Dayunday

Zainudin singing. April 2000, IRM village. I interviewed 3 dayunday singers in Cotabato last December, and one in Taguig yesteray, and they agree that the dayunday was created during martial law by a certain famous singer who is still alive in Mindanao (I know his name but have to ask permission to publish it). Originally as a part of wedding entertainment, the dayunday was later utilized by politicians in Cotabato City to attract people to their rallies during post-martial law elections (see the book by McKenna 1999, Muslim Rulers and Rebels). In Manila nowadays, it is frequently used as a despedida for those going abroad. No one mentioned it being used as a lullaby, but perhaps that is where the main melody comes from--I'm not sure. Even if melodies were taken from some other genres like sengal sa wata or definitely from bayuk, but the word "dayunday" itself was created by this said famous singer specifically for this format of courtship repartee. Originally the singing was between a man (the famous singer) and a woman, later adding another woman. Nowadays, two men courting one woman is the most popular format because of the slapstick antics by the two fellows. If you notice, the guitar playing is influenced from kudyapi and not western guitar (i.e. chordal harmony). Before the dayunday, genres such as dindiken and "Moro songs" or "rebel songs" narrated stories about the war in Mindanao (1970s) and the experiences and sentiments of Magindanaon people during those times. Please feel free to send me your comments on the dayunday, especially if you've been to them. I'm writing a book. Also, I'd appreciate any insight into Magindanaon courtship practices either during past times or today.

Video taken 2000, IRM Village, near Maharlika Village, Taguig. Singers names are Zainudin, Farida, and Mando.