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. (To be continued)/PN
