Journal articles on the topic 'Philippine Folk literature'

The Philippines is one of the countries rich in culture, characterized by different literary art forms, such as indigenous rituals and folk narratives that are passed on to future generations. However, although there have been recurring studies about these literary pieces, some narratives and fields of literary studies are being neglected, such as Philippine Mythology. Yet, the preservation and recognition of Philippine myths may be resolved through the copious integration of these myths into the academe. In this article, the author introduced the state of literature, mainly folk narratives, in Philippine schools and the nature of myths, including the different mythological creatures present in them. There are many discussions concerning the appreciation of these texts from different articles and studies from prominent authors, yet reliving these myths remains not progressive. Schools are one of the most accessible yet trusted sources of facts and important learning, which also are home for young generations who are supposed to be heirs of these value-laden artifacts.

South Africa and the Philippines are home to a number of indigenous groups whose cultures and traditions have not been tainted by centuries of colonization. This paper compares the pre-colonial literature of cultural communities in two countries, where one is part of a continent (South Africa) while the other is an archipelago (the Philippines). Despite the differences in their geographical features, the two countries share common experiences: 1) colonized by European powers; 2) have a significant number of indigenous communities; 3) a treasury of surviving folk literature. Published African and Philippine folktales reveal recurring images and elements. One of these is the use of animals as characters, performing domestic tasks in households, and representing gender roles. This paper compares how animal characters portray feminine characteristics and domestic roles in selected fables from South Africa and the Philippines, specifically on the commonalities in the roles of the female characters. The research highlights the relevance of recording and publishing of folk literature, and the subsequent integration and teaching thereof within basic and higher education curricula.Key words: Indigenous, Cultural communities, fables, folk literature, Philippine folk tales, South African folk talesHow to cite this article:Quintero, G.J. & Makgabo, C. 2020. Animals as Representations of Female Domestic Roles in selected fables from the Philippines and South Africa. Scholarship of Teaching and Learning in the South. v. 4, n. 1, p. 37-50. April 2020. Available at:https://sotl-south-journal.net/?journal=sotls&page=article&op=view&path%5B%5D=121This work is licensed under the Creative Commons Attribution 4.0 International License.To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

This research aimed to determine the students level of awareness and performance in folk dance that served as basis of developing program for promotion of folk dancing skills in Bitin National High School for the school year 2017 to 2018.The descriptive research was used in the study using the Grade 9 students of Bitin National High School as the respondents. A self-made questionnaire and rubrics for dance performance were used to describe the level of awareness and dance performance skills of the respondents. Mean and standard deviation and Pearson r correlation using an alpha level of .05 were used as the statistical tools.The study revealed the following findings. Majority were 15 years old (90), followed by 14 years old (65), 16 years old (53), 17 years old (23) and the least 18 years old (10) with total number of 241.The over-all mean of 3.30 shows that the students are Moderately Interested about Philippine folk dances. For the Level of awareness of the students to folk dance related variables. In terms of the following variables: objectives, has an over-all mean (OM) of 3.30, strategies (OM=3.71), skills in folk dancing (OM=3.77), availability of dance materials (OM=2.88), and training (OM=3.12) were all interpreted as Moderately Aware. While exposure to Philippine folk dances (OM=3.43) shows that the students are somewhat awareto Philippine folk dances. Only the competence of the dance instructor was rated highly aware.With regard to the performance of the Grade 9 students in folk dancing fundamental skills, for the three categories given: poise and grace, timing and rhythm, interpretation of literature, most of the respondents were rated as Moderately Aware.The Correlation of folk-dance awareness variables as to poise and grace shows No Significant Correlation to folk dancing fundamental skills. The second category for folk dancing fundamental skills, timing and rhythm shows Negligible Correlation to folk dance awareness variables. The third category which is the interpretation of literature also shows Negligible Correlation to folk dance awareness related variables.

Pedagogical materials in teaching regional literature are needed in Philippine classrooms. However, the number of studies on regional literature that students and teachers can make use of is very limited. To cater to such academic demand, this study selected four folk songs of Southern Leyte, Philippines to determine the rural life imagery that they portray. The formalism approach in literary analysis was used in this study. The chosen folk songs were “AwitsaBukid” (Song of the Mountain), “Barutu” (Boat), “Alibangbang” (Butterfly), and “May BalayGamaysaBungtud” (There Was a Hut on the Hill). The textual translation of the lyrics of the folk songs followed the Phonology-Orthography Correspondence: Sound-Letter System on pedagogic grammar for Cebuano Visayan. Coding and triangulation were applied to the data. The findings revealed that the selected folk songs of Southern Leyte had the following rural life imagery representations: “AwitsaBukid” (Song of the Mountain) - farmers working to attain a good harvest, “Barutu” (Boat) - a coffin made out of a sawed-off boat and funeral activities, “Alibangbang” (Butterfly) - a man courting and exploiting a woman then leaving her for another woman, “May BalayGamaysaBungtud” (There Was a Hut on the Hill) - a socialite mother living in a shanty on a hill. The literary analysis showed that the selected folk songs of Southern Leyte have representations of rural life imagery.

Around 60, 000 in number, the Bagobo people constitute one of the indigenous peoples in Davao, Philippines. This study analyzes the Bagobo Tagabawa folk speech, specifically their proverbs and riddles. Also, this study aims to help in preserving the Bagobo Tagabawa folk speech and fostering a better understanding and appreciation of their life, literature, and people. The researcher analyzed the 90 proverbs and the 97 riddles in form and style using the classification of the riddles of George P. Murdock and the category of proverbs used by Damiana Eugenio. The concept of cultural anthropology by Franz Boas was employed in the study to determine the cultural contents of each literary piece of the said indigenous group. Findings reveal that the Bagobo people have rich and varied folk literature, constituting an important part of Philippine national literature that could vanish amid modernization. This study has contributed to the preservation of the cultural materials of the Bagobo Tagabawa. Thus, it is hoped that it will make it easier for non-Bagobo Filipinos and the rest of the world to know and appreciate Bagobo folk speech. Furthermore, the researcher recommends that this study be disseminated among folklore enthusiasts to enrich the Bagobo Tagabawa folk speech analysis. This research can help the National Commission on Indigenous Peoples (NCIP) promote, protect, and recognize the culture of the indigenous peoples, particularly in the territory of Mindanao.

This essay turns to and through the Philippine vernacular in order to open up the possibility of a new materialist regard of literature, one that specifically stems from the Philippine tropics. It proposes that the opportunity for such a tropical materialism rests on the onomatopoeism observed in the vernacular. Onomatopoeia, as a material linguistic principle, is recognized here to be most instructive in reunderstanding Philippine folk poetry — texts which date back to the precolonial period — in terms beyond mere representation. As a counterpoint to these traditional literary texts, the essay also ruminates on the poetry of Jose Garcia Villa, a prominent Filipino modernist writer, whose works in English are intuited here as demonstrative of the similar onomatopoeism found in Philippine folk poems. Although these literary materials might initially appear to be disparate and disconnected, the reading undertaken here nevertheless seeks to coincide these texts, bringing them into relation to highlight their possible yet understated entanglements, so as to ultimately motivate an intra-activity constitutive of contingent spatiotemporalities that may allow the emergence of a groundwork for a Philippine new materialist poetics.

Introduction: Poetry has long been part of any cultural and literary heritage. Despite poetry’s role in Philippine literature, the 21st-century Filipino learners lack the knowledge about folk poetry. Poems sent through short messaging service (SMS) or mobile textula were then introduced to capture the interest of the Filipino millennial learners. However, studies say little about this emerging means of literary propagation. Anchored in the Social Construction of Technology (SCOT) Theory, this study aimed to contribute to the body of knowledge to reawaken the marginalized Philippine poetry. Method: Through external desk research, this qualitative study delved into the history, type, sample poems, and the possibility of using mobile textula to reinforce the 21st-century Filipino learners' understanding of the marginalized Philippine poetry. \ Result: After an integrative literature review of various sources (full paper in conference proceedings, journal articles, education-related sites, and online news), it was found that mobile textula was made known in 2002 through the "Textanaga Contest," the first text-a-poem contest in the Philippines which gathered 10,000 poems on its launching day. Sample poems were that of the tanaga, dalit, and diona which are considered marginalized poetry among the generation of modern Filipinos. Moreover, a private college in one of the provinces in Luzon saw the effectivity of textula in teaching language, literature, and socio-cultural awareness. Discussion: Therefore, the study suggests that teachers consider the use of textula in teaching literature. Further, a wide scope of an experimental study on the effectiveness of textula in the classroom is recommended.

