With candor and excitement, Joey Ayala kept audiences laughing while reminiscing the colorful and meaningful moments he and his group Ang Bagong Lumad experienced in the CCP’s Outreach and Exchange Program.
He also generously shared other unforgettable experiences he was thankful for in his acceptance speech at the recent Gawad CCP Para sa Sining event.
“It is a great honor to be counted among those who have contributed to the cultivation of art and culture in our country,” Ayala said in Filipino.
“We have been creating and performing for about four decades and have been with many musicians in the band and in various projects. We could not have lived as artists for this long without the jumpstart energy that flowed from the Cultural Center of the Philippines,” he added.
A distinguished composer, singer, musical director, and writer, Ayala received the Gawad CCP Para sa Sining, the highest accolade given by the Cultural Center of the Philippines, celebrating artists who have consistently produced outstanding works or evolved distinct styles that contribute significantly to their art forms.
The Gawad CCP Para sa Sining recognizes Ayala for his exceptional contributions as a composer, songwriter, and singer, particularly for popularizing indigenous instruments in contemporary music, which contributes greatly to the development of Philippine music.
Known for his unique blend of folk-rock and traditional Filipino sounds, Ayala incorporates indigenous instruments such as the T’boli hegalong, the bamboo jaw harp (kubing), and the kulintang (an eight-piece gong set) into his music.
By merging these traditional elements with modern instruments like electric guitars, synthesizers, and drums, he crafts a distinctive folk-rock style that resonates deeply with audiences. His notable songs, including “Karaniwang Tao” and “Magkaugnay (Ang Lahat ng Bagay),” showcase this innovative fusion.
Ayala views the award as a validation of his work’s alignment with evolving creative art directions and its role in encapsulating and advancing cultural identity.
Since beginning his career in 1982 with an album recorded in a makeshift studio in Davao City, Ayala has produced ten albums, six singles, and significant works for ballet and rock operas. His tenure as Chairman (2008 to 2010) and Vice-Chairman (2011 to 2013) of the National Committee on Music, under the National Commission for Culture and the Arts, further underscores his commitment to the field.
When asked what is probably his landmark masterpiece, Ayala highlights his 1992 Filipino ballet “Encantada,” produced by Ballet Philippines with choreography by National Artist Agnes Locsin.
“My work has passed a filtering system that is designed to encapsulate identity and at the same time act as a platform for further evolution. I am not conservative in the sense of presenting something traditional. I’m conservative in the sense of acting out a creative evolutionary impulse which is traditional to people,” enthused Ayala.
Ayala draws inspiration from a wide range of sources, reflecting an interaction between his inner world and external stimuli. He describes his creative process as a dynamic blend of stimulus and response with a social-political edge.
For Ayala, arts are always evolving. In recent times, Ayala has delved into new technologies, building a personal studio to cultivate strong work habits and embrace his evolving artistic journey.
“When there is something that comes to my attention, it could be anything. It’s an interaction between my internal world and the external world. It is not a particular nor is it a particular mental state. It is always a combination of stimulus and response. It has a social-political statement,” shared Ayala.
His practical advice to aspiring young musicians: “If you have the luxury of working with a good teacher, I advise getting a good one.”
