WEB AND WEAVE: The Metamorphosis of Ilokano Songs (Conclusion)



This song is about a guy who is courting a woman and how much he adores that lady. This song is destroying the purity of women in our country. It also said that women in the Philippines are easy to get and don’t deserve to be respected by men. It is like destroying the dignity of women and disrespecting them.


This song makes us dance because of its beautiful rhythm or tune. This song is beautiful to be heard but if you dig the gist of the song, we are often provoked to laugh. Most likely the culprit lies on the lyrics itself. More so, the title connotes the puerta mayor and this is very insulting to the women folk.

No ilumlomko daytoy subsobko

Naapgad unegna’t nabanglo

Adda minangana bato’t tengngana

Nalawa a kanal, naglawlaw ti ledda.


Nalawa a kanal a pagdigdigosak

Pagpawpawak nangruna no bigbigat

No iti rabii ket agmaymayatak

Nalawa a kanal ti pagdiretsuak.


Sex has become a cheap commodity because of this song.


This is similar to Abalbalay ni Nanang. A pet that directly points to the men’s organ.


This is a sad picture of extra-marital affair. A father tried to satisfy his thirst, went into the neighborhood and got his fill. But the dreary impact is the a-brewing family feud. Children are affected, even point the accusing finger toward the mother. But in the end , they ask for forgiveness and reconciliation.


Another distorted figure of media hype. The embotido clearly defines the man’s organ.  

Nagdakkel, nagdakkel wow

Nagtangken, nagtangken wow

Nagdakkel, nagdakkel wow


Nakaragragsak, nakaragragsak

No addan kaayan-ayat

Nakamaymayat. Nakamaymayat

Aglalo no agmamayat


Uray agpatpatnag, agbigbigat

Nga isu kaat-atag

Ay mapnekka’t ragsak

Ay mapnekka’t ragsak

Ti inna panagayat

Too bad for the young audience. Life is not just a matter of sleeping together. Parents should be sensible enough to give meanings to activities anchored to beds only.


The terms “sepsepam”, “am-amolam”, “gatas a pumalet a dumaroy”, “aglupoy” and “petpetak” are all rubbish. They tend to make the act despicable.


Tarong is a “green” sometimes “maroon” thing. And it pollutes our minds. Watch out, for children may get affected.


The Ilocano people are fond of music because it is a source of inspiration. They recognize the Ilocano songs as one of the greatest inspirations especially the common tao.

There was a year wherein the “NAGIMASKAN, MAYYANG” became popular in the AM radio stations. This song was also aired not only in the province of Ilocos Sur but even some parts of region I like Ilocos Norte, Cagayan Valley and some parts of Cordillera Region like Abra and Baguio-Benguet. However, the song was banned by some groups and organizations because they believed that it destroys and diminishes the dignity of a particular Ilokano woman (nagimas ket ngatan no inta maramanan….)

Years passed by when the Ilocano composers again decided to create and compose new Ilocano entertaining songs. When Ilocano people heard about these songs, they became the number 1 dedicated songs in the AM radio. One of the songs introduced was SISID MARINO and the composer made this song with a playful mind and imagination. The song MANI expresses illiterate and unreasonable things “ading ramanak man ta manim…. Apay kastoy daytoy manim, ramanna naalsem, napigket, nabanglesen) and  (adda ay-ayamko ditoy uneg ti pantalonko….) from the song entitled BURBORTIA.

There are also Ilocano songs that are stealthily destroying the bond of Ilocano families. Among those songs are AROSCALDO NI CORAZON which discriminates and destroys the rights of a woman and their morality, (read the entire chorus of the song), BASSIT A TRAK (toy hotdogko dimo metten kayat…), which tends to create a filthy and malicious mind. Another song that destroys and discriminates the morality and rights of a woman is the song entitled  IDOLKO NI NANANG (nakitak ni nanangko a rimmabaw ken ni tatangko) and NAISHOOT that stresses the way of sexual intercourse on the side of the listeners (read the entire chorus).

The Ilokanos give importance and respect to the sacrament of marriage but the MAKAAS-ASAWAAK depicts the inner value of marriage (tengnga’t rabii agriingkami: agin-innaradokami; agkinkinnammelkami; agtintinnodokkami; aglinlinnabuskami; agsinsinnakaykami; agdindinnilpatkami.. sarap diyos ko day!).

It elaborates therefore, how Ilokano composers and even listeners are so funny and good in actualizing and imagining such lyrics like the above-mentioned songs.

The toils and sacrifices of the educators in laying the foundation of strong values are slowly eroded by these songs. The guardians of morality are nowhere to be seen. Even the Church, through their deafening silence, affirm that they seem conventional and justified.

The Ilokano songs have immensely metamorphosed. The caliber that we used to appreciate have likewise vanished. They are now replaced by vulgar songs that slowly snuff off the source of our pride and identity.

Unless we do something, the rich legacy of Ilokano musicians would be overcome and covered layers and layers of cacophony of spiteful songs.#.