Kaduma ni Karol (USB)
Musical Direction by Louie Talan
Production Manager: Ijhra de Veyra Perez
Stage Director: Joel de Veyra
Recorded, mixed and mastered at Womb Works Studio
Produced by Water Dragon Production, ©2019.
Kaduma ni Karol
Pronounced as ka-du-ma ni ka-rol or ka-chu-ma hi ka-rol or ka-joo-ma ji ka-rol.
The band name literally translates to “companion of carol” in Lumad language in Mindanao and “the ‘other’ of carol” in the Banao-Cordillera tradition. Karol came from Carol, which in English means ‘to “sing in joyous manner.” The way the band name is written is not an invention or a discovery but one way of bringing to more audiences’ precolonial characters. Just like these letters, we hope that at least some sounds you will hear will sound pre-colonial but also contemporary, at the same time. As composers, we express both hope and desperation, and joy and sadness through melodic words and chants. This album is a celebration of difference, you will notice that Dandy’s voice is calm and consistent while Carol sounds mostly urgent and changing. Louie Talan leading the direction of the songs’ arrangements prove that a song can be good and, sometimes, even better when instruments are not always competing for space in limited time, that putting in unfamiliar sounds can spark inspiration, and instruments and voices playing in their own unique characters can create beautiful harmonies and invoke trance.
All our songs are prayers that celebrate the good and hope for the bad situations to change. We feel that this music project is timely especially when the world continues to lean more toward “selfies,” commonalities and intolerance rather than community, difference, and acceptance.
-Carol and Dandy
Babagabagin (Tagalog, To Bother) Carol B.K. Dawonlay This song simply wants to bother those in absolute power and criticize any greedy warmonger.
Wata (In Maranao means “child,” lyrics are in Tagalog) D. Dawonlay Expresses a child’s longing for the ancestral land.
Iisang Dugo (Tagalog, “One Blood”) D. Dawonlay When the lands of indigenous people are taken against their will.
Bugta (Higaonon, “Land”) D. Dawonlay Song decrying how excessive mining makes waste lands out of mountains and plantations eat up indigenous homelands.
Hiraya (Tagalog, a lullaby, “Inspiration”) R. Rodriguez, Carol B.K. Dawonlay For the down-trodden and broken-hearted, sleep tight, dream and wake up strong when the sun rises.
Bakunawa (Tagalog, “Giant Serpent”) Carol B.K. Dawonlay The sun unites with the moon, God with the people
Baliti (Higaonon, “Balite tree”) D. Dawonlay Respect the tree and its inhabitants.
Banog (Higaonon, “Eagle”) D. Dawonlay A call to all indigenous and indigenous minds: Dance like the eagle again!
Katribung Lawin (Tagalog, “Fellow Eagle”) D. Dawonlay Fly like an eagle, dance to her song. Soar high in the wind.
Hipanaw (Higaonon, “Wander leisurely”) D. Dawonlay, Carol B.K. Dawonlay Hike in the forest, soak in the spring, climb the high mountains, rest on the river rocks under the midday sun, see the wooden bridge swinging and the grass dancing to the wind. Wander and feel better.
Saniblahi (Tagalog, “Cross generation”) Carol B.K. Dawonlay Keepers of the Sacred from one generation to the next.
Kulipan M. Bello, Carol B.K. Dawonlay (Inspired by the traditional chant from Banao-Cordillera, refers to either an ancestor in Banao, and the flight of an eagle in others) A prayer for peace to reign, God to protect.