I GREW up in the 1970s and 1980s watching classic Philippine films on our family’s black-and-white television set. Many of these movies featured traditional Filipino love songs known as kundiman.
One such film was Bituing Marikit (1937), which took its title and iconic theme song from the famous kundiman composed by Nicanor Abelardo in 1926.
Starring Elsa Oria and Rogelio de la Rosa, the film marked a milestone in Philippine cinema as the first full-length feature produced by the legendary Sampaguita Pictures.
Among the Filipino artists closely associated with kundiman were Diomedes Maturan, Sylvia La Torre, and Pepe Pimentel, as well as Armida Siguion-Reyna, who popularized traditional Filipino music alongside her guest performers on the television program Aawitan Kita.
My fondness for kundiman was also nurtured at home, where I would often hear my father singing these timeless melodies while accompanying himself on a classical guitar.
Decades later, Bituing Marikit has found its way back into contemporary Philippine cinema, with the beloved composition featured in two entries at the recent Puregold CinePanalo Film Festival — Apol of My Ai and Beast.
Kundiman is distinguished by its melancholic, soulful melodies, dramatic musical intervals, and emotional progression that often builds toward a powerful crescendo.
These traditional Filipino art songs express courtship, unwavering affection, and profound romantic love. Beyond their romantic themes, however, kundiman compositions also carry deeper expressions of nationalism, patriotism, and devotion to one’s country.
During Spanish colonial rule, when overt expressions of Filipino nationalism could invite suspicion or repression, revolutionaries found in these romantic melodies a subtle means of expressing their love for the Philippines.
Kundiman flourished during the late 19th and early 20th centuries, as Filipino composers sought to develop a distinct musical identity amid the influence of Western musical traditions.
Pioneering composers such as Francisco Santiago and Nicanor Abelardo drew inspiration from indigenous musical traditions, folk melodies, and Filipino poetry, transforming kundiman into an artistic expression of the nation’s cultural identity and nationalist aspirations.
As cultural scholar Nicanor Tiongson observed in the Encyclopedia of Philippine Art, kundiman reflects the essential roots of the Filipino psyche: “sentimentality, yearning for freedom from want and deprivation, and the aspiration for a better future.”
In 1916, Abelardo entered the newly established University of the Philippines Conservatory of Music. While pursuing his studies, he composed the melody of the university’s official anthem, U.P. Naming Mahal, in 1917.
The enduring appeal of kundiman finds fresh expression in Apol of My Ai, a heartwarming coming-of-age film that explores first love, family relationships, and the emotional power of traditional Filipino music.
The story revolves around 10-year-old Apolinario “Apol” Medina Jr. (Zion Cruz), who is struggling with the loss of his mother. His father, Poli (Zanjoe Marudo), a folk singer who had been working in Japan, returns home to care for him.
The film skillfully weaves classic Filipino kundiman into its narrative, using music to help the young boy navigate grief, changing family circumstances, and his complicated relationship with his father. It also explores the emotional sacrifices of overseas Filipino workers who endure prolonged separation from their families to earn a living.
After years of separation, father and son struggle to rebuild a relationship that has long been strained by physical and emotional distance.
Having grown up largely without his father, Apol believes he no longer needs him and initially rejects Poli’s attempts to reconnect. Poli, meanwhile, realizes that his prolonged absence has created a gap that cannot easily be bridged and that regaining his son’s trust will require patience and understanding.
Their already complicated relationship takes an amusing turn when Apol develops an innocent crush on his substitute music teacher, Ma’am Ai (Rochelle Pangilinan), unaware that his father is also developing romantic feelings for the same woman.
As a member of an overseas Filipino band, Poli performs kundiman and other Filipino classics. His musical background finds a meaningful parallel in Apol’s introduction to the same songs through his school chorale, creating an unexpected connection between father and son through melodies composed long before either was born.
Music eventually becomes a bridge between Poli and Apol, allowing them to express emotions that words alone cannot adequately convey.
Among the timeless compositions featured in the film are Abelardo’s Bituing Marikit, Santiago’s Ano Kaya ang Kapalaran, and Rick Manrique’s Ikaw ang Ligaya Ko.
However, the realities of earning a livelihood abroad once again threaten to separate father and son when Poli prepares to leave Apol to work as an onboard entertainer aboard a cruise ship.
This aspect of the story reflects the experiences of countless Filipino seafarers, musicians, and singers who have earned international recognition for their exceptional musical talents. Filipino performers provide vibrant, world-class entertainment in lounges, theaters, and dining venues aboard major international cruise lines.
Even Filipino crew members whose primary duties involve hospitality services, food service, or maritime operations often surprise passengers with their remarkable singing abilities during crew performances, guest interactions, and karaoke events. Their talents contribute significantly to the lively entertainment culture aboard cruise ships.
Meanwhile, Beast, starring John Arcilla, tells the story of Omeng, an elderly farmer who embarks on a whimsical journey from Bulacan to Manila with his faithful carabao, Bob.
The film’s connection to kundiman emerges through a delightful twist when Omeng discovers that his beloved carabao can talk. To reveal his extraordinary ability, Bob does something even more unexpected — he sings the classic Bituing Marikit.
At the Puregold CinePanalo Film Festival, Apol of My Ai earned recognition for its performances and musical artistry, winning Best Actor for Marudo, Best Child Performer for Cruz, and Best Musical Scoring.
Through these contemporary films, kundiman continues to resonate with new generations, demonstrating how traditional Filipino music can transcend time, connect families, and preserve the emotions, memories, and cultural identity of a nation.
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“Peyups” is the moniker of the University of the Philippines.
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Atty. Dennis R. Gorecho heads the Seafarers’ Division of the Sapalo Velez Bundang Bulilan Law Offices. For comments, email info@sapalovelez.com or call 0908-8665786.)/PN