Blaans are one of the tribes that reside in the Mindanao archipelago in the Philippines. This study collected, transcribed, classified, and analyzed Blaan folk literature in the barangays of Sinapulan and Eday in the municipality of Columbio, Sultan Kudarat. This also sought to identify the context that brought about the folk literature’s citation and identified the beliefs and practices embedded in these literary texts. This Blaan oral literature was transcribed and translated in Cebuano or Filipino by the informants and analyzed using Alan Dundes’ theory of analyzing folklore- through its text, and context. The gathered Blaan folk literature was classified as occasional songs, work songs, and prose narratives depicting legends, and creation stories. It was also found out that the folk literature was recited during important occasions like weddings, tribal assemblies either as a form of entertainment or a form of reminder for the members in the importance of tribal peace and unity as well as their role in protecting nature and their environment. This study also revealed that Blaan folk literature embodies the tribe’s values and ideals like generosity, courage, bravery, and traditions like the giving of dowry to their intended bride. They also valued nature and believed in the Supreme Being, whom they call Dwata but whose traits are like the Christian god.

The understanding of a folk narrative lies in the underlying principles that govern its composition. This study focuses on structures and culture found in the folk narratives of Sama, an indigenous group in Island Garden City of Samal, Philippines. The paper uses the theory on narratology by French-Lithuanian literary theorist, Algirdas Julien Greimas, and cultural theory by Bronislaw Malinowski to analyze the selected Sama folk narratives. The study reveals that the ten (10) Sama folk narratives collected do not completely follow the theory on narratology of Greimas. This is because the theories used are foreign and the folk literature collected are of local origin. Regardless of this, the study shows that Sama folk narratives reflected the ways of their people. Consequently, Sama folk narratives exemplify their cultural practices. They present social, economic, political, and religious practices. The leaders from the Sama folk were requested to validate the cultural texts gathered for this study. This research highlights the structure of Sama literature and illustrates Sama’s cultural heritage by gathering and analyzing their folk narratives so that the rest of the population (the new generation) could have the chance to experience their culture and appreciate it. Also, the researcher further emphasizes the relevance of gathering and using local literature to prevent it from vanishing into oblivion.

This study investigates Kagan folktales to understand the culture present in oral literature. It utilized a descriptive method and ethnographic process in the study design. The collected folktales mirrored the following components of culture: 1) Social practices, i.e., Rido (family rivalries), use of gong and balao (musical instruments), wedding, use of native baskets, dowry system for courtship, slavery, use of malong (indigenous clothing). 2) Economic practices, like farming, fishing, and barter trading. 3) Political practices, including Datu and Sultanate systems. 4) Religious practices. The analysis shows that the folktales reflect the life and works of the Kagan in Pantukan municipality, Davao de Oro, and Lupon municipality, Davao Oriental, of Mindanao Island of the Philippines. The cultural role of folktales is getting diluted in the Philippines. However, this study found that folktales have a serious purpose of preserving, developing, and sustaining indigenous culture for a better future. In conclusion, the Kagan and their folktales reveal the transcendence of folk beliefs, customs, and traditions to benefit their culture in an acculturated society today.

Diabetes mellitus is one of the major reasons for mortality worldwide and numerous scientific studies are going on to find plausible solutions to overcome and manage diabetes and its related infirmities. Traditional medicines use medicinal plants as anti-diabetic agents and despite being a disturbing weed to farming landMimosa pudicaLinn. has a high traditional usage for various purposes including anti-diabetic complications. The objective of this article is to accumulate and organise literatures based on traditional claims and correlate those with current findings on the use ofM. pudicain the management of diabetes mellitus.M. pudicais a creeping perennial shrub which is a common weed widely distributed in Southeast Asia specially in India, Bangladesh, Malaysia, China, Philippine etc. This plant has various species of whichM. pudicais a well recognised plant of medicinal origin which has been traditionally used as folk medicine in India, Bangladesh and Philippine, Chinese, herbal and siddha medicines. It has wound healing, anti-diabetic, anti-diarrhoeal, antimicrobial, anti-cancer, anti-infections, anti-worm, anti-proliferative, anti-snake venom, anti-depressant and anxiolytic etc. activities. The objective of this article is to provide up-to-date information on the traditional and scientific studies based on this plant on the frontier of diabetes mellitus. The methodology followed was to methodically collect, organise and chart the recent advances in the use ofM. pudicain diabetes and its related complications like vascular complications, diabetic wound, hyperlipidemia etc. Various scientific studies and traditional literatures clearly support the use ofM. pudicaas an anti-diabetic agent among other uses. So far, the anti-diabetic compounds have not been isolated from this plant and this can be a good scientific study for the future anti-diabetic implications.

Purpose The premature closure of microbusinesses has become a prevalent issue that demands to be seriously addressed due to the major economic contribution it provides particularly to developing countries. The purpose of this paper is to establish and further analyze a set of critical failure factors (CFFs) that aid in the systematic decision-making and strategic management of stakeholders. Design/methodology/approach A comprehensive literature review is conducted to gather CFFs and an interpretative structural modeling with Matriced’ Impacts Croise’s Multiplication Appliquée a UN Classement (ISM-MICMAC) analysis is applied to investigate the structural relationships among CFFs by extracting its inherent characteristics according to its driving power and dependence power. In order to illustrate the methodology, a case study is conducted in Cebu, the Philippines. Findings It is interesting to note that inadequate government programs information is deemed the most crucial for stakeholders to tackle as its impact on the premature closure of microbusinesses is highly significant. Drawing from this key result, directions for potential strategies for getting evidence-based research into policy and practice in the micro-business sector in the Philippines, and other developing countries, are provided. Originality/value Lastly, the contribution of this work is two-fold and is aimed at policymakers and managers. For one, this study is the first to establish a set of CFFs specifically aimed at the level of microbusinesses, a seriously under-researched business sector, which can aid and influence domestic policymakers. For another, a framework that will facilitate business managers in carrying out organization’s strategy development process have been provided.

It is common knowledge that plants have been the world-wide most important source of medicines and that they still play this role in developing countries. However, up to now, complete lists of medicinal and aromatic plants (MAP) exist for comparatively few countries. A review of all lists know to the authors reveals the following results: A total of 20.7 % of the plant species analyzed by either publications or own research are or were used as MAP. However, regarding single countries, the differences are considerably high. Absolutely leading the list are China (36.2 %), Burkina Faso (35.2 %) and the Korean Republic (34.5 %). Also ahead of other countries or regions are the North of Benin (32.8 %) and the entire Pakistan (30.3 %). Still above average rank Great Britain (26.7 %) and Nepal (23.3 %), while the figures for Bul¬garia (21.0 %), Germany (20.2 %) and France (19.4 %) almost represent the average. Jordan (17.3 %), Vietnam (17.1 %), Sri Lanka (16.6 %), India (16.1 %) and Thailand (15.5 %) rank slightly beneath. Clearly below the average are the percentages of MAP for Hungary (12.2 %) and the USA (11.8 %). The average numbers of MAP in the Philippines (9.5 %) and Malaysia (7.7 %) fall far behind. Calculated on a worldwide scale, every fifth plant can be regarded as MAP. This number matches that from Bulgaria, France and Germany. In northern Benin, Burkina Faso, Korea, China and Pakistan, however, every third plant is or was used as MAP, whereas in Hungary and the USA only every eighth plant can be regarded as MAP. This number drops even further for the Philippines ore Malaysia where only every tenth or thirteenth plant can be attributed to medicinal or aromatic use. These differences might be due to various factors. A geographical component of the results is obvious: in most cases geographically close countries show similar percentages. A correlation between the total number of species and the fraction of those used as MAP cannot be confirmed. The countries with percentage of MAP > 30 % in common show that they belong either entirely (Burkina Faso, Benin) or at least in their rural areas to the poorest countries of the world so that it is (was) impossible for the majority of the people to buy "modern" MAP. In those countries the number of traditional healers outnumbers largely the number of modern doctors. Therefore, the tradition of folk medicine was maintained until today. Additionally, China, Korea and partially Pakistan have a very old and well documented tradition of folk medicine. Due to this documentation even in areas where today "modern MAP" are used, the knowledge was not lost. In neighboring countries or regions, which differ with respect to a more arid or a more humid climate, for the arid country (region) more MAPs are reported than for the humid one. The potential reasons for this phenomenon are discussed in the paper. For many countries the percentage given for MAP in literature is too low. But even these low values represent a striking argument for the importance of a world-wide conservation of biodiversity.

