With Valentine's Day around the corner, one wonders how expressions of physical attraction and love were expressed by our foreparents. The harana (serenade) is of course, the manner by which the man expresses his love and admiration to the lady. The harana was an exclusively nocturnal practice. Because of the daytime tropical weather, the evening offers respite from the heat. It is the time when everybody comes alive, full of romantic ideas, and as is typical of Filipino nature, always ready to enjoy the company of friends and loved ones. It was during this old Philippines, before the widespread use of electricity, that harana was at its ripest.
In this endeavor, the most trusted instrument is the guitar with its intimate sound complementing Spanish-influenced songs, not to mention the breezy and quiet air of a tropical night.
For a young man in colonial Philippines, it was certainly advantageous to possess musical abilities as it was often useful in wooing a Filipina woman. However, all is not lost if he lacks the talent. It was common practice to enlist friends as well as hire the best musicians in town. Thus, harana is not always a solitary endeavor. In fact, it was also considered a social event. For the endeavor to be successful either or both of these two instances have to happen: if the lady invites the man and his company inside for refreshments. It then becomes an impromptu mini-soiree; and if the lady joins in the singing.
The man would have to wait until the young lady opened a window to listen. It would be up to her if she wanted to invite them in for some refreshment and to chat after the song. Even if they had been asked to come in, the suitor would not expect that he could have the chance of a private moment with his object of affection. It was highly likely that the parents would also be there to entertain the man and his friends.
The love song, romantic and slow in tempo, is an expression of his undying love, even if this was unrequited. Thus, the kundiman was born (from the term, "kung hindi man). It is a little known fact that some kundiman pieces, such as Maala-ala Mo Kaya (lyrics Jose Corazon de Jesus, music Constancio de Guzman), Dahil sa Yo (lyrics Dominador Santiago, music Mike Velarde) are examples where the lady is invited to sing her part.
In 1916, Dr. Juan V. Pagaspas, a doctor of philosophy from Indiana University and a much beloved educator in Tanauan, Batangas described the kundiman as "a pure Tagalog song which is usually very sentimental, so sentimental that if one should listen to it carefully watching the tenor of words and the way the voice is conducted to express the real meaning of the verses, he cannot but be conquered by a feeling of pity even so far as to shed tears." Dr. Francisco Santiago, the "Father of Filipino Musical Nationalism" declared in 1931 that the kundiman "is the love song par excellence of the Filipinos, the plaintive song which goes deepest into their hearts, song which brings them untold emotions."
Ambeth Ocampo mentions Pascual Poblete's 1922 work, Patnubay ng Pagsinta, which sheds light to pre-war courtship and flirting of Filipinos. A woman does not directly communicate to the man: she shows restraint, even disinterestedness even if she felt otherwise. She believed that the man will love her more if he is made to work hard before giving him what he wants. She may also convey her message through her handkerchief and handheld fan. Poblete mentions in detail the meanings behind the signs:
SALITAAN SA PANYO CAHULUGAN
Ihaplos sa mga labi Ibig cong maquipagsulatan
Ihaplos sa mga mata Lubhang nalulungcot aco
Ihaplos sa kaliwang kamay Ikaw ay quinapopootan co
Ihaplos sa dalawang pisngui Iniibig quita
Bayaang malaglag Tayo i magcacaibigan
Ipatong sa pisnguing canan Oo.
Ipatong sa pisnguing caliwa Hindi.
Ihaplos sa balicat Sumunod ca sa aquin
Ihaplos sa dalawang mata Lubha cang ualang aua
Ticlopin Ibig cong maquipagusap sa iyo
Ticlopin ang mga dulo Hintain mo aco
Pilipintin ng dalawang camay Pagpapaualang halaga
Pilipitin sa camay na canan May ibang iniibig aco
Pilipitin sa camay sa caliua Pagpasial co, ayao cong maquialam sa iyo
Ibuhol sa hintuturo Mayroong casintahan aco
Ibuhol sa susuotang singsing Mayroong asawa aco
Ibuhol sa buong camay Aco ay sa iyo
Paglaroan ang panyo Pinaualan quitang halaga
SALITAAN SA PAMAYPAY CAHULUGAN
Dalhing nacabitin sa camay na canan Ibig kong magcanovio
Dalhing nacabitin sa camay na caliua Mayroong casintahan aco
Ipaypay ng madalas Malaqui ang pag-ibig co sa yo!
Ipaypay ng marahan Ualang halaga ca sa aquin!
Itiklop ng bigla Quinapopootan quita!
Bayaang malaglag Aco i tapat ang loob sa iyo
Tacpan ang calahating mucha Sumunod ca sa aquin
Bilangin ang mga tadyang Ibig cong magsalita sa iyo
Paglaroan ang horlas Umiibig aco sa iba at iniibig naman aco
Huag dalhin o ilagay sa bulsa Ayao cong maquipagligawan
Loveletters were also exchanged by our foreparents. Again, Poblete mentions the use of invisible ink. Sticky substances like sap, milk or beer, when used in writing, can be read by the use of ground charcoal passing through it. letters with ink made of water and the local tawas can be deciphered by wetting or by exposing to sunlight. Letters using Ilocano vinegar or onion juice as ink may also be read when the letter is passed through fire.
Flowers, accordingly, were also symbolically used in loveletters. Names of flowers were substituted for phrases and times. Of course, the young man and the woman had to know the secret vocabulary. The first person pronoun was written as isang dahon lamang, while the second person was written as dalawang dahon and the third person was written as tatlong dahon. Thus, Ang pag-ibig mo i nacamamatay sa aquin is written as Dalauang dahon ng mirto at Cicuta or Cagalingan mong magsalita ay nacasisisra nang loob co becomes Dalawang dahon nang Nintea blanca at Verbena. Such system of communicating was effective for their generation!
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