Common man’s cry

By Herman M. Lagon

Joey Ayala’s “Karaniwang Tao” is a rare and moving reminder of the hardships, resiliency, and inherent dignity of the ordinary Filipino in a society too dominated by noise and distraction. Written with a simplicity that belies its complexity, this song captures the life of Juan or Juana de la Cruz—someone who works nonstop but stays invisible in the colorful story of society. Ayala’s song reflects not only personal suffering but also a more general commentary on the social systems that still marginalize the very people who keep the wheels of a country turning.

Starting with a modest admission, “Ako po’y karaniwang tao lamang,” the song sets the tone for a story many Filipinos can connect to. It speaks to the daily grind of the typical Filipino, whose life centers on food, clothes, and shelter—basally needs. For many who live paycheck to paycheck, this is their reality; their life always tries to make ends meet. Ayala, however, does not only tell this story of struggle; he also weaves in a quiet dignity, honoring the diligence and tenacity that define the life of the ordinary Filipino.

“Karaniwang Tao” has among its most interesting features how Ayala tackles the sometimes disregarded link between the average person and the surroundings. “Kapag nasira, sino ang kawawa?” asks a terrible question regarding the effects of environmental degradation on people who are least able to flee its repercussions. This strongly reminds us that the commoner, sometimes dismissed as little, suffers most from human neglect and natural disasters. This line especially speaks to us, who are routinely hit by typhoons and other natural disasters where the impoverished are most vulnerable.

Ayala’s criticism goes beyond the surroundings, including the structural problems sustaining inequality and poverty. “Karaniwang hanap-buhay, karaniwan ang problema” captures the repeated cycle of struggle that defines many Filipinos’ life. These are not only personal issues but also indicative of a more general society failing to give its people sufficient possibilities and support. The song gently questions a system that has long put the interests of the powerful ahead of the needs of the many, leaving the “karaniwang tao” often to fend for herself.

The song’s chorus begs a rhetorical question: “Karaniwang tao saan ka tatakbo, kapag nawasak iisang mundo?” Many people experience anxiety and helplessness in response to social inequality, economic uncertainty, and environmental damage; this line captures that. This is a question that speaks to a collective fear of a future whereby the planet as we know it is permanently harmed, transcending the personal. In our country, prone to natural disasters and plagued by poverty, this issue becomes even more critical.

Ayala is brilliant in transforming the average person’s story without using sensationalism or melodrama. His portrayal is complex, honoring the common person’s resiliency and ability to change while also acknowledging their shortcomings and limits. This is especially clear in his mention of environmental problems, where he notes that regular people also help the surroundings to be degraded. The line “Kaunting basura ngayo’y bundok” serves as a sobering reminder that even little, apparently little deeds can compound into major issues. Ayala, however, emphasizes group action and responsibility rather than guilt; he encourages everyone to help to protect our planet.

“Karaniwang Tao” also criticizes our traditional, gutter, patronage politics, in which the interests of the powerful sometimes eclipse those of the general population. Ayala’s song reminds us subtly that a country’s people define its strength rather than its leaders. Though sometimes disregarded, the typical Filipino has great power to influence significant change. The song’s call to action—”Anong magagawa upang bantayan ang kalikasan”—is about recovering agency and demanding responsibility from those in authority as much as environmental preservation.

With his body of work, including “Karaniwang Tao,” Joey Ayala positions himself as not only a musician but also a cultural icon whose unmatched contributions to Filipino music and social consciousness define him. His use of indigenous instruments and his blending of folk and modern music produce a distinctly Filipino yet generally appealing sound. His other timeless songs–including “Magkaugnay,” “Walang Hanggang Paalam,” “Tabi Po,”  “Magkaugnay,” “Tungo sa Liwanag,” “Bangkerohan,” “Padayon,” “Magkabilaan,” “Maglakad,” “Agila,” “Awit ng Mortal,” and “Bata-Batuta”–serve as tools for introspection and means of social change as much as entertainment. He is a deserving candidate for the National Artist Award because of his dedication to using his work for a more important goal.

Nonetheless, Joey Ayala’s masterpieces are brilliant, mainly in terms of relevance and impact. Although his songs are full of metaphor and meaning, their foundation is the daily life of common Filipinos. In “Karaniwang Tao,” the line “May kinalaman din ang tulad natin” is a moving admission that everyone has responsibility for the state of our planet; businesses or governments cannot bear whole responsibility. This is a rare gift in a society when art sometimes loses connection to the reality of people who consume it. Ayala’s songs are both ageless and relevant since they directly address the core of the Filipino experience.

“Karaniwang Tao” is a mirror and a lighthouse in a nation where social justice still seems far off. It shows the hardships and goals of the average Filipino and the path towards a more fair and equal society. The song’s message is clear: the collective action of the country’s people determines the country’s fate, not the whims of the powerful. It is a call to wake the average person to their potential and responsibility, not only to themselves but also to their surroundings.

Ayala is brilliant at presenting complex social concerns interestingly and provocatively. His songs invite the listener to consider and to act; they do not teach. “Karaniwang Tao” is, therefore, more than just a song; it’s a movement, a call to arms for every Filipino to own their part in determining the course of their country.

Looking to the future, Joey Ayala’s work becomes even more relevant. The message of “Karaniwang Tao” is more pressing than ever in a time of growing environmental damage, economic disparity, and political unrest. It reminds us that the collective will of the many, not of a few, determines the ability to transform the world.

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Doc H fondly describes himself as a ”student of and for life” who, like many others, aspires to a life-giving and why-driven world grounded in social justice and the pursuit of happiness. His views do not necessarily reflect those of the institutions he is employed or connected with.