In their meaningful depths, the songs written about the istambay are undeniably, social commentaries about the persisting problem of inactivity in the Philippines, particularly of Filipino youth. Although the initial understanding of istambay often relates to unemployment and underemployment, the issue of inactivity is a totally different ballgame. It is an issue that sings a different tune; a legitimate phenomenon that for a long time has been taken for granted by policy makers in the Philippines. But for a select group of local musicians such as Heber Bartolome, Ulihing Tubo, Enchi and PML band, the musical poetry and lyrical articulations in their istambay songs transcend the negative stereotypes that most of us attached to these inactive persons.
Istambay’s inactivity reveals what most of us Filipinos fail to see, that is, behind the happy-go-lucky disposition of istambay is the pain and regret of having nothing to do. That the silencing of their able bodies and minds pushes them to screaming in loud voices by inhaling all the nicotine they could, sipping all the alcohol they would, and sniffing enthralling substances they should. Just to make a f****ing point. A fascinating point that made me realized – istambay, too, have a legitimate voice and space in the precarious life of our country.
As I listen to the songs, I heard about the istambay’s economic powerlessness, resistance and disappointments but more importantly, their sense of optimism, hope and courage in facing the future. Where are these coming from? How could the istambay remain resilient in these times of self, social, economic and transitional crises? The songs did not dare to sing the responses to these questions. Maybe, a creative sense of sociology may be helpful. Let’s see.
