE - American popular music culture in the Philippines - - - - - Pinoy hip hop / rap Balikbayans from the US West Coast US military bases and military presence in the Philippines 2000 ~ mainstreaming, regional and national competitions Ternate - - AU Municipal politics supporting youth culture Promotion of local musicians at the town parties and festivals AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 15 PRACTICES OF RAP IN TERNATE Observations about the ! Connection with local culture, language, and history Lengwahi de Bahra ey inspirasyon di motru ‘Speech of Ternate is our inspiration’ Beng karong a motru di Bahra. ‘We love Ternate’ ! Social and linguistic realities and problems tyeni motru halo kalya, e, na first bers, halimbawa tyeni motru manga tagalog, english, chabakano ‘we have a mix there, eh, in the first verse, for example, we use Tagalog, English and Chabacano.’ ! Political and cultural statement to use Chabacano in rap (see more Pennycook & Mitchell 2009). However, not a question of race but of language. AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 16 AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 17 BEBEDOR bebedor, bebedor, di kel komotru ta yama manga hambri na binu, nuway ma ta pensa basta tyeni para bebe, traga lang ki traga maski kosa klasi binu, sigi lang harya AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 18 KEYWORDS Hard life nway para se ‘nothing to do’ nway buskabida ‘no work’ nway para kome ‘no food’ Drinking kabalyo koleraw ‘redhorse beer’ binu ‘wine/any alcoholic drink’ bitamina ‘vitamine/alcohol’ AU AARHUS UNIVERSITY ARTS Friendship tropa ‘group of friends’ Balikbayan culture bini pa na Yuropa ’coming from Europe’; bisita ’visitor’ 18 SEPTEMBER 2014 19 Hip hop is preeminently a cultural free space. Its transformatory and emancipatory powers are evident each time you see a young blood locked to the music being transmitted through the earphone. They exist in a community of expressive rebellion, in states of always always, altering what has traditionally been the culture of the ruling class. Spady (1993: 95–96) AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 20 LANGUAGE USE IN MUSIC IN TERNATE - - Ternate rappers use multilingual and multicultural resources which are reinterpreted to index local identity and authenticity Not only the glorious past, which is promoted in other heritage and preservation contexts, but focus on social realities, such as unemployment, corruption, natural disasters, overseas working culture… AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 21 DISCUSSION − An active negotiation and reshaping of language practices as a response to changes in social and historical context. − − − bilingual speakers often resort to linguistic and cultural items of the dominant languages and cultures. at the same time, the stigma attached to the local language is reversed by its use in rap lyrics Is this a means of resistance against or reinvention in the dominance of the national language and culture? AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 22 DISCUSSION − Creation of (new) authenticity (Lacoste & Mair 2012) Highly fluid contemporary zones of cultural and linguistic contact in which centers shift and the peripheries are much less clear. Changing speakers’ notions of linguistic and socio-cultural authenticity that impact on the assignation of overt and covert sociolinguistic prestige. − Recurring identity alignment (Lim & Ansaldo 2007) Negotiations are not a matter of language shift with the accompanying identity forsaken; instead, just as multilingual minorities may ‘choose’ from their repertoire a linguistic resource appropriate for a given circumstance, so do they align themselves with a particular facet of their identity. AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 23 CREOLE IDEOLOGIES IN TERNATE − − Global and transnational connections to black culture, resistance, and social critique Alternatives to the established genres and the language practices connected to them, plurality of identities in multilingual contexts − − − Challenging “typical speaker” locally with the introduction of themes that depict the social realities as opposed to the traditional discourses - creation of new authenticity. Realignment of the local creole identity though this global, contemporary music genre. Identity creation and realignment, always tied to complex multilingual situations and the local socio-historical contexts AU AARHUS UNIVERSITY ARTS 18 SEPTEMBER 2014 24 GRACIAS CON USTEDI ! ! AU AARHUS UNIVERSITY ARTS Participants and host families in Ternate LANGNET, University of Helsinki Science Foundation, and Velux Foundation (DK) 18 SEPTEMBER 2014
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