CEBUANO LITRETURE

CEBUANO LITRETURE

Harana

I
Hangyo-on kong imong pasaylo 
Ning akong pagtugaw kanimo
Tuguti nga ako magsangpit
Tuguti nga ako magawit

II
Kung mahimo pamati-a
Kining kabus kung pangaliya
Tungod ning putling panghimugna
Naaghat na awitan ka

Chorus:
Ikaw day akong damgo
Ikaw day akong gugma
Himaya ko, Langit ko ang Gugma mo


Bridge: 
Ihatag na imong gugma
Pinangga ko malu-oy ka

(Instrumental)

(Repeat II, Chorus and Bridge)

REFLECTION

The Harana is an old-time Filipino practice that may basically be defined as an evening social call. In a number of cases, it is merely a platonic visit made by young townsmen to welcome a newly arrived woman. Yet, in maintaining relation to the topic of this article, it is one of the very first moves a man makes towards attaining romantic involvement with a woman. The whole custom is essentially a formal procedure of wooing by song. Simply put, a harana is a serenade. The haranista may either be the suitor himself or another man in town known for his prowess in the art requested by the suitor to sing his songs for him. The myth of this being a lone undertaking, as is popularized and romanticized in films and other more contemporary media, should be debunked. Haranas were proven to have ranged from a group of say, five young men to five young men plus a crowd of supportive relatives and an actual band.

The Harana begins with the Panawagan (calling or announcement), where the haranistas sing songs announcing their presence. Examples are Dungawin Mo, Hirang (Look Out Your Window, Beloved), Sa Gitna ng Dilim (In the Midst of Darkness), etc., all beseeching the fair apple of the nocturnal dream chaser’s eye to literally and figuratively open her doors and let him in. If or when they are finally invited into the woman’s home, the theme of the songs changes to usher in the stage of Pagtatapat (proposal). Here the singer performs songs that openly declare his admiration and the virtues he values in the woman. One such song is entitled Ibig Kong Ipagtapat sa Iyo, Paraluman (I Wish to Propose to You, My Muse). Strictly speaking, it is not a true-blue harana if the singers just take to using any love song other than those catalogued under the volume of work made specifically and admittedly for this art of serenading. Those melodies have a 2/4 time signature and a fixed order in instrumental and lyrical verses.

However, many haranistas with like earnest were known to use less arcane, yet still traditional love ballads called kundiman and luckily they managed to win over the woman. What then follows these love professing songs is the Panagutan (Response). This is the woman’s turn to make her sentiments, or lack of, known. If inclined to, she may respond by song, either diplomatically if the song is one of rejection or coyly cultured if it speaks of reciprocating the man’s feelings. When the former happens and it is apparent that his affections are unrequited, the suitor responds aptly with such songs as Pusong Wasak (Shredded Heart) and so forth.

Finally it is time for Pamamaalam (Farewell). Songs of the kind are done to conclude the evening’s affairs. A favorite of mine, known for its delicate poeticism, is Bakit Di Kita Maiwan (Why Do I Find it Hard to Leave You). The Pamamaalam, however, is not always done for a gracious conclusion. Sometimes it could be the dejected cry of the suitor to whom the lady courted never opened her window or door.

Over time this vanished practice has been played up to various ends. Comedy skits have succeeded in propagating a number of false beliefs about it, including stories about a courted lady’s disapproving family members throwing urine at the suitor, or of haranistas showing up drunk and slurring dishonorably. However, it is important to note that the harana was a highly regarded activity as any cultural custom, done with care and courtesy on both ends. Furthermore–and this I hope to have illustrated aptly with my writing– I believe it is a custom that warrants awe and praise for bringing about good Filipino traits. To perform this serenade requires courage, purity, sincerity of intent, humility and respect for family. It also tells of simple hospitality. Suitors, in the days of organization leading up to the big event, had to approach the woman’s family and request for their permission to conduct the activity in the first place. And don’t forget all that singing! Contemporarily, it runs at par with our constant and widely attributed hankering for karaoke. Truly, we Filipinos were born with melodies embedded in our very heartbeats. We ascribe mythic qualities to the harana now because of how fanciful it seems, but it was very much in practice years ago and within the realm of reality. Because our forefathers did it with such high regard and fastidiousness it has been elevated to a truly unique and incredible art.

Isn’t that just a wonderfully inspirational display of spirit?

REFERENCE:

http://heliophon.org/2013/10/08/the-harana/

http://visayansongs.blogspot.com/2012/09/harana.html