Purpose The purpose of this paper is two-fold. First, it explores the extent to which diversity of connectivity or the connection through multiple internet access points may facilitate online privacy behavior. Second, it explains the diversity of connectivity-online privacy behavior link in terms of information literacy. Design/methodology/approach Situated in the context of urban poor youth in the Philippines (n = 300), this paper used a quantitative approach, specifically an interview-administered survey technique. Respondents were from three cities in Metro Manila. To test for indirect relationship, survey data were analyzed using bootstrapping technique via SPSS macro PROCESS (Hayes, 2013). Findings Urban poor youth with diversified connection to the internet engaged in online privacy behavior. The more the youth are connected to the internet through diverse modalities, the more this fosters cautious online privacy behavior. In addition, information literacy explained how diversity of connectivity facilitated online privacy behavior. It suggests that differences in online privacy behavior may result from the extent of basic know-how of navigating online information. In the context of the urban poor in the Global South, the youth are constantly negotiating ways to not only connect to the internet but also acquire digital skills necessary for protective online behaviors. Originality/value To date, this is one of the few papers to contribute to conversations about online privacy among youth in the Global South. It broadens the literature on social determinants of online privacy behavior that is crucial for designing policy interventions for those in the margins.

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<p>Cultural awareness is the foundation of literate national communication. It involves one’s ability to stand back from where he or she is to become more aware of cultural values, beliefs and perceptions. Strengthening and preserving these values, beliefs, and traditions can pose a great challenge especially today when culture has become vulnerable because of globalization. It is on this ground that this study was conducted to determine the levels of practices in strengthening and preserving Philippine folk dances and general knowledge of folkdances as a measure of cultural awareness of secondary students of Davao City. The respondents of the study were the 37 MAPEH teachers and 1,896 secondary school students of School Year 2011-12 teaching or enrolled, respectively, in public high schools in three congressional districts of Davao City. The mean was used to describe the levels of practices concerning the strengthening and preserving of Philippines folk dances and Pearson-r was employed to test the relationship between each of these variables and cultural awareness. A researcher-made survey questionnaire was constructed and tested for validity and reliability. A 20-item multiple choice test was also administered to the student respondents of the study. Findings revealed that there is a high level of strengthening and preserving practices for Philippine folk dances with an overall mean of 3.69 and 3.64, respectively, and level of cultural awareness of students is good as quantified by a mean score of 11.03. Further, strengthening practices, such as being careful but allowing students to explore Philippine folk dance, was encouraged while preserving practices, such as resisting any alteration of folk dances and reading literature before the dance, are also prevalent among MAPEH teachers. On the other hand, students are more knowledgeable of the dance literature than about folk dances. However, strengthening and preserving practices by the MAPEH teachers have no significant relationship with the general knowledge as a measure of cultural awareness of the student of Philippine folk dances.</p>

The Philippines, a treasury of oral folk epics and particularly folk songs, gives us opportunities to research them in transition, which implies documenting and introducing them to a wider audience (Biclar, 2014). Capiz is the capital of folk songs and folk dances in Western Visayas. It is a province in Panay Island which has a distinctive and astonishing folk literature existing, but the dilemma is, writings were not all recorded and compiled. The study identified and analyzed the selected folk literature in the province. It sought to identify folk literature in the province of Capiz according to genres, craft a literary analysis based on folk literature and determine literary criticism approaches which are applicable for literary analysis. The study utilized descriptive-qualitative research employing literary critical approaches. The multi-stage purposive sampling procedure was used. The most common folk literature in the province were the following: ambahanon, binalaybay, composo, harana, hurobaton, lowa, paktakon and pamulong-pulong used the spoken introduction for the ulitawo and lin-ay in the public dance (bayle). The selected folk literature identified represent the historical, cultural, social, anthropological or even religious aspects of the Capizenos’ way of life.

The Philippines, a treasury of oral folk epics, calls us for opportunities to research epics in transition, documenting and introducing them to wider audiences. Losing of the epic tradition attracts national and international attention and becomes a concern of the state and the educational system. This study is focused on the metahistorical contexts of the epic Barter in Panay by Ricaredo Demetillo (1961) who gathered his materials from Maragtas. The study is anchored to Hornedo’s (2004) theory of reality frames in teaching literature. Employing descriptive-qualitative method of research through textual analysis unfolds the value of the text as literary and historical records. The study aims to answer: How the narrative structure of the epic unveils the political and social practices of the Visayan people? How the characterization reveals the themes and metahistorical contexts of the epic? Barter in Panay reflects the “sweetness and light” of the Filipino lifeways-its unique genetic origin and rich traditions. The voice in the epic sketches the community beyond the spatial and projects itself into the future who continues his legacy to the young listening to the tales. The epic contains historically self-aware characters providing integral engines to the Filipino identity. The study benchmarks for literary-anthropological research.Keywords – Literature, Barter in Panay, metahistorical contexts, reality frames of teaching literature, Central Panay, folk literature, descriptive design, Philippines

Opportunities to boost climate change mitigation and adaptation (CCMA) and sustainable conservation financing may lie in enhancing blue carbon sequestration, particularly in developing nations where coastal ecosystems are extensive and international carbon markets offer comparatively attractive payments for environmental stewardship. While blue carbon is receiving increased global attention, few credit-generating projects are operational, due to low credit-buyer incentives with uncertainty in creditable emissions reductions and high project costs. Little empirical guidance exists for practitioners to quantify return-on-investment (ROI) and viability of potential projects, particularly for rehabilitation where multiple implementation options exist with diverse associated costs. We map and model drivers of mangrove natural regeneration (NR) using remote sensing (high-resolution satellite imagery segmentation and time-series modeling), and subsequent carbon sequestration using field- and literature-derived data, across abandoned aquaculture ponds in the Philippines. Using project-specific cost data, we then assess ROI for a hypothetical rehabilitation-focused mangrove blue carbon project at a 9.68 ha abandoned pond over a 10-year timeframe, under varied rehabilitation scenarios [NR vs. assisted natural regeneration (ANR) with planting], potential emissions reduction accreditation methodologies, carbon prices and discount rates. NR was faster in lower-lying ponds with lower tidal exposure (greater pond dike retention). Forecasted carbon sequestration was 3.7- to 5.2-fold and areal “greenbelt” regeneration 2.5- to 3.4-fold greater in our case study under ANR than NR. Variability in modeled sequestration rates drove high uncertainty and credit deductions in NR strategies. ROI with biomass-only accreditation was low and negative under NR and ANR, respectively. ROI was greater under ANR with inclusion of biomass and autochthonous soil carbon; however, neither strategy was highly profitable at current voluntary market carbon prices. ANR was the only scenario that fulfilled coastal protection greenbelt potential, with full mangrove cover within 10 years. Our findings highlight the benefits of ANR and soils inclusion in rehabilitation-oriented blue carbon projects, to maximize carbon sequestration and greenbelt enhancement (thus enhance pricing with potential bundled credits), and minimize forecasting uncertainty and credit-buyers’ perceived risk. An ANR rehabilitation strategy in low-lying, sea-facing abandoned ponds with low biophysical intervention costs may represent large blue carbon CCMA opportunities in regions with high aquaculture abandonment.

