The song Tayo Ay Pinagpala is a celebration of life, diversity and skills of the youths working for social change. It encourages unity, peace and respect for all the people and communities living in the island of Mindanao. Given the historical context of the long-standing conflict in Mindanao that has impacted negatively to the lives of many including the youths, the song’s relevance is unprecedented pointing to the need for mutual cooperation and understanding and unity of purpose so as to achieve the desire goal of peaceful co-existence.

The song equally highlights the crucial role of the youth in social transformation towards building and enhancing conditions for sustainable peace in Mindanao. Focusing on the need to break the cycle of violence and moving towards building a culture of peace, the youth are invited to maximize their potentials and promises in order t transform themselves to be catalyst and agents of peace in their communities.

Cultural and religious prejudices and biases among the different communities and religions living in Mindanao have often exacerbated conflicts. The perceived differences between the Muslims, Christians and Lumads (Indigenous People), emphasized in various political processes has helped widen this views. This has often been manifested in the actions of individuals and communities as they interact and deal with each other with suspicion. These negative perceptions have been handed down from one generation to another.

The song Yakap brings to light the “cries” and “heartbreaks” of children and youths, as well as of the parents who are trapped in the cage of endemic ethnic and religious prejudices and biases. It examines the role that parents play in reinforcing these negative perceptions in the mindset of the young people and how this affects the way they interact with one another and relate with their peers. With deep sentiment, the song yearns for a break of this cycle. The song further diffuses the notion by revisiting the past and examines the myths behind these negative perceptions and appeals for a better understanding and a change of heart, emphasizing the need for unity among all the inhabitants of Mindanao. “for a better future”

Despite their numerical advantage, the youth in the Philippines have been in the periphery on matters of national development. 60% of the country’s population comprises the youth. Yet despite this, the youth have not adequately participated in social-economic and political processes to promote their well-being. This lack of participation and inclusion in decision-making processes has hindered their potentials to effectively contribute ideas and to assert their influence in the society.

The song Tambayan Ni Kaka is a rallying call for the youths to take action and reclaim their place in the society recognizing that they have a role to play in the affairs of their country. The song does not only invite the youths to take action in social transformation processes but also encourages them to maintain a positive attitude in discovering their potentials and opportunities to participate in initiatives that address their concerns.

Conflicts in Mindanao have often been perceived as a clash or rivalry of religion between the Christians, Muslims and the Indigenous People (IPs). While thjis view is contested, intolerance among members of these groups has been witnessed in the past degenerating into open confrontations and even war.

The song Pagkakaisa encourages mutual respect, tolerance and unity among the different cultural and religious people of Mindanao. It calls people to celebrate the richness and diversity of Mindanaoans’ religious persuasions.

Inspired by the role of teachers in providing education in our society, the song Ang Magandang Ehemplo encourages youth to be role models and agents of change by emulating good attributes or examples of a teacher. With sound of desperation, the song laments how our modern-day leaders, unlike teachers, have failed to live up to society’s expectation of truthfulness and dedicated service. It challenges leaders to fulfill their commitments of being good public servants.

The song Punda exposes perils of people’s close-mindedness to principles, belief systems persuasions. With a tinge of mockery, the song mourns realities around people who are caged in the mindset of their own beliefs and resorting to aggression and/or hostility.

Every now and then, we are witnesses to news of religious fundamentalism gone awry. While appreciating the need for diversity of all religions and faiths in our society, intolerance among religion has often led to violence, sometimes deadly, breeding hatred and strife. Punda calls for sobriety and openness, and quizzes people’s aspiration for “true heaven” without peace. The song serves as a wake-up call for people to reflect the fact that as religion brings people closer to God, religion should also encourage people to unite and live together in peace and harmony.

In our fast-paced world where wealth, power and position have become the norms, people tend to easily compromise their most endeared values. In a society where few role models exist, the youth find themselves snared and easily trapped in vices that are freely available in their surrounding.

The theme of the song Si Roger is on the subject of moral degradation among the youth often blamed on external influences. Using an analogy of a youth who refuses to lend a seat to an elderly woman in public transport and a school-going youth who engages in an irresponsible sexual behavior, the song draws us into a deep reflection on the need for cultivating and upholding moral and spiritual values – the basis for a peaceful and harmonious co-existence. On a higher note, the song draws young people to always connect their ways and actions to the values and wisdom anchored on their spiritually.

