Sounds and Poetry of the Streets



Aside from the conference speakers and panelists, Sounds and Poetry of the Streets will also showcase the following:



At the end of the first day of the conference, EPAPC team leader, Lara Mendoza, will launch the second of the Salikha Documentary Series on Pinoy hip-hop.

Researched, written, and directed by Lara Katrina T. Mendoza

The proliferation of YouTube videos on the internet has made available a plethora of DIY music videos and interview clips of luminaries considered popular and huge within their own niche scenes. The documentary presents multiple layers and nuances on the integral concepts of culture, what it means to give back (mag-ambag) to hip-hop, a culture and intricate scene of other classic elements (e.g. dance, deejaying, visual arts) that have not only enriched the lives of practitioners in the musical sense but also in the way that they have chosen their paths in terms of career, advocacy, and lifestyle. It weaves stories of artists trying to make sense of their place in the culture that they love and live, and privileges the notion of imparting a legacy for Pinoy hip-hop, of giving back to a culture that is knitted into the DNA of their lives, inspiring them to create a better world as it has inspired them to be better artists. As culture bearers of a genre that speaks of their hardships from the streets and from below, they grapple with the complexities of honing their craft, the successes and perils of music production, and the impact of fan reception to their own narrative arcs.

Ultimately, the “ambagan” of Pinoy hip-hop artists to Hip-Hop culture itself is the ability to laugh after a rap battle, hug after a fierce word war, drink beer, blow vape rings, and create music that is the perfect reflection and embodiment of their artistic styles and ethos of their collectives. “Usapang hip-hop” is an initial depiction of hip-hop’s “slice of life” (Yuson, June 2019), where artists explain how they release aggression, boast of rap skills, and have a laugh trip cum drink fest after all have been said and done. At the end of the day, we are all the same, eking out a living, busting our asses to bring food to the table, and hip-hop is just the coolest way to do all these and still be true to who we are.

The first screening of the documentary will take place on September 4, 2019 at 5:00 PM. Screening is free. Click the button below to reserve seats for the documentary launch.



On the second day of the conference, Áine Mangaoang, a post-doctoral research fellow in Popular Music at the Department of Musicology, University of Oslo, Norway, will launch her book entitled, Dangerous Mediations: Pop Music in a Philippine Prison Video

In 2007, an unlikely troupe of 1500 Filipino prisoners became Internet celebrities after their YouTube video of Michael Jackson’s ground-breaking hit 'Thriller' went viral. Taking this spectacular dance as a point of departure, Dangerous Mediations explores the disquieting development of prisoners performing punishment to a global, online audience. Combining analysis of this YouTube video with firsthand experiences from fieldwork in the Philippine prison, Áine Mangaoang investigates a wide range of interlocking contexts surrounding this user-generated text to reveal how places of punishment can be transformed into spaces of spectacular entertainment, leisure, and penal tourism.


In the post-YouTube era, Dangerous Mediations sounds the call for close readings of music videos produced outside of the corporate culture industries. By connecting historical discussions on postcolonialism, surveillance and prison philosophy with contemporary scholarship on popular music, participatory culture and new media, Dangerous Mediations is the first book to ask critical questions about the politics of pop music and audiovisual mediation in early 21st-century detention centres.

The author, Áine Mangaoang, is a Postdoctoral Research Fellow at the Department of Musicology, University of Oslo, Norway. Her current research project, PRISONS OF NOTE, uses mixed methods, including sound and film-making, to map the role of music in contemporary places of detention. She teaches Master and Bachelor courses on Music and Media, and Popular Music, Archives, Heritage, and Historiography at the University of Oslo.



As a fitting end to the conference on expressive popular cultures, there will be special performances from different groups in the local music scene. 

Get to know the performers:


Debonair District is a unique Jazz quintet that performs Filipino folk/love songs and select standards specially-arranged by its own members. The group shares the belief of performing both Filipino and foreign classics in a contemporary Jazz way for both young and old ears to hear, raising the group's cause in bringing these classics, especially Filipino songs, into a new light.


Composed of five instrumentalists and vocalists, Munimuni is an indie band known for their signature “makata pop” sound. They write and perform songs that speak both of the realities of life and of an enduring hope for the future.


ConChords: The name is derived from the word “Concorde” which literally means “the state in which a person or a thing exists together in a peaceful way”. Given such, we decided to replace the last syllable to give emphasis on one of the most basic yet the most profound concept in music- Chords. Known as a Contemporary A cappella group, the Conchords are also singers of great versatility. Their repetoire includes genres such as Jazz, Pop, and Classical.


This Lyricist/ Producer duo has been working together since 2014. Making Hip-Hop music and giving listeners a taste of their own unique style. This tandem will release their new single, "Pamantayan", very soon.


The Repablikan Syndicate is an underground rap group that was formed in Mandaluyong city in 2003. The group is composed of Flict-G, Kakin, Siobal-D, Slim, Ms. Yumi, Lirico and Numerhaus. In 2005, Repablikan Syndicate released their first mixed tape that made a big impact on the group, the listeners and other rap artists with their various love songs such as “Kanino Ba Dapat?”, the rap cover of the Japanese song “First Love”, “Mhine”, “Paglisan”, “Kahit Di Na Tayo”, and “Bintana”.

Ethnographies of Philippine Auditory Popular Cultures

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