The concepts of ‘guanxi’ (relationships and networking) and ‘xinyong’ (interpersonal trust) in Chinese traditional ethics are often studied as the key factors that contribute to the pattern and succession of the ethnic Chinese in business practices which are based on the cultural approach. In the context of Southeast Asia such as in Indonesia, Malaysia, The Philippines, the ethnic Chinese are one of the minority groups whose profession is dominantly that of a businessman or an entrepreneur. As stated in the literature, even though the ethnic Chinese are classified as a minority group in those countries, some of the Chinese capitalist groups had controlled 70-80% of the private business sector. However, these two traditional concepts are not the only main factors of the Chinese business success, but the ‘irregular’ business pattern such as the patronage relationship with political elites also becomes the most important criteria. Hence, this study needed to re-examine and clarify whether the implementation of the guanxi and xinyong concepts in Chinese business activities are still relevant in their business practice due to the political connection in the Chinese business succession also being a dominant variable. This study was based on a fieldwork conducted in Indonesia especially in Medan City of Indonesia and used the descriptive qualitative method through interviews and library research. This aim of this study were three fold: the first was to discuss the relevance of the guanxi and xinyong concept in Chinese business practices, the second was to discuss whether the Chinese business practices were more influenced by a formal community organization or rather influenced by an informal network among Chinese businessmen through guanxi and xinyong bases, third, this study also discussed the challenges faced by the Chinese in attempting their business interests.