The issue of environmental degradation in Mindanao is a grave threat to the overall well-being of Mindanaoans. The situation has been aggravated by the influx of transitional companies who have been allowed to operate freely in the name of national interest. Whatever is left for Mindanao, the land “full of promise” is yet to be known.

The song Ligawasan is concerned about environment and the urgent need to preserve it. Ligawasan Marsh, which provides livelihoods to many communities in Mindanao with its rich and fertile landscape and yet faces a real threat from external forces, provides a face to the many exploited communities in Mindanao. Focusing on Ligawasan, the song laments on the manner in which the river is in the verge of disappearance, gradually sinking due to increased human activities along the river banks and encroachment by transnational corporations.

The song draws our attention to save Ligawasan by putting an end to the destruction of the river as well as redirecting our energies to creative ways to help communities be more aware on the need to preserve our natural environment. By doing so we help reduce conflicts in our communities that often arise as a result of competition over resources.

In 2005 it was estimated that 1.33 million overseas Filipino workers (OFWs) worked. This estimate is 12.5 percent more than the 1.18 million OFWs estimated in 2004. The overseas contract workers (OCWs) or those with existing work-contract comprised 91.6 percent of the total OFWs in 2005. Their number went up to about 1.22 million or by 10.7 percent over the estimate for the same months in 2004 (1.0 million) according to the National Statistics Office (NSO).

Although hailed as a major contributing factor to the country’s economic growth, the implications of this phenomenon on disintegration and dysfunctional of family unit is overwhelming.

The song OFW examines what it takes to be away from one’s country in foreign lands in search of a “better life” which often turns out to be an illusion; and in some cases, turning their lives miserable and tragic. The government might have acclaimed them as new heroes, but how often is this “new heroism,” as the song narrates, seen in the eyes of the children and those who are left behind?

Extreme poverty situation has often been cited as a contributing factor to world’s conflicts. Mindanao, despite being the “land of promise,” owing to its vast endowment in natural resources, remains one of the poorest regions in the Philippines today. This high level of poverty among Mindanao communities has encouraged conflicts and continues to undermine development. This form of injustice, embedded in material inequality in the Philippines society, is the theme of the song Munting Hiling.

The song equates poverty to a form of violence – an invisible, silent war. It calls for youth to join in efforts to fight poverty and to participate in ventures that promote development so as to prevent escalation and spread of poverty in communities in Mindanao.

Recognizing the energies and potentials of the youth as the “hope of the nation”, the song “Para Bukas, Ngayon” is an inspiration to the youths to rise up to the occasion and take responsibility. Drawing parallels from an image of a transformed youth peacebuilder, the song encourages visionary thinking and a self-reflection transformative process that is responsive to the concerns, needs and aspirations of the youth. It calls out for unity and an open-mindedness to embrace others and to build a peaceful and harmonious society.

Kalinaw sa Mindanao or Peace in Mindanao is a song dedicated to the people of Mindanao. It calls for peace and identifies with the struggles of the Indigenous People (IPs) of Mindanao in their pursuit for their rights to self-determination and Ancestral Domain (AD) claims. The issue is contested in the current peace talks between the Government of the Republic of the Philippines and Moro Islamic Liberation Front (GRP and MILF).

IPs struggles are associated with the fact they have been marginalized for a long time. Their quest for their rights to governance, land and natural resources found in their territorial habitation have not been honored. Since the enactment of the Indigenous People’s Rights Act (IPRA) or the Republic Act 8371 in 1997, which was aimed at empowering them (IPs), nothing much has changed for them. The song narrates that only when peoples’ rights especially to land, culture and religion are respecteds that genuine peace in Mindanao is attained.

Shalom Chaverim is an all-time favorite Israeli folksong. “L’hitraot” means “hope to see you again soon,” like au revoir. In Mindanao, the song, with Tagalog and Bisaya lyrics, has been widely sang in various occasions, including retreats, trainings and workshops. It provides positive ambiance as it exudes an aura that encourage people to share and pass on peace to others. It calls people to value relationships.

When used as a closing song, it takes on a different meaning as it conveys to people to bring with them memories of friends saying “L’hit-rah-oat” ... until we meet again.