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What becomes of a master whose whole life is dedicated to music? In this exclusive interview, Tatler talks to Professor Siegfredo “Ka Fred” Baldemor Calabig, the pioneer of Banda Kawayan
At 75, Ka Fred claims to have lived a fruitful life. He has served his students, performed in front of many crowds, and sojourned to different parts of the globe. His legacy in Philippine folk music is at par with that of a master. This humble man, a mere shell of his former self, raised Banda Kawayan from the ground up. Even now, in his twilight years, he carries on a mission: to let the world discover the beauty of bamboo music.
“I came from a very poor family in Laguna,” Ka Fred shares with Tatler. “I lived with nine siblings and it was just my father who fended for us. He had to juggle between two jobs—he was a carpenter and the musical director of a local band.”
In case you missed it: Are we Filipinos Because We Love Music, or Do We Love Music Because We are Filipinos?
Above Tatler talks to Professor Siegfredo “Ka Fred” Baldemor Calabig, the pioneer of Banda Kawayan
Tatler talks to Professor Siegfredo “Ka Fred” Baldemor Calabig, the pioneer of Banda Kawayan
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His musically inclined family influenced his desire to pursue a music career. In third grade, Ka Fred learnt how to read and write notes and just a year later, he could play the trumpet. “My parents introduced me to music. Almost everyone in my family was involved in music.”
During his teaching stint at the Philippine College of Commerce, a colleague challenged him to put up an orchestra. Initially, he wanted to make a drum and bugle corps but realised the cost would be beyond his means. “My true forte is the brass band. When I was young, someone told me that I couldn’t do it and I didn’t mind him. It was a blessing in disguise for I discovered more of myself when I was challenged. I built a bamboo orchestra instead.”
'Banda Kawayan'
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The bamboo band traces its roots to a school-based group established in 1973. “It started as a school band,” Ka Fred recalls. “In our early years, our happiness stemmed from the fact that we could perform outside for free. We would even play in canteens. We just have to get ‘it’ out there.”
Kalagong, which is a portmanteau of “Kalabig” (Calabig) and “gong,” stands out as Banda Kawayan’s most emblematic piece. “I invented the kalagong in 1988 thanks to my firstborn. One day, my child threw a fit and accidentally hit a bamboo stick with a slipper. I liked how it sounded—I felt like I had a eureka moment.”
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Fifty years later, the band achieved milestones including its performances at the World Expo and Australian Centennial in Brisbane, the Midosuji parade in Osaka, Japan, and more.
They have also ventured into countries like Portugal, Italy, Belgium, Spain, Singapore, Taiwan, the United Kingdom, the United States, France, and China.
“Most of our members have multiple entry Visas. We have been enjoying our good record since we went out to perform around the world.”
Cherished Heritage
The master’s enduring legacy lives through his pupils. Today, the teacher has retired and passed his hat onto the new mentors he moulded in the past. “As a teacher, I always entertain the ideas of the young royalty because someday they will be king. Now look at them, they can turn folk songs like Leron Leron Sinta into reggae and Bahay Kubo into disco. I was genuinely dumbfounded when I first heard them do it,” he says.
“Even when a student isn’t as good as the others per se, I would still encourage them.”
In Ka Fred’s perspective, a person’s eagerness to learn surpasses the capabilities of those who are innately talented but lack enthusiasm. “What I’m looking for is someone who’s willing to learn. The talent comes next. I don’t want them to become mentors themselves one day and leave students or the band behind,” he discloses.
“My rule of thumb is that I would not force anyone to join my band and learn my instrument. By god’s grace, many people were interested and enthusiastic to join,” he adds.
The founder built the orchestra’s fundamental philosophy under the qualities that embody a palay (rice grain). “Kapag hitik na sa bunga, ang palay ay lalo pang yumuyuko (As the rice becomes fruitful, it bows down in greater humility),” he explains.
Above (L-R) Mariane Michelle Briones, Mark Voltaire Lazaro
(L-R) Mariane Michelle Briones, Mark Voltaire Lazaro
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He asserts that it is essential for apprentices to look back from whence they came—a principle that two of his long-time protégés Mark Voltaire Lazaro and Mariane Michelle Briones believe in. “It is important to look back and honour our musical history,” says Lazaro, who has been a band member since 2006. “Modern music would not exist without the old ones.”
Briones, for her part, shares why the local music industry must value bamboo instruments. “The band is unique because you don’t see or hear bamboo instruments every day. I appreciate the creativity and versatility of our band,” she says. “If music is among your interests, I think bamboo instruments can help you explore better,” she adds.
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"Let us not let the music die"
Forgotten Art?
Ka Fred recounts a time when allegations arose, questioning his status as the original inventor of Kalagong. “Sometime in 1973, I was accused of imitating somebody. I maintained a steadfast stance in my claim. I talked to Atty Ric Galing and we won the case.”
As of this post, Tatler continues to obtain an original copy of the said case. Ka Fred, nevertheless, stands resolute in his assertion. “I did my research at the University of the Philippines College of Music and gathered bamboo from my hometown.”
In case you missed it: 6 Traditional Filipino Musical Instruments You Should Know About
Above Banda Kawayan in Japan
Banda Kawayan in Japan
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For the founder, the kalagong and bamboo music remain remembered and valued pieces of art. He wants to instil in his students the significance of preserving and passing down this cultural heritage.
“I have the best students. I just want them to maintain and improve themselves and the Banda Kawayan. I know they are very skilled.”
Ka Fred reiterates the weight of humility in teaching. “It is very important to let your students feel that you are not better than them. Never humiliate them because they will be discouraged.”
Devoting a lifetime to sharing his expertise in bamboo music, the master has no intention of slowing down, making him a valued figure in the Filipino folk music community.
“If the youth has forgotten about it, we will make them remember,” he says. “Let us not let the music die. So, if possible, may it endure 50 more years.”
He openly confesses to a paucity of finances, yet he proudly asserts that his wealth lies not in material possessions but in the richness of his experiences and relationships with people.
“I regret nothing, I am poor ‘till today. To the young, I will say that they can only find a band like Banda Kawayan in the Philippines. It is yours, it is ours. This is precisely why I formed this—so I can pass it on. I do not want to take it to the grave,” he concludes.
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Credits
Producer: Franz Sorilla IV
Photography: Jon Nouel Hipe
Jove holds a degree in Journalism and is currently pursuing graduate studies in Philosophy at the University of the Philippines–Diliman. She has flair for in-depth, interview-driven stories that explore politics and culture, shaped by her background in national broadsheets.
When she’s not on assignment, Jove spends her days painting, sipping lemonade, and walking her dog, Jupiter. She can often be seen in Escolta with a film camera in hand, browsing novelty shops in search of rare memorabilia. For leads, reach her at Jove@tatlerphilippines.com.
