DAVAO CITY, Philippines – Davao musician Joey Ayala trended on Facebook when jeers posted on social media on his performance at the Kadayawan Festival drew Mindanao bloggers and artists to call out the disrespect.
Ayala took the stage during Sunday night’s Showdown sa Kadaywan where he belted his popular songs Asin and Karaniwang Tao. He also revealed that he penned the Kadayawan theme song during its inaugural in 1992, and performed it with an ensemble of cultural workers.
The performance was livestreamed on Facebook, where it got negative comments from some of the audience who were looking forward to the competition Indak Indak sa Kadayawan that would be streamed later.
“Grabe jud ang prejudice kay Sir Joey Ayala. Comments like “Undang na tay” “Wa pa diay ni nahuman si tatay ug kanta” “Pwede group 2 nasab tay” Makita jud nimo nga nagkawala na ang respeto sa uban tao, (There’s so much prejudice on Joey Ayala. Comments like ‘Stop now, dad’, “This dad is not done yet with his song?” “Can group two perform now?” You can see the lack of respect from these people)” lamented blogger John Vic Garnica, whose post drew over 29,000 reactions, 14,000 shares and 1,900 comments.
“Joey Ayala is not just any performer, he’s a cultural icon who has dedicated decades of his life to promoting Filipino identity, indigenous sounds, and environmental awareness through music,” one of the comments on Garnica’s post wrote that garnered more than 400 reactions.
“The way we treat our artists reflects how much (or how little) we value our own culture. Instead of bashing or saying inappropriate things, we should be thankful that legends like Joey Ayala are still willing to share their artistry onstage, especially with the younger generation who might not yet fully realize his impact. Respect should never go out of style,” the netizen added.
Other comments from netizens lament that today’s youth are exposed to popular music with songs that do not carry social messages like the songs written by Ayala.
“Legends like Joey Ayala deserve respect, not ridicule. Research before you rant—because without people like him, our culture would be quieter, and our music less Filipino. Mga way respito ning uban batan.on ron. Palibhasa si Elias ray na ilhan hahai kalooy sa mga bagung tubo, (The youth today don’t show respect. They only know Elias’ music. I pity this young generation) ” said blogger Don Kulot.
While bloggers called out the disrespect on Ayala, Moro film director Gutierrez Mangansakan believed generational gap and politics factored in the audience response to his performance. Ayala endorsed Rodrigo Duterte for the presidency in 2016.
“You can educate them about his place in music history, but appraisal is entirely up to them. Artists are not detached from society either. Joey Ayala’s political inclinations could also affect this generation’s image of him,” Mangansakan said.
Joey Ayala’s artistry started with Kulturang Atin in the late 1970s, as he learned to play ethnic instruments such as the indigenous guitar hegalong and the kubing harp.
With the musical group Bagong Lumad, they produced two records in the early 1980s, Panganay ng Umaga and Magkabilaan, that showcased a fusion of ethnic and folk-rock melodies imbibed with social messages reflecting on the environment and the socio-political situation during Martial Law.
Ayala went on a solo career in the 1990s, producing albums and performing in Manila and in different parts of the globe. He was Chair of the National Committee on Music under the NCCA in 2018. He was a recipient of the Gawad CCP (Cultural Center of the Philippines Awardee) para sa Sining in 2024.
Lack of local support
Mindanao artists reacted on this incident by reflecting on the gaps such as colonial mentality and the lack of support for local artistry.
Neil Cervantes from Kuntaw Mindanao said they experienced the same irony that their genre of ethnic music is not received well in the country.
“When we performed at the Rainforest World Music Festival in Sarawak, Malaysia, we felt something both beautiful and bittersweet. But here’s the irony: abroad, our music is embraced. At home, it often struggles to be heard,” he said on his Facebook account.
Cervantes points out to colonial mentality, where Filipino audience see foreign singers as “superior” over local artists, which reflects on the music industry “where pop and cover band draw more attention than the raw, powerful voices of our heritage.”
“Driven by capitalism, it feeds us music that entertains quickly and sells fast. Music that connects us to our identity or challenges the status quo rarely gets that same platform,” he added.
Cervantes said that new generation of artists where he belonged recognize the challenge of finding an audience for their music.
“Sometimes it feels like swimming against the current. But this is the path we’ve chosen, because for us, music is not just entertainment – it’s memory, resistance, and identity,” he said.
He said local government should take a bigger role in promoting local artists and cultural workers especially during festivals that focus on indigenous cultures.
“LGUs play a big role: by giving more space and real budget for local original music, not just for bands from outside who only play cover songs.”
Media personality Rovic Cuasito also share the same idea of the need to highlight cultural artists in the next Kadayawan to raise audience appreciation.
“Moving forward, imagine collaborations with fellow Dabawenyo icons like Maan Chua Popong Landero Yano Eric Gancio and more. Plus, finding and guiding the next generation of artists who understand our music roots through competition. That way, the next generation of audiences won’t just see a performer on stage, they’ll recognize that a Legend is standing right in front of them,” Cuasito said.(davaotoday.com)
