A Comparative Study of the Influence of the Pinoy Rap Battle “Fliptop” and Balagtasan to High School Students
A Comparative Study of the Influence of the Pinoy Rap Battle “Fliptop” and Balagtasan to High School Students of xxxxxxxxxxxx xxxxxxx A Research Work
Presented to:
The Faculty of High School Department
(xxxxxxxxxxxxxxx)
In Partial Fulfillment of the requirements for the
Secondary Academic Course
Presented by: xxxxxxxxxxxxx X – Aristotle
xxxxxxxx, Philippines
March, 2012
Chapter I
Introduction
Fliptop is a rap battle league that puts two people in a match to have them insult each other with the cleverest punch lines and sharpest rhymes. Hip hop in the Philippines takes on many faces: from the plush and exclusive clubs in Makati to the slums of Tondo, and everywhere in between. A crowd dotted with Pinoys rocking gear ranging from grills to backpacks, FlipTop represents a space for the raw and grime of Philippine hip hop. There is no material gain at stake here. The winners take with them the pride in their skill. There are no flashy commercial sponsors. Just two emcees, the host, the judges, and the crowd. There isn’t even a microphone. This is on some guerilla-style, for real.
The battle reminds me of Balagtasan, the Filipino poetic debates. Balagtasan is probably the last poetic form which was thoroughly enjoyed by the Filipino people. As a literary form, the Balagtasan is essentially traditional; it contains elements which explain why the traditional remains contemporary and popular. The debate proper can move from one topic to another. The poets are expected to argue logically and exhaust every imaginable source of reason to defend their side. FlipTop doesn’t utilize a beat. It’s completely a cappella and it doesn’t have to conform to a strict rhythm. It’s like Balagtasan ciphering with joke sessions and, like any other dozens, toasting, or ciphering session, this space is not immune to homophobic, sexist, or racial punch lines. The cadence and alliteration of the Tagalog language all the more enhances the poetic versatility
Presented to:
The Faculty of High School Department
(xxxxxxxxxxxxxxx)
In Partial Fulfillment of the requirements for the
Secondary Academic Course
Presented by: xxxxxxxxxxxxx X – Aristotle
xxxxxxxx, Philippines
March, 2012
Chapter I
Introduction
Fliptop is a rap battle league that puts two people in a match to have them insult each other with the cleverest punch lines and sharpest rhymes. Hip hop in the Philippines takes on many faces: from the plush and exclusive clubs in Makati to the slums of Tondo, and everywhere in between. A crowd dotted with Pinoys rocking gear ranging from grills to backpacks, FlipTop represents a space for the raw and grime of Philippine hip hop. There is no material gain at stake here. The winners take with them the pride in their skill. There are no flashy commercial sponsors. Just two emcees, the host, the judges, and the crowd. There isn’t even a microphone. This is on some guerilla-style, for real.
The battle reminds me of Balagtasan, the Filipino poetic debates. Balagtasan is probably the last poetic form which was thoroughly enjoyed by the Filipino people. As a literary form, the Balagtasan is essentially traditional; it contains elements which explain why the traditional remains contemporary and popular. The debate proper can move from one topic to another. The poets are expected to argue logically and exhaust every imaginable source of reason to defend their side. FlipTop doesn’t utilize a beat. It’s completely a cappella and it doesn’t have to conform to a strict rhythm. It’s like Balagtasan ciphering with joke sessions and, like any other dozens, toasting, or ciphering session, this space is not immune to homophobic, sexist, or racial punch lines. The cadence and alliteration of the Tagalog language all the more enhances the poetic versatility
Bibliography: • Rebolla, John Carlo C. “Effects of Punk rock music towards the attitude and behavior among high school students of International School for Better Beginnings S.Y. 2008-2009”, Lucena City, Philippines, March 2009. Birth date May 4, 1996 Birthplace Sorsogon, City