The World Health Organization (WHO) declared a COVID-19 pandemic last March 11, 2020.1,2 According to the WHO Director General, “In the past two weeks, the number of cases of COVID-19 outside China has increased 13-fold, and the number of affected countries has tripled. There are now more than 118,000 cases in 114 countries, and 4,291 people have lost their lives. Thousands more are fighting for their lives in hospitals.” Soon after, Metro Manila was placed on a complete lockdown which started on March 15, 2020 and continues up to the time of this writing.2 So, what exactly is this COVID-19 pandemic? Will it be changing how we live our lives as healthcare professionals? What will be our role in taking care of patients with COVID-19? These and many other related questions require immediate answers as we face the threat of COVID-19. The WHO was first informed of cases of pneumonia of unknown cause in Wuhan City, China near the end of 2019. A novel coronavirus was identified as the cause by Chinese authorities and was initially named 2019-nCoV.3,4 This was later revised to COVID-19 (coronavirus disease of 2019) and the virus that causes it called SARS-CoV-2 (severe acute respiratory syndrome-coronavirus 2). In the first global epidemic caused by the “first” SARS coronavirus in 2003, the Philippines had a total of only eight confirmed patients. All the cases had contact with a nurse aide who had returned from Toronto, Canada where she got it. The index case and her father eventually died from SARS while the rest recovered.5 But, with COVID-19, at the time of writing this editorial, there were approximately 1,611 weekly cases with 112 weekly deaths in the Philippines and appears to be an increasing trend.6,7 By mid-March 2020, the WHO European Region had become the epicenter of the epidemic, reporting over 40% of globally confirmed cases. As of 28 April 2020, 63% of global mortality from the virus was from the Region, according to the WHO.3 There is much that we need to know about SARS-CoV-2, the virus that causes COVID-19. It belongs to the same family of coronavirus that causes SARS, MERS (Middle East Respiratory Syndrome), and even the common cold.3 Early studies report that SARS-CoV-2 was most often detected in respiratory samples from patients in China. However, live virus was also found in feces.8 It is thought that transmission mainly occurs through the respiratory route, probably as droplets, but extra respiratory sources may also be important. Risk factors for severe illness remain uncertain but old age and comorbidities such as cardiovascular disease, liver disease, kidney disease or malignant tumors, have emerged as likely important factors. There are no proven effective specific treatment strategies, and the risk-benefit ratio for commonly used treatments such as corticosteroids is not clear.7,8 COVID-19 may also cause damage to other organs such as the heart, the liver, and the kidneys, as well as to organ systems such as the blood and the immune system. Patients die of multiple organ failure, shock, acute respiratory distress syndrome, heart failure, arrhythmias, and renal failure.9,10 Among the WHO’s current recommendations, people with mild respiratory symptoms should be encouraged to isolate themselves, and social distancing is emphasized, and these recommendations apply even to countries with no reported cases.3,11 However, such measures could drastically affect the economy with impact on work practices as well as commercial establishments which depend on people’s patronage.12,13 Moreover, the psychological and mental burden that isolation and quarantine can bring about should also be considered. 14,15 For those in the academe, adjustments and quick transition to online learning strategies will need to be made.16 This will also affect how scientific research is done, particularly as we try to learn more about COVID-19.17 The longer the pandemic lasts, and the longer these measures need to be implemented, the more significant will the effects be on the economic and mental well-being of the people. There has certainly been a rush to get more information about COVID-19.18 Although well-intended in most cases, this has resulted into an “infodemic” with some erroneous or unscientific information about COVID-19. 19-21 Even mainstream scientific publications have not been spared by such faulty information. 22,23 Health professionals, therefore, who will be using the information found in these publications will need to be more vigilant in making sure that the data are properly collected and interpreted. We need to constantly update ourselves as new information becomes available.24-26 As in many viral diseases, the best way to combat COVID-19 could be vaccination. Based on the experience with developing vaccines for the other coronaviruses such as the ones causing SARS, MERS and even the common colds, the development of an effective vaccine against COVID-19 may be challenging.27-30 Even if one were to be quickly developed, having the resources needed to make enough vaccines for potentially all inhabitants of our planet are also staggering. And then of course, once a vaccine is available, each country would have to device its own vaccination strategy and all of its accompanying logistic considerations. And then there is the cost of such a vaccine. As a third world country, would the Philippines be able to afford enough vaccines for its citizens? Pending availability of an effective vaccine, one would need to look at actual treatment of COVID-19 patients. In the short-term, it may be possible to repurpose some of the currently available drugs we use for treating other viruses.31-33 In order to help address these, some wide-ranging initiatives have been set up. In March 2020, the UK Research and Innovation (UKRI) Medical Research Council and the UK National Institute of Health Research (NIHR) started the RECOVERY (Randomised Evaluation of COVID-19 Therapy) trial.34,35 It is the world’s largest clinical trial into treatments for COVID-19, with more than 40,000 participants across 185 trials sites in the UK. It is led by the University of Oxford. At about the same time, the WHO also announced the start of an international randomized and adaptive clinical trial SOLIDARITY which will also be looking at potential treatments for COVID-19. 36,37 The Philippines is set to participate in the SOLIDARITY trial.38 Use of personal protective equipment (PPEs) similar to how we have used them against Ebola and other viruses could also be beneficial.39 But similar to developing capacity for making enough vaccines, the ability to make enough PPEs, especially the disposable ones and bring these to where they are needed could also be additional challenges. In the Philippines, as in many other parts of the world, many healthcare workers report insufficient availability of PPEs which puts them at risk of getting COVID-19 from their patients.40,41 There are many more questions needing answers that we will need to deal with as we confront COVID-19. And, most likely, there will also be new challenges that can arise as the pandemic evolves. The combined efforts of the scientific and political communities will need to be engaged if we hope to successfully deal with this emergency. Joven Jeremius Q. Tanchuco, MD, MHA Professor, Department of Biochemistry and Molecular Biology, College of Medicine, University of the Philippines Manila Clinical Professor, Division of Pulmonary Medicine, Department of Medicine, College of Medicine and Philippine General Hospital, University of the Philippines Manila REFERENCES WHO Director-General's opening remarks at the media briefing on COVID-19 [Internet]. 11 March 2020 [cited 2020 Apr 15]. Available from: https://www.who.int/director-general/speeches/detail/who-director-general-s-opening-remarks-at-the-media-briefing-on-covid-19---11-march-2020. Metro Manila to be placed on 'lockdown' due to COVID-19 [Internet]. [cited 2020 Apr 15]. Available from: https://cnnphilippines.com/news/2020/3/12/COVID-19-Metro-Manila-restrictions-Philippines.html Cucinotta D, Vanelli M. 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Introduction Children are beginning to use digital technologies at younger and younger ages. The emerging trend of very young children (babies, toddlers and pre-schoolers) using Internet connected devices, especially touch screen tablets and smartphones, has elicited polarising opinions from early childhood experts. At present there is little actual research about the risks or benefits of tablet and smartphone use by very young children. Current usage recommendations, based on research into passive television watching which claims that screen time is detrimental, is in conflict with advice from education experts and app developers who commend interactive screen time as engaging and educational. Guidelines from the health professions typically advise strict time limits on very young children’s screen-time. Based for the most part on policy developed by the American Academy of Paediatrics, it is usually recommended that children under two have no screen time at all (Brown), and children over this age have no more than two hours a day (Strasburger, et al.). On the other hand, early childhood education guidelines promote the development of digital literacy skills (Department of Education). Further, education-based research indicates that access to computers and the Internet in the preschool years is associated with overall educational achievement (Bittman et al.; Cavanaugh et al; Judge et al; Neumann). The US based National Association for Education of Young Children’s position statement on technology for zero to eight year-olds declares that “when used intentionally and appropriately, technology and interactive media are effective tools to support learning and development” (NAEYC). This article discusses the notion of Digitods—a name for those children born since the introduction of the iPhone in 2007 who have ready access to touchscreen technologies since birth. It reports on the limited availability of evidence-based research about these children’s ICT use concluding that current research and recommendations are not grounded in the everyday life of very young children and their families. The article then reports on the beginnings of a research project funded by the Australian Research Council entitled Toddlers and Tablets: exploring the risks and benefits 0-5s face online. This research project recognises that at this stage it is parents who “are the real experts in their toddlers’ use of screen technologies. Accordingly, the project’s methodological approach draws on parents, pre-schoolers and their families as communities of practice in the construction of social meaning around toddlers’ use of touch screen technology. Digitods In 2000 Bill Gates introduced the notion of Generation I to describe the first cohort of children raised with the Internet as a reality in their lives. They are those born after the 1990s and will, in most cases; have no memory of life without the Net. [...] Generation I will be able to conceive of the Internet’s possibilities far more profoundly than we can today. This new generation will become agents of change as the limits of the Internet expand to include educational, scientific, and business applications that we cannot even imagine. (Gates)Digitods, on the other hand, is a term that has been used in education literature (Leathers et al.) to describe those children born after the introduction of the iPhone in 2007. These children often begin their lives with ready access to the Internet via easily usable touch screen devices, which could have been designed with toddlers’ touch and swipe movements in mind. Not only are they the youngest group of children to actively engage with the Internet they are the first group to grow up with a range of mobile Internet devices (Leathers et al.). The difference between Digitods and Gates’s Generation I is that Digitods are the first pre-verbal, non-ambulant infants to have ready access to digital technologies. Somewhere around the age of 10 months to fourteen months a baby learns to point with his or her forefinger. At this stage the child is ready to swipe and tap a touch screen (Leathers et al.). This is in contrast to laptops and PCs given that very young children often need assistance to use a mouse or keyboard. The mobility of touch screen devices allows very young children to play at the kitchen table, in the bedroom or on a car trip. These mobile devices have, of course, a myriad of mobile apps to go with them. These apps create an immediacy of access for infants and pre-schoolers who do not need to open a web browser to find their favourite sites. In the lives of these children it seems that it has always been possible to touch and swipe their way into games, books and creative and communicative experiences (Holloway et al. 149). The interactivity of most pre-school apps, as opposed to more passive screen activities