The beginnings of NCCA support to Kalutang Preservation

Uploaded on YouTube June 28, 2010

Tirso Serdena, the Kalutang master thanked this blogger who conceptualized and drafted the project, Preservation of the Art of Kalutang Playing presented to NCCA in 2008, and implemented from 2009.

(From 0:55 of the video) Serdena: "Pasasalamat sa mga taong naging dahilan ng katuparan ng proyektong ito - kay Mr. Eli Obligacion na siyang nagturo sa amin kung paanong magsumite ng proposal at maaprubahan ito ng NCCA..."

Kalutang playing is unique to Marinduque. Originally used as auditory signal by farmers, it later came to be associated with the moriones in the town of Gasan. Then in the 70's Tirso Serdena, a farmer, created a series of kalutang wooden instruments from twatingan and bayog trees endemic to Marinduque and used them together with other players to play popular folk melodies. It is now considered part of the town's - and Marinduque's - cultural treasures.

Tirso Serdena teaching the kids as part of  NCCA, Municipal Government of Gasan and Gasan DepEd project to preserve the art of Kalutang playing to elementary and high school students.

The National Commission for Culture & the Arts (NCCA), municipal government of Gasan under Mayor Vicky Lao-Lim, Gasan DepEd and Serdena implemented the said project in 2009, on the art of kalutang playing to elementary and high school students in Gasan town. All recognize the importance of handing down this unique skill to the next generation.

Also read:

Joining hands to preserve the Kalutang for the record

Joining hands to preserve the Kalutang for the record

In 2008, in consultation with Tirso Serdena, locally known as the Kalutang Playing Master and with Mayor Vicky Lao Lim of Gasan, I drafted a proposal to the National Commission for Culture and the Arts (NCCA) entitled "Preservation of the Art of Kalutang Playing". This involved the participation of Serdena and some members of his group in the training of elementary and high school students in the rudiments of this unique art.

Traditionally, kalutang has been associated with Semana Santa and the moriones of this town as the moriones themselves bang these pairs of wood to produce the familiar sound signifing their presence. Until Serdena, in 1970, developed as entertainment, a series of such identical pairs capable of producing melodies.

(Tirso Serdena, the Kalutang master training the kids)

The National Commission for Culture and the Arts approved the project, recognizing the need to preserve, protect and promote this musical tradition and to ensure that the art is handed down to the next generation, approved a grant of Php 100,000 with the Municipal Government of Gasan as proponent.

The project has been implemented since March 2009 up to the present in fifteen elementary schools and five secondary schools in Gasan town.

Dr. Mauricia D. Borromeo, Vice-Chair of NCCA Committee on Music during a recent monitoring visit commented thus:

"Conceptual. Two levels of preservation were given due concern. The first concern being the kalutang’s traditional role and function in the Moriones Parade/March around the town as the principal “auditory signal” of the approach and presence of Moriones in the streets. Should other “signal equipment” be used or introduced, the kalutang should remain as the principal medium. 


The second level refers to the “Art of Kalutang playing”. The instrument as presently crafted by the proponent is decidedly innovative and creative but it has set limits on the repertoire. Artistry in kalutang playing can be achieved through a systematic program of development in which pedagogy is crucial.

Pedagogical. A systematic graded program of teaching and learning needs to be designed to enable kalutang teachers to be effective and to facilitate the learning of students. The unique and necessary techniques of kalutang playing must be identified. 

In preparation for artistry, a thorough training in musicianship (elements of music, music reading and performance) is needed. Pedagogically and musically sound teaching materials should be developed to build a rich repertoire not limited to simple folk songs."


According to Roselo Salvacion (Teatro Balangaw) of Gasan who was tasked as project coordinator, the same batch of elementary and high school students who were trained initially for 12 days in March 2009, continued training with the goal of performing in August 2009 for the 400th Anniversary of Gasan. 

Music teacher, Norma Soldevilla of Marinduque Midwest College was also encouraged to get involved especially in terms of musicianship and repertoire. 

Borromeo recommended to avoid competition at present. Recitals or festivals featuring achievements of students would be more positive and non-threatening, she said. Incentives in the form of performing at special community occasions or selected “free” instruments, or cash incentives to buy instruments may be given.


Borromeo also pointed out that potential kalutang players/trainers should receive musicianship training as well, i.e. music reading, harmony, and arranging songs for kalutang. Mr. Serdeña should be sent to seminar related to music, learning notes, pitches, and teaching methods.

Aware of the possibilities of a pair of kalutang that is capable of more than four pitches in order to have a complete set of major and minor scales (and chords), thus expanding and enriching kalutang repertoire, Boromeo also recommended that Serdeña increase the present range of four pitches to six and to include halfsteps. 

Continued support to these efforts is seen, in more ways than one, as a true recognition of efforts, particularly those exerted by ordinary people, such as the original Serdena Kalutang group, in contributing to the community’s sense of culture, pride, and identity. 

