Abstract
The article situates Panaghoy sa Isang Bayaning Pinaslang (Lamentation for a Slain Hero) within the social drama of the momentous year of 1983 when historical processes unfolding on the national stage converged with exigent personal circumstances in the life of the composer. The piece, composed by Ramon Santos in honor of Ninoy Aquino2 a week after the latter’s assassination, frames the poetry of the late Senator entitled Faith. It was performed at the Abelardo Hall in the College of Music of the University of the Philippines later that year, attended by no less than Cory Aquino3 and Noynoy Aquino4 - the two future unlikely Presidents of the Republic. Noynoy takes part in its performance as the reader, taking the place of the fallen poet. The paper presents a study in liminality.
