Evolving Modes of Disseminating Binisaya Folk Music in Eastern Visayas, Philippines

Binisaya folk music in Eastern Visayas, particularly in Samar, the northern part of Leyte, and Biliran, is traditionally passed down through oral traditions, community performances, and informal learning. However, rapid cultural and technological changes transform how this music is shared, posing both challenges and new possibilities. Guided by Appadurai’s Theory of Cultural Flow, this study explores how folk music transmission adapts to shifting global and local contexts. The framework’s five dimensions—ethnoscapes, mediascapes, technoscapes, financescapes, and ideoscapes—offer a lens to examine how digital platforms, schools, and cultural initiatives influence the evolving modes of dissemination. Using a qualitative single-case study approach, nine participants including musicians, educators, and cultural advocates are interviewed and observed to gain insights into present-day practices. The study finds that Binisaya folk music is no longer confined to oral passing or rural gatherings. It reaches new audiences through classroom teaching, online content, media features, and formal cultural programming. Younger generations, aided by technology, actively reshape and revitalize the tradition. While modern tools alter the format, they also enhance access and appreciation. Ultimately, the study highlights how folk music remains a living, adaptive expression of identity and heritage—and recommends strategies to ensure its continued relevance in today’s fast-changing world. Highlights Binisaya folk music shifts from being primarily oral and communal to also being shared through schools, festivals, tourism programs, and even global choral performances, reflecting its evolving role as both heritage and contemporary expression. Platforms such as Facebook, TikTok, YouTube, and mobile apps amplify the visibility of folk songs, enabling them to reach younger audiences, go viral, and be integrated into classrooms and rehearsals, thereby reshaping traditional dissemination practices. Younger generations are emerging as both revitalizers and advocates, reframing folk music through remixes, school projects, and campaigns like Kanta Binisaya, which strengthen cultural identity and pride. The study demonstrates how ethnoscapes, mediascapes, technoscapes, financescapes, and ideoscapes intersect to shape dissemination—showing that Binisaya folk music is not vanishing but transforming into a dynamic, living cultural practice responsive to globalization.