The positive impact of the project to the municipality’s tourism promotional efforts is also quite evident.

The above article was first posted on June 8, 2010.

PRESERVATION OF THE ART OF KALUTANG PLAYING

First posted on June 11, 2010

KALUTANG are identical pairs of wood from the twatingan and bayog trees, endemic to Marinduque, which, when banged together produce notes of definite pitches and tonal quality. Kalutang, especially in the town of Gasan has been associated with the Moriones of yesteryears. The town’s moriones roamed the town streets banging their kalutang instruments to draw attention.

In 1970, however, TIRSO SERDENA, (now 65 years old), developed a series of such identical pairs of instruments capable of producing melodies familiar to the townsfolk. Organizing a group of some eight kalutang musicians who eventually mastered the art of kalutang playing they were instant hits, and became familiar performers during community programs and special events not only in Gasan but in the neighboring towns as well.

The Kalutang band, the only one of its kind in the world, has since become a local tourist attraction, consistently gracing the pages of local tourist brochures and have been featured in national television cultural or tourism features on the province of Marinduque. Rendering folk songs and some pop melodies, they have also performed for private groups outside the island-province and have participated in national events (i.e. Independence Day celebration at the Rizal Park 1997). 

Kalutang playing is one of Marinduque’s more unique cultural charms. The need to preserve, protect and promote this indigenous tradition and to ensure that this musical skill is handed down to the next generation has been widely accepted as a must-do, yet no serious and sustained efforts have been undertaken by the authorities concerned to realize these objectives.

To realize these objectives we initiated a project (this blogger prepared the project proposal in consultation with the Kalutang group), that involves the participation of the Kalutang master, elementary schools and high schools (public and private) in the municipality of Gasan, the municipal government of Gasan and the National Commission for Culture & the Arts (NCCA). 

Project title: "Preservation of the Art of Kalutang Playing", implemented through a grant from the NCCA.

Also read:

PANGKAT KALUTANG OF BANGBANG, GASAN (Posted 2009)

Kalutang Playing Preservation (Posted 2010)

Kalutang Playing Preservation

Kalutang playing is unique to Marinduque. Originally used as auditory signal by farmers, it later came to be associated with the moriones in the town of Gasan. Then in the 70's Tirso Serdena, a farmer, developed a series of kalutang pairs and used them together with other players to play popular folk melodies. It is now considered part of the town's - and Marinduque's - cultural treasures.

The National Commission for Culture & the Arts (NCCA), municipal government of Gasan, Gasan DepEd and Serdena organized a project to teach the art of kalutang playing to elementary and high school students in Gasan town. All recognize the importance of handing down this skill to the next generation. Selected students from 15 elementary schools and 5 secondary schools were trained by Serdeno.

Joining hands to preserve the Kalutang

In 2008, in consultation with Tirso Serdena, locally known as the Kalutang Playing Master and with Mayor Vicky Lao Lim of Gasan, I drafted a proposal entitled "Preservation of the Art of Kalutang Playing". This involved the participation of Serdena and some members of his group in the training of elementary and high school students in the rudiments of this unique art.

Traditionally, kalutang has been aassociated with Semana Santa and the moriones of this town as the moriones themselves bang these pairs of wood to produce the familiar sound signifing their presence. Until Serdena, in 1970, developed as entertainment, a series of such identical pairs capable of producing melodies.

(Tirso Serdena, the Kalutang master training the kids)

The National Commission for Culture and the Arts approved the project, recognizing the need to preserve, protect and promote this musical tradition and to ensure that the art is handed down to the next generation, approved a grant of Php 100,000 with the Municipal Government of Gasan as proponent.

The project has been implemented since March 2009 up to the present in fifteen elementary schools and five secondary schools in Gasan town.

Dr. Mauricia D. Borromeo, Vice-Chair of NCCA Committee on Music during a recent monitoring visit commented thus:

"Conceptual. Two levels of preservation were given due concern. The first concern being the kalutang’s traditional role and function in the Moriones Parade/March around the town as the principal “auditory signal” of the approach and presence of Moriones in the streets. Should other “signal equipment” be used or introduced, the kalutang should remain as the principal medium.


The second level refers to the “Art of Kalutang playing”. The instrument as presently crafted by the proponent is decidedly innovative and creative but it has set limits on the repertoire. Artistry in kalutang playing can be achieved through a systematic program of development in which pedagogy is crucial.

Pedagogical. A systematic graded program of teaching and learning needs to be designed to enable kalutang teachers to be effective and to facilitate the learning of students. The unique and necessary techniques of kalutang playing must be identified.

In preparation for artistry, a thorough training in musicianship (elements of music, music reading and performance) is needed. Pedagogically and musically sound teaching materials should be developed to build a rich repertoire not limited to simple folk songs."


According to Roselo Salvacion (Teatro Balangaw) of Gasan who was tasked as project coordinator, the same batch of elementary and high school students who were trained initially for 12 days in March 2009, continued training with the goal of performing in August 2009 for the 400th Anniversary of Gasan.