such as watching television shows or videos (both offline or online), requires toddlers and pre-schoolers to pay careful attention, think about things and act purposefully (Leathers et al.). It is this interactivity which is the main point of difference, one which holds the potential to engage and educate our youngest children. It should be noted within this discussion about Digitods that, while the trope Digital Natives tends to homogenise an entire generation, the authors do not assume that all children born today are Digitods by default. Many children do not have the same privileged opportunities as others, or the (parental) cultural capital, to enable access, ease of use and digital skill development. In addition to this it is not implied that Digitods will be more tech savvy than their older siblings. The term is used more to describe and distinguish those children who have digital access almost since birth—in order to differentiate or tease out everyday family practices around these children’s ICT use and the possible risks and benefits this access affords babies, toddlers and pre-schoolers. While the term Digital Native has also been criticised as being a white middle class phenomenon this is not necessarily the case with Digitods. In the Southeast Asia and the Pacific region developed countries like Japan, Korea, New Zealand and Singapore have extremely high rates of touchscreen use by very young children (Child Sciences; Jie; Goh; Unantenne). Other countries such as the Philippines and Indonesia have moved to a high smart phone usage by very young children while at the same time have only nascent ICT access and instruction within their education systems (Unantenne). The Digitod Parent Parents of Digitods are usually experienced Internet users themselves, and many are comfortable with their children using these child-friendly touch screen devices (Findahl). Digital technologies are integral to their everyday lives, often making daily life easier and improving communication with family and friends, even during the high pressure parenting years of raising toddlers and pre-schoolers. Even though many parents and caregivers are enabling very young children’s use of touch screen technologies, they are also concerned about the changes they are making. This is because very young children’s use of touch screen devices “has become another area where they fear possible criticism and in which their parental practices risk negative evaluation by others” (Holloway et al). The tensions between expert advice regarding young children’s screen-time and parents’ and caregivers’ own judgments are also being played out online. Parenting blogs, online magazines and discussion groups are all joining in the debate: On the one hand, parents want their children to swim expertly in the digital stream that they will have to navigate all their lives; on the other hand, they fear that too much digital media, too early, will sink them. Parents end up treating tablets like precision surgical instruments, gadgets that might perform miracles for their child’s IQ and help him win some nifty robotics competition—but only if they are used just so. (Rosin)Thus, with over 80 000 children’s apps marketed as educational in the Apple App Store alone, parents can find it difficult to choose apps that are worth purchasing (Yelland). Nonetheless, recent research regarding Australian children shows that three to five year olds who access touch screen devices will typically have five or more specific apps to choose from (5.23 on average) (Neumann). With little credible evidence or considered debate, parents have been left to make their own choices about the pros and cons of their young children’s access to touch screens. Nonetheless, one immediate benefit that comes to mind is toddlers and pre-schoolers video chatting with dispersed family member—due to increased globalisation, guest worker arrangements, FIFO (fly-in fly-out) workforces and family separation or divorce. Such clear benefits around sociability and youngsters’ connection with significant others make previous screen-related guidelines out of date and no longer contextually relevant. Little Research Attention Family ownership of tablet devices as well as touch screen phones has risen dramatically in the last five years. With very young children being loaned these technologies by mum or dad, and a tendency in Australia to rely on market-orientated research regarding ownership and usage, there is very little knowledge about touch screen usage rates for very young Australian children. UK and US usage figures indicate that over the last few years there has been a five-fold increase in tablet uptake by zero to eight year olds (Ofcom; Rideout). Although large scale, comparative Australian data is not available, previous research regarding older children indicates that Australia is similar to high use countries like some Scandinavian nations and the UK (Green et al.). In addition to this, two small research projects in Australia, with under 160 participant families each, indicate that two thirds of these children (0-5) use touchscreen devices (Neumann; Coenenna et. al.). Beyond usage figures, there is also very limited evidence-based research about very young children’s app use. Interactive technologies available via touch screen technologies have been available domestically for a very short time. Consequently, “valid scientific research has not been completed and replicated due to [the lack of] available time” (Leathers el al. 129) and longitudinal studies which rely on an intervention group (in this case exposure to children’s apps) and a control group (no exposure) are even fewer and more time-consuming. Interestingly, researchers have revisited the issue of passive screen viewing. A recent 2015 review of previous 2007 research, which linked babies watching videos with poor language development, has found that there was statistical and methodological issues with the 2007 study and that there are no strong inferences to be drawn between media exposure and language development (Ferguson and Donellan). Thus, there seems to be no conclusive evidence-based research on which to inform parents and educators about the possible downside or benefits of touch screen use. Nonetheless, early childhood experts have been quick to weigh in on the possible effects of screen usage, some providing restrictive guidelines and recommendations, with others advocating the use of interactive apps for very young children for their educational value. This knowledge-gap disguises what is actually happening in the lives of real Australian families. Due to the lack of local data, as well as worldwide research, it is essential that Australian researchers obtain a comprehensive understanding about actual behaviour around touch screen use in the lives of children aged between zero and five and their families. Beginning Research While research into very young children’s touch screen use is beginning to take place, few results have been published. When researching two to three year olds’ learning from interactive versus non-interactive videos Kirkorian, Choi and Pempek found that “toddlers may learn more from interactive media than from non-interactive video” (Kirkorian et al). This means that the use of interactive apps on touch screen devices may hold a greater potential for learning than passive video or television viewing for children in this age range. Another study considered the degree to which the young children could navigate to and use apps on touch screen devices by observing and analysing YouTube videos of infants and young children using touch screens (Hourcade et al.). It was found that between the ages of 12 months and 17 months the children filmed seemed to begin to “make meaningful use of the tablets [and] more than 90 per cent of children aged two [had] reached this level of ability” (1923). The kind of research mentioned above, usually the preserve of psychologists, paediatricians and some educators, does not, however, ground very young children’s use in their domestic context—in the spaces and with those people with whom most touch screen usage takes place. With funding from the Australian Research Council Australian, Irish and UK researchers are about to adopt a media studies (domestication) approach to comprehensively investigate digital media use in the everyday lives of very young children. This Australian-based research project positions very young children’s touch screen use within the family and will help provide an understanding of the everyday knowledge and strategies that this cohort of technology users (very young children and their parents) have already developed—in the knowledge vacuum left by the swift appropriation and incorporation of these new media technologies into the lives of families with very young children. Whilst using a conventional social constructionist perspective, the project will also adopt a co-creation of knowledge approach. The co-creation of knowledge approach (Fong) has links with the communities of practice literature (Wegner) and recognises that parents, care-givers and the children themselves are the current experts in this field in terms of the everyday uses of these technologies by very young children. Families’ everyday discourse and practices regarding their children’s touch screen use do not necessarily work through obvious power hierarchies (via expert opinions), but rather through a process of meaning making where they shape their own understandings and attitudes through experience and shared talk within their own everyday family communities of practice. This Toddlers and Tablets research is innovative in many ways. It seeks to capture the enthusiasm of young children’s digital interactions and to pioneer new ways of ‘beginnings’ researching with very young children, as well as with their parents. The researchers will work with parents and children in their broad domestic contexts (including in and out-of-home activities, and grandparental and wider-family involvement) to co-create knowledge about young children’s digital technologies and the social contexts in which these technologies are used. Aspects of these interactions, such as interviews and observations of everyday digital interactions will be recorded (audio and video respectively). In addition to this, data collected from media commentary, policy debates, research publications and learned articles from other disciplinary traditions will be interrogated to see if there are correlations, contrasts, trends or synergies between parents’ construction of meaning, public commentary and current research. Critical discourse tools and methods (Chouliaraki and Fairclough) will be used to analyse verbatim transcripts, video, and all written materials. Conclusion Very young children are uniquely dependent upon others for the basic necessities of life and for the tools they need, and will need to develop, to claim their place in the world. Given the ubiquitous role played by digital media in the lives of their parents and other caregivers it would be a distortion of everyday life for children to be excluded from the technologies that are routinely used to connect with other people and with information. In the same way that adults use digital media to renew and strengthen social and emotional bonds across distance, so young children delight in ‘Facetime’ and other technologies that connect them audio-visually with friends and family members who are not physically co-present. Similarly, a very short time spent in the company of toddlers using touch screens is sufficient to demonstrate the sheer delight that these young infants have in developing their sense of agency and autonomy (https://www.youtube.com/watch?v=aXV-yaFmQNk). Media, communications and cultural studies are beginning to claim a space for evidence based policy drawn from everyday activities in real life contexts. Research into the beginnings of digital life, with families who are beginning to find a way to introduce these technologies to the youngest generation, integrating them within social and emotional repertoires, may prove to be the start of new understandings into the communication skills of the preverbal and preliterate young people whose technology preferences will drive future development – with their parents likely trying to keep pace. Acknowledgment This research is supported under Australia Research Council’s Discovery Projects funding scheme (project number DP150104734). References Bittman, Michael, et al. "Digital Natives? New and Old Media and Children's Outcomes." Australian Journal of Education 55.2 (2011): 161-75. Brown, Ari. "Media Use by Children Younger than 2 Years." Pediatrics 128.5 (2011): 1040-45. Burr, Vivien. Social Constructionism. 2nd ed. London: Routledge, 2003. Cavanaugh, Cathy, et al. 