I recalled what Conrado de Quiros wrote, in the Inquirer, of Ryan Cayabyab’s musical. Alikabok, beautifully performed by Cris Villonco last August in Manila. He said, "...Something we’ve always known all along but have taken pretty much for granted, which is that this is a country of boundless musical talent. I said this before that I wasn’t surprised that we produced Cecile Licad and Lea Salonga who stormed the world with their awesome musical abilities...The Filipino does not just laugh to not go beserk. He sings too...beautifully."
Watching Filipinos Lea Salonga and Jose Llana on that competitive Broadway stage made me wonder how an artist’s hard work, sweat and determination could be boosted by the power of a concerted national music program. Whether publicly or privately led, the program could nurture, develop and promote the full potential of Filipino musicians and the music industry as a whole.
How could this be that difficult with such abundance of raw talent? The producer, Monique Villonco made me appreciate the frustration being felt by those in the music industry. She says that the Philippines as a source of musical talent, is viewed from abroad as a "mother lode," a term used in the mining industry in describing a main vein of a gold mine.
Nashville, known as "Music City USA," has a clear policy focus supporting its US$4 billion entertainment and music industry. The Tennessee Film, Entertainment & Music Commission promotes the state as the "Third Coast" – a center for film, entertainment and music to rival New York and Los Angeles. The commission gives critical support to the slogan "Tennessee: Sounds Good to me" with specific programs to open doors and opportunities as well as to protect aspiring artists. Musicians, composers and lyricists, agents, managers, producers are linked by a network that includes television and radio, distributors, production houses, music associations, production designers, manufacturers, promoters, publishers, recording studios and performing rights organizations among others. Nashville recently spent US$37 million on the Country Music Hall of Fame, a state of the art tourist destination downtown with four theaters and many other amenities. The Tennessee State Board of Education has clear curriculum standards for the music industry as well.
British Columbia also has the Pacific Music Industry Association created to develop the music industry and to enhance the profile of the B.C. music industry. Aside from giving annual awards, the association produces and sponsors music CDs, provides educational scholarships through federal funding programs for music called FACTOR, and promotes careers in music and opportunities for public exposure.
Imagine the tremendous result if we were to apply our energies towards enhancing this innate musical talent. We need a rallying slogan, a decision on which government agency will be the prime mover to introduce music education in schools, network all stakeholders to develop an environment truly conducive for our musical creativity to blossom, create a fund to produce and promote our music and our musicians. We can work to become a center of music where creativity abounds, and a pool brimming with talent working to be recognized.