Music teacher, Norma Soldevilla of Marinduque Midwest College was also encouraged to get involved especially in terms of musicianship and repertoire.

Borromeo recommended to avoid competition at present. Recitals or festivals featuring achievements of students would be more positive and non-threatening, she said. Incentives in the form of performing at special community occasions or selected “free” instruments, or cash incentives to buy instruments may be given.


Borromeo also pointed out that potential kalutang players/trainers should receive musicianship training as well, i.e. music reading, harmony, and arranging songs for kalutang. Mr. Serdeña should be sent to seminar related to music, learning notes, pitches, and teaching methods.

Aware of the possibilities of a pair of kalutang that is capable of more than four pitches in order to have a complete set of major and minor scales (and chords), thus expanding and enriching kalutang repertoire, Boromeo also recommended that Serdeña increase the present range of four pitches to six and to include halfsteps.

Continued support to these efforts is seen, in more ways than one, as a true recognition of efforts, particularly those exerted by ordinary people, such as the original Serdena Kalutang group, in contributing to the community’s sense of culture, pride, and identity.

The positive impact of the project to the municipality’s tourism promotional efforts is also quite evident.

VIVA MARINDUQUE SLIDESHOW

Unpublished shots of the "Viva Marinduque" performance series together with behind-the-scene lighter moments. This slideshow also contains photos with our dear choreographer, Bhong Macunat, whom we still miss after passing away at 22 one month after this project. "Leron-Leron Sinta" background music played by Pangkat Kalutang.

PANGKAT KALUTANG OF BANGBANG, GASAN

”Pangkat Kalutang of Bangbang” (also known as Kalutang Band or Kalutang Group), is not officially registered as an organization. It is an informal community-based performing group of local musicians who are neighbors, family members or relatives that specialize in Kalutang playing and are all residents of Brgy. Bangbang in Gasan. These part-time farmers and fishermen, are often invited to perform in official functions.

Some members of the group also play the banjo, guitar, harmonica and are members of “CONTAINER BAND”, also founded by Tirso Serdena. (The said band’s name was derived from their use of scrap materials, such as plastic containers and other found materials that produce interesting percussion sounds. They are also favorite performers during private parties and community gatherings). From time to time, the group also teams up with the “Bangbang Putong Group” composed of elderly women to render musical accompaniment with their Kalutang.

Mr. Serdena was born on January 28, 1943, had schooling only up to Grade VI. He is a “mangangarit”, tuba-gatherer, his daily occupation. Married to Eulenda C. Serdena, 60, who is into swine-raising and serves as the group's manager. They have three children, two of whom are members of the Kalutang Band (Noriel, 42 and Norman, 39)

In 2001, a three-month Kalutang training program participated in by 13 elementary schools with 12 students each was undertaken by Mr. Serdena. He had also accepted invitations to undertake shorter programs, once for students of Marinduque State College (MSC), and also once for a brief inter-action with music students at the UP College of Music (1994).

“Pangkat Kalutang” had eight (8) original members in 1970. Four of them have died and three including Mr. Serdena have remained active members until now. The oldest surviving member of the original group is Manuel Serdena, now 80 years old.

PRESERVATION OF THE ART OF KALUTANG PLAYING

KALUTANG are identical pairs of wood from the twatingan and bayog trees, endemic to Marinduque, which, when banged together produce notes of definite pitches and tonal quality. Kalutang, especially in the town of Gasan has been associated with the Moriones of yesteryears. The town’s moriones roamed the town streets banging their kalutang instruments to draw attention.

In 1970, however, TIRSO SERDENA, (now 65 years old), developed a series of such identical pairs of instruments capable of producing melodies familiar to the townsfolk. Organizing a group of some eight kalutang musicians who eventually mastered the art of kalutang playing they were instant hits, and became familiar performers during community programs and special events not only in Gasan but in the neighboring towns as well.

The Kalutang band, the only one of its kind in the world, has since become a local tourist attraction, consistently gracing the pages of local tourist brochures and have been featured in national television cultural or tourism features on the province of Marinduque. Rendering folk songs and some pop melodies, they have also performed for private groups outside the island-province and have participated in national events (i.e. Independence Day celebration at the Rizal Park 1997).

Kalutang playing is one of Marinduque’s more unique cultural charms. The need to preserve, protect and promote this indigenous tradition and to ensure that this musical skill is handed down to the next generation has been widely accepted as a must-do, yet no serious and sustained efforts have been undertaken by the authorities concerned to realize these objectives.

To realize these objectives we initiated a project (this blogger prepared the project proposal in consultation with the Kalutang group), that involves the participation of the Kalutang master, elementary schools and high schools (public and private) in the municipality of Gasan, the municipal government of Gasan and the National Commission for Culture & the Arts (NCCA).

The project title is "Preservation of the Art of Kalutang Playing", and is now being implemented through a grant from the NCCA.