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"Is the Association between Children’s Baby Video Viewing and Poor Language Development Robust? A Reanalysis of Zimmerman, Christakis, and Meltzoff (2007)." Developmental Psychology 50.1 (2014): 129. Findahl, Olle. Swedes and the Internet 2013. Stockholm: The Internet Infrastructure Foundation, 2013. Fong, Patrick S.W. "Co-Creation of Knowledge by Multidisciplinary Project Teams." Management of Knowledge in Project Environments. Eds. E. Love, P. Fong, and Z. Irani. Burlington, MA: Elsevier, 2005. 41-56. Gates, Bill. "Enter 'Generation I': The Responsibility to Provide Access for All to the Most Incredible Learning Tool Ever Created." Instructor 109.6 (2000): 98. Goh, Wendy W.L., Susanna Bay, and Vivian Hsueh-Hua Chen. "Young School Children’s Use of Digital Devices and Parental Rules." Telematics and Informatics 32.4 (2015): 787-95. Green, Lelia, et al. 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If thinking about home necessitates thinking about “place, space, scale, identity and power,” as Alison Blunt and Robyn Dowling (2) suggest, then thinking about home themes in popular music makes no less a conceptual demand. Song lyrics and titles most often invoke dominant readings such as intimacy, privacy, nurture, refuge, connectedness and shared belonging, all issues found within Blunt and Dowling’s analysis. The spatial imaginary to which these authors refer takes vivid shape through repertoires of songs dealing with houses and other specific sites, vast and distant homelands, communities or, less tangibly, geographical or cultural settings where particular relationships can be found, supporting Blunt and Dowling’s major claim that home is complex, multi-scalar and multi-layered. Shelley Mallett’s claim that the term home “functions as a repository for complex, inter-related and at times contradictory socio-cultural ideas about people’s relationships with one another…and with places, spaces and things” (84) is borne out heavily by popular music where, for almost every sentiment that the term home evokes, it seems an opposite sentiment is evoked elsewhere: familiarity versus alienation, acceptance versus rejection, love versus loneliness. Making use of conceptual groundwork by Blunt and Dowling and by Mallett and others, the following discussion canvasses a range of meanings that home has had for a variety of songwriters, singers and audiences over the years. Intended as merely partial and exploratory rather than exhaustive, it provides some insights into contrasts, ironies and relationships between home and gender, diaspora and loss. While it cannot cover all the themes, it gives prominence to the major recurring themes and a variety of important contexts that give rise to these home themes. Most prominent among those songs dealing with home has been a nostalgia and yearning, while issues of how women may have viewed the home within which they have often been restricted to a narrowly defined private sphere are almost entirely absent. This serves as a reminder that, while some themes can be conducive to the medium of popular music, others may be significantly less so. Songs may speak directly of experience but not necessarily of all experiences and certainly not of all experiences equally. B. Lee Cooper claims “most popular culture ventures rely upon formula-oriented settings and phrasings to attract interest, to spur mental or emotional involvement” (93). Notions of home have generally proved both formulaic and emotionally-charged. Commonly understood patterns of meaning and other hegemonic references generally operate more successfully than alternative reference points. Those notions with the strongest cultural currency can be conveyed succinctly and denote widely agreed upon meanings. Lyrics can seldom afford to be deeply analytical but generally must be concise and immediately evocative. Despite that, this discussion will point to diverse meanings carried by songs about home. Blunt and Dowling point out that “a house is not necessarily nor automatically a home” (3). The differences are strongly apparent in music, with only a few songs relating to houses compared with homes. When Malvina Reynolds wrote in 1962 of “little boxes, on the hillside, little boxes made of ticky-tacky,” she was certainly referring to houses, not homes, thus making it easier to bypass the relationships which might have vested the inhabitants with more warmth and individuality than their houses, in this song about conformity and homogeneity. The more complex though elusive concept of home, however, is more likely to feature in love songs and to emanate from diasporal songs. Certainly these two genres are not mutually exclusive. Irish songs are particularly noteworthy for adding to the array of music written by, or representational of, those who have been forced away from home by war, poverty, strife or other circumstances. They manifest identities of displacement rather than of placement, as studied by Bronwen Walter, looking back at rather than from within their spatial imaginary. Phil Eva claims that during the 19th Century Irish émigrés sang songs of exile in Manchester’s streets. Since many in England’s industrial towns had been uprooted from their homes, the songs found rapport with street audiences and entered popular culture. For example, the song Killarney, of hazy origins but thought to date back to as early as 1850, tells of Killarney’s lakes and fells, Emerald isles and winding bays; Mountain paths and woodland dells… ...her [nature’s] home is surely there. As well as anthropomorphising nature and giving it a home, the song suggests a specifically geographic sense of home. Galway Bay, written by A. Fahy, does likewise, as do many other Irish songs of exile which link geography with family, kin and sometimes culture to evoke a sense of home. The final verse of Cliffs of Doneen gives a sense of both people and place making up home: Fare thee well to Doneen, fare thee well for a while And to all the kind people I’m leaving behind To the streams and the meadows where late I have been And the high rocky slopes round the cliffs of Doneen. Earlier Irish songs intertwine home with political issues. For example, Tho’ the Last Glimpse of Erin vows to Erin that “In exile thy bosum shall still be my home.” Such exile resulted from a preference of fleeing Ireland rather than bowing to English oppression, which then included a prohibition on Irish having moustaches or certain hairstyles. Thomas Moore is said to have set the words of the song to the air Coulin which itself referred to an Irish woman’s preference for her “Coulin” (a long-haired Irish youth) to the English (Nelson-Burns). Diasporal songs have continued, as has their political edge, as evidenced by global recognition of songs such as Bayan Ko (My Country), written by José Corazon de Jesus in 1929, out of love and concern for the Philippines and sung among Filipinos worldwide. Robin Cohen outlines a set of criteria for diaspora that includes a shared belief in the possibility of return to home, evident in songs such as the 1943 Welsh song A Welcome in the Hillside, in which a Welsh word translating roughly as a yearning to return home, hiraeth, is used: We’ll kiss away each hour of hiraeth When you come home again to Wales. However, the immensely popular I’ll Take You Home Again, Kathleen, not of Irish origin but written by Thomas Westendorf of Illinois in 1875, suggests that such emotions can have a resonance beyond the diaspora. Anti-colonial sentiments about home can also be expressed by long-time inhabitants, as Harry Belafonte demonstrated in Island in the Sun: This is my island in the sun Where my people have toiled since time begun. Though I may sail on many a sea, Her shores will always be home to me. War brought a deluge of sentimental songs lamenting separation from home and loved ones, just as likely to be parents and siblings as sweethearts. Radios allowed wider audiences and greater popularity for these songs. If separation had brought a longing previously, the added horrors of war presented a stronger contrast between that which the young soldiers were missing and that which they were experiencing. Both the First and Second World Wars gave rise to songs long since sung which originated in such separations, but these also had a strong sense of home as defined by the nationalism that has for over a century given the contours of expectations of soldiers. Focusing on home, these songs seldom speak of the details of war. Rather they are specific about what the singers have left behind and what they hope to return to. Songs of home did not have to be written specifically for the war effort nor for overseas troops. Irving Berlin’s 1942 White Christmas, written for a film, became extremely popular with US troops during WWII, instilling a sense of home that related to familiarities and festivities. Expressing a sense of home could be specific and relate to regions or towns, as did I’m Goin’ Back Again to Yarrawonga, or it could refer to any home, anywhere where there were sons away fighting. Indeed the American Civil War song When Johnny Comes Marching Home, written by Patrick Sarsfield Gilmour, was sung by both Northerners and Southerners, so adaptable was it, with home remarkably unspecified and undescribed. The 1914 British song Keep the Home Fires Burning by Ivor Novello and Lena Ford was among those that evoked a connection between home and the military effort and helped establish a responsibility on those at home to remain optimistic: Keep the Homes fires burning While your hearts are yearning, Though your lads are far away They dream of home, There’s a silver lining Through the dark clouds shining, Turn the dark clouds inside out, Till the boys come Home. No space exists in this song for critique of the reasons for war, nor of a role for women other than that of homemaker and moral guardian. It was women’s duty to ensure men enlisted and home was rendered a private site for emotional enlistment for a presumed public good, though ironically also a point of personal hope where the light of love burned for the enlistees’ safe return. Later songs about home and war challenged these traditional notions. Two serve as examples. One is Pink Floyd’s brief musical piece of the 1970s, Bring the Boys Back Home, whose words of protest against the American war on Viet Nam present home, again, as a site of safety but within a less conservative context. Home becomes implicated in a challenge to the prevailing foreign policy and the interests that influence it, undermining the normal public sphere/private sphere distinction. The other more complex song is Judy Small’s Mothers, Daughters, Wives, from 1982, set against a backdrop of home. Small eloquently describes the dynamics of the domestic space and how women understood their roles in relation to the First and Second World Wars and the Viet Nam War. Reinforcing that “The materialities and imaginaries of home are closely connected” (Blunt and Dowling 188), Small sings of how the gold frames held the photographs that mothers kissed each night And the doorframe held the shocked and silent strangers from the fight. Small provides a rare musical insight into the disjuncture between the men who left the domestic space and those who return to it, and we sense that women may have borne much of the brunt of those awful changes. The idea of domestic bliss is also challenged, though from the returned soldier’s point of view, in Redgum’s 1983 song I Was Only Nineteen, written by group member John Schuman. It touches on the tragedy of young men thrust into war situations and the horrific after-affects for them, which cannot be shrugged off on return to home. The nurturing of home has limits but the privacy associated with the domestic sphere has often concealed the violence and mental anguish that happens away from public view. But by this time most of the songs referring to home were dominated once more by sentimental love, often borne of travel as mobility rose. Journeys help “establish the thresholds and boundaries of home” and can give rise to “an idealized, ideological and ethnocentric view of home” (Mallett 78). Where previously songsters had sung of leaving home in exile or for escape from poverty, lyrics from the 1960s onwards often suggested that work had removed people from loved ones. It could be work on a day-by-day basis, as in A Hard Day’s Night from the 1964 film of the same name, where the Beatles illuminate differences between the public sphere of work and the private sphere to which they return: When I’m home, everything seems to be alright, When I’m home feeling you holding me tight, tight, yeah and reiterated by Paul McCartney in Every Night: And every night that day is through But tonight I just want to stay in And be with you. Lyrics such as these and McCartney’s call to be taken “...home to the Mull of Kintyre,” singled him out for his home-and-hearth messages (Dempsey). But work might involve longer absences and thus more deepfelt loneliness. Simon and Garfunkel’s exemplary Homeward Bound starkly