Transmission of Araquio music, songs, and movement conventions: Learning, experience, and meaning in devotional theatre

Abstract

Araquio, a verse play on the search of the holy cross, is an indigenous folk theatre in the town of Peñaranda, province of Nueva Ecija, Philippines that has survived for over a hundred years. This ethnographicphenomenological study explores the holistic nature of the transmission and learning processes of araquio music and songs as a theatre-ritual. Its transmission as a social phenomenon is an avenue for music learning that may in fact overshadow its being a diminishing tradition. Using the framework of three modes of enculturation (Merriam, 1964) and interpretation of culture (Geertz, 1973), I investigate the music transmission and learning processes and sought to reveal how these processes were meaningful to the practitioners. Participants in this inquiry involve 21 adult practitioners, namely: 4 maestros (teachers of araquio), 3 female and 5 male personajes (characters of the verse play), and 9 musikeros (community musicians). An ethnographic method is employed using participant-observation and informal semi-structured interview script. Guiding questions have centered on how transmission and learning strategies, and meaning define these experiences. As a living oral tradition, intergenerational learning is found to be the product of transmission by enculturation occurring in the araquio and happens within genealogical generation. The practitioners, through the unspoken meaning of the tradition, have certain unspoken factors: unity of purpose, ancestral adhesion, unification of tribal strength, and shared experiences.