portrays a site of “away-ness”: I’m sittin’ in the railway station, got a ticket for my destination… Mundaneness, monotony and predictability contrast with the home to which the singer’s thoughts are constantly escaping. The routine is familiar but the faces are those of strangers. Home here is, again, not simply a domicile but the warmth of those we know and love. Written at a railway station, Homeward Bound echoes sentiments almost identical to those of (Leaving on a) Jet Plane, written by John Denver at an airport in 1967. Denver also co-wrote (Take Me Home) Country Roads, where, in another example of anthropomorphism as a tool of establishing a strong link, he asks to be taken home to the place I belong West Virginia, mountain momma, Take me home, Country Roads. The theme has recurred in numerous songs since, spawning examples such as Darin and Alquist’s When I Get Home, Chris Daughtry’s Home, Michael Bublé’s Home and Will Smith’s Ain’t No Place Like Home, where, in an opening reminiscent of Homeward Bound, the singer is Sitting in a hotel room A thousand miles away from nowhere Sloped over a chair as I stare… Furniture from home, on the other hand, can be used to evoke contentment and bliss, as demonstrated by George Weiss and Bob Thiele’s song The Home Fire, in which both kin and the objects of home become charged with meaning: All of the folks that I love are there I got a date with my favourite chair Of course, in regard to earlier songs especially, while the traveller associates home with love, security and tenderness, back at home the waiting one may have had feelings more of frustration and oppression. One is desperate to get back home, but for all we know the other may be desperate to get out of home or to develop a life more meaningful than that which was then offered to women. If the lot of homemakers was invisible to national economies (Waring), it seemed equally invisible to mainstream songwriters. This reflects the tradition that “Despite home being generally considered a feminine, nurturing space created by women themselves, they often lack both authority and a space of their own within this realm” (Mallett 75). Few songs have offered the perspective of the one at home awaiting the return of the traveller. One exception is the Seekers’ 1965 A World of Our Own but, written by Tom Springfield, the words trilled by Judith Durham may have been more of a projection of the traveller’s hopes and expectations than a true reflection of the full experiences of housebound women of the day. Certainly, the song reinforces connections between home and intimacy and privacy: Close the door, light the lights. We’re stayin’ home tonight, Far away from the bustle and the bright city lights. Let them all fade away, just leave us alone And we’ll live in a world of our own. This also strongly supports Gaston Bachelard’s claim that one’s house in the sense of a home is one’s “first universe, a real cosmos” (qtd. in Blunt and Dowling 12). But privacy can also be a loneliness when home is not inhabited by loved ones, as in the lyrics of Don Gibson’s 1958 Oh, Lonesome Me, where Everybody’s going out and having fun I’m a fool for staying home and having none. Similar sentiments emerge in Debbie Boone’s You Light up My Life: So many nights I’d sit by my window Waiting for someone to sing me his song. Home in these situations can be just as alienating as the “away” depicted as so unfriendly by Homeward Bound’s strangers’ faces and the “million people” who still leave Michael Bublé feeling alone. Yet there are other songs that depict “away” as a prison made of freedom, insinuating that the lack of a home and consequently of the stable love and commitment presumably found there is a sad situation indeed. This is suggested by the lilting tune, if not by the lyrics themselves, in songs such as Wandrin’ Star from the musical Paint Your Wagon and Ron Miller’s I’ve Never Been to Me, which has both a male and female version with different words, reinforcing gendered experiences. The somewhat conservative lyrics in the female version made it a perfect send-up song in the 1994 film Priscilla: Queen of the Desert. In some songs the absentee is not a traveller but has been in jail. In Tie a Yellow Ribbon round the Ole Oak Tree, an ex-inmate states “I’m comin’ home. I’ve done my time.” Home here is contingent upon the availability and forgivingness of his old girl friend. Another song juxtaposing home with prison is Tom Jones’ The Green, Green Grass of Home in which the singer dreams he is returning to his home, to his parents, girlfriend and, once again, an old oak tree. However, he awakes to find he was dreaming and is about to be executed. His body will be taken home and placed under the oak tree, suggesting some resigned sense of satisfaction that he will, after all, be going home, albeit in different circumstances. Death and home are thus sometimes linked, with home a euphemism for the former, as suggested in many spirituals, with heaven or an afterlife being considered “going home”. The reverse is the case in the haunting Bring Him Home of the musical Les Misérables. With Marius going off to the barricades and the danger involved, Jean Valjean prays for the young man’s safe return and that he might live. Home is connected here with life, safety and ongoing love. In a number of songs about home and absence there is a sense of home being a place where morality is gently enforced, presumably by women who keep men on the straight and narrow, in line with one of the women’s roles of colonial Australia, researched by Anne Summers. These songs imply that when men wander from home, their morals also go astray. Wild Rover bemoans Oh, I’ve been a wild rover for many a year, and I’ve spent all my money on whiskey and beer… There is the resolve in the chorus, however, that home will have a reforming influence. Gene Pitney’s Twenty-Four Hours from Tulsa poses the dangers of distance from a wife’s influence, while displaying opposition to the sentimental yearning of so many other songs: Dearest darlin’, I have to write to say that I won’t be home anymore ‘cause something happened to me while I was drivin’ home And I’m not the same anymore Class as well as gender can be a debated issue in meanings attached to home, as evident in several songs that take a more jaundiced view of home, seeing it as a place from which to escape. The Animals’ powerful We Gotta Get Outta This Place clearly suggests a life of drudgery in a home town or region. Protectively, the lyrics insist “Girl, there’s a better life for me and you” but it has to be elsewhere. This runs against the grain of other British songs addressing poverty or a working class existence as something that comes with its own blessings, all to do with an area identified as home. These traits may be loyalty, familiarity or a refusal to judge and involve identities of placement rather than of displacement in, for instance, Gerry and the Pacemakers’ Ferry Cross the Mersey: People around every corner, they seem to smile and say “We don’t care what your name is, boy. We’ll never send you away.” This bears out Blunt and Dowling’s claim that “people’s senses of themselves are related to and produced through lived and metaphorical experiences of home” (252). It also resonates with some of the region-based identity and solidarity issues explored a short time later by Paul Willis in his study of working class youth in Britain, which help to inform how a sense of home can operate to constrict consciousness, ideas and aspirations. Identity features strongly in other songs about home. Several years after Neil Young recorded his 1970 song Southern Man about racism in the south of the USA, the group Lynyrd Skynyrd, responded with Sweet Home Alabama. While the meaning of its lyrics are still debated, there is no debate about the way in which the song has been embraced, as I recently discovered first-hand in Tennessee. A banjo-and-fiddle band performing the song during a gig virtually brought down the house as the predominantly southern audience clapped, whopped and stamped its feet. The real meanings of home were found not in the lyrics but in the audience’s response. Wally Johnson and Bob Brown’s 1975 Home Among the Gum Trees is a more straightforward ode to home, with lyrics that prescribe a set of non-commodified values. It is about simplicity and the right to embrace a lifestyle that includes companionship, leisure and an enjoyment of and appreciation of nature, all threatened seriously in the three decades since the song’s writing. The second verse in which large shopping complexes – and implicitly the consumerism they encourage – are eschewed (“I’d trade it all tomorrow for a little bush retreat where the kookaburras call”), is a challenge to notions of progress and reflects social movements of the day, The Green Bans Movement, for instance, took a broader and more socially conscientious attitude towards home and community, putting forward alternative sets of values and insisting people should have a say in the social and aesthetic construction of their neighbourhoods as well as the impacts of their labour (Mundey). Ironically, the song has gone on to become the theme song for a TV show about home gardens. With a strong yet more vague notion of home, Peter Allen’s I Still Call Australia Home, was more prone to commodification and has been adopted as a promotional song for Qantas. Nominating only the desire to travel and the love of freedom as Australian values, both politically and socially innocuous within the song’s context, this catchy and uplifting song, when not being used as an advertisement, paradoxically works for a “diaspora” of Australians who are not in exile but have mostly travelled for reasons of pleasure or professional or financial gain. Another paradox arises from the song Home on the Range, dating back to the 19th century at a time when the frontier was still a strong concept in the USA and people were simultaneously leaving homes and reminiscing about home (Mechem). Although it was written in Kansas, the lyrics – again vague and adaptable – were changed by other travellers so that versions such as Colorado Home and My Arizona Home soon abounded. In 1947 Kansas made Home on the Range its state song, despite there being very few buffalo left there, thus highlighting a disjuncture between the modern Kansas and “a home where the buffalo roam” as described in the song. These themes, paradoxes and oppositional understandings of home only scratch the surface of the wide range of claims that are made on home throughout popular music. It has been shown that home is a flexible concept, referring to homelands, regions, communities and private houses. While predominantly used to evoke positive feelings, mostly with traditional views of the relationships that lie within homes, songs also raise challenges to notions of domesticity, the rights of those inhabiting the private sphere and the demarcation between the private and public spheres. Songs about home reflect contexts and challenges of their respective eras and remind us that vigorous discussion takes place about and within homes. The challenges are changing. Where many women once felt restrictively tied to the home – and no doubt many continue to do so – many women and men are now struggling to rediscover spatial boundaries, with production and consumption increasingly impinging upon relationships that have so frequently given the term home its meaning. With evidence that we are working longer hours and that home life, in whatever form, is frequently suffering (Beder, Hochschild), the discussion should continue. In the words of Sam Cooke, Bring it on home to me! References Bacheland, Gaston. The Poetics of Space. Boston, MA: Beacon Press, 1994. Beder, Sharon. Selling the Work Ethic: From Puritan Pulpit to Corporate PR. London: Zed Books, 2000. Blunt, Alison, and Robyn Dowling. Home. London: Routledge, 2006. Cohen, Robin. Global Diasporas: An Introduction. London: UCL Press, 1997. Cooper, B. Lee. “Good Timin’: Searching for Meaning in Clock Songs.” Popular Music and Society 30.1 (Feb. 2007): 93-106. 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Damned Whores and God’s Police: The Colonization of Women in Australia. Harmondsworth: Penguin, 1975. Walter, Bronwen. Outsiders Inside: Whiteness, Place and Irish Women. London: Routledge, 2001. Waring, Marilyn. Counting for Nothing: What Men Value and What Women Are Worth. Wellington, NZ: Allen & Unwin, 1988. Willis, Paul. Learning to Labor: How Working Class Kids Get Working Class Jobs. New York: Columbia UP, 1977. Citation reference for this article MLA Style Varney, Wendy. "Homeward Bound or Housebound?: Themes of Home in Popular Music." M/C Journal 10.4 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0708/16-varney.php>. APA Style Varney, W. (Aug. 2007) "Homeward Bound or Housebound?: Themes of Home in Popular Music," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/16-varney.php>.