*243. Rev. Msgr. GUIDO J. ALIWALAS, Missionary from the Mount

GUIDED BY HIS LIGHT. The very accomplished man of the cloth from Arayat, Rev. Msgr. Guido J. Aliwalas, enjoyed a long career in his chosen vocation, and was very involved in the affairs of the province--including a recall move against Among Ed Panlilio. Ca. 1950s.

Before his death on 25 May 2009, Rev. Monsignor Guido Jurado Aliwalas was one of the oldest living priests of Pampanga. He was born in Arayat town on 12 September 1916. After studying in the local schools, the young Guido answered his calling to be a priest and enrolled at the San Carlos Seminary. He was ordained on 29 June 1940, at the age of 24.

Fr. Aliwalas held a number of assignments, including Arayat, his native town. He is credited with advancing the cause of Marian devotion with the organization of the Legion of Mary in 1941. In fact, in the propagation of the Cruzada de Caridad y Buena Voluntad of thee lo Virgen de los Remedios that was conceived in the early 50s, it was Fr. Aliwalas and Fr. Quirino Canilao who fixed the schedule of the pilgrim visits of Pampanga’s patroness to different towns and barangays.

He was assigned in Minalin parish from 1958 to 1974, serving the town for 16 long years. He also became a member of the Knights of Columbus. In his senior years, he was an active campaigner of Our Lady of the Assumption Campus Ministry. The only controversial stand he took was when he joined 17 priest members of the Pampanga Prayer Warriors to support the recall move against the priest-governor of Pampanga, Ed “Among” Panlilio, in September 2008.

He lived in retirement for the rest of his life in Domus Pastorum, a home for priest at SACOP, Maimpis Village in San Fernando. His 2009 memorial homecoming was held at St. Catherine Parish in Arayat, where he was laid to rest at the Aliwalas Family Museum.

*242. BENTOT: The Comedian Who Never Grew Up

BENTOT PO ANG SIYANG PANGALAN KO. The comedy star from San Simon was born as Arturo Vergara Medina and started his showbiz career on the 'bodabil' stage in the 40s. He developed his trademark, annoying high-pitched kiddie voice by mimicking his 8 year old nephew.

Pugo: Ako ay si Don Mariano
Sylvia La Torre: Ibyang po naman, ako,
Rosa Aguirre: Aling Charing, pangalan ko
Leroy Salvador Jr.: Badong..
Bentot: Ang kuya koooooo..

In the 1960s, one of the most memorable TV theme songs that I learned to sing until I suffered from “last song syndrome” was from the comedy serial, “Tangtarang-tang”. Line by line, the catchy song was sung by the different characters from the long-running hit show, punctuated by a man-child named Bitoy, in short pants and trademark baseball cap.

The comedian who played the overgrown son of Don Mariano (Pugo) was no other than Bentot, whose character—Bitoy--- always got the adults in the sitcom in trouble due to his childish pranks. Bitoy was a Peter Pan of some sorts, an endearing child figure trapped in a grown-up man’s body, not unlike Fred Montilla's "Bondying". On and off the TV and movie screen, the comic would always be in character, leading thousands of enthralled TV viewers just like me to believe that Bentot never grew up.

Bentot was born in San Simon, Pampanga in 1928, with a regular name—Arturo Vergara Medina. He began his showbiz career by joining 'bodabil' shows where he put his voice-acting to good use in comic sketches. At age 19, he signed up for his first movie under Sampaguita Pictures, "Maria Kafra", filmed in 1947, billed as Ben Cosca. Ben was a natural for the radio medium; his trademark child's voice was learned from mimicking his 8 year-old nephew. When Pugo was looking for someone to replace his late partner Tugo, he found the funnybone Ben Cosca.

The leading comedians of his time had rib-tickling names like Chichay, Menggay, Tolindoy, Lopito, Casmot, Pugo and Tugo, so Ben decided he needed a single catchy name too, to make his mark in the light comedies he was already making. And thus, Bentot was born. Bentot was immediately cast in the radio program, “Sebya, Mahal Kita”, which also included Sylvia La Torre, Rosa Aguirre, Eddie San Jose and Pugo. For the next two decades beginning in the 1950s, Bentot kept us in stitches with his high-pitched baby voice, his tantrums, mischiefs and funny antics that always spelled trouble.

When Bentot left Sampaguita Pictures in 1951, he became a contract star of LVN Studios founded by Doña Narcisa “Sisang” de Leon, who cast him as a lackluster boxer in the 1957 “In This Corner”. The next years, Bentot appeared in “My Little Kuwan” (1958), “Puro Utos” and “ Sparring Partner” (1959) and “Triplets” (1960) where he played three roles. But it was the movie permutation of “Sebya, Mahal Kita” that would establish him as a comedian of note. His co-stars from “Sebya” joined him in the movie “Nukso ng Nukso” (1960) and it proved to be a blockbuster hit.

In 1961, "Tang-tarang-tang", a spin-off of "Sebya" and sponsored by San Miguel Brewery, was started on DZRH, with practically the same cast. Again, it was met with resounding success by radio listeners nationwide. At about the same time, Philippine television was starting to blossom with the surge in TV advertising spending by multinational companies like Procter and Gamble, Colgate, Pepsi and Coca Cola. Producers sought to duplicate the success of the “Tang-tarang-tang" by transposing the serial on television, while retaining the comedic formula and the same powerhouse cast. The gamble paid off with the airing of “Tang-tarang-tang” in 1962 on Channel 3.

The plot revolved around the family of Don Mariano (Pugo), his son Badong (Leroy Salvador Jr.), his love interest Ibyang (Sylvia La Torre), daughter of Aling Charing (Rosa Aguirre) who were of humble means. Providing the foil was Bitoy (Bentot, getting a second billing after Pugo), Don Mariano’s youngest, who became one of the most unforgettable characters from the series. The TV series was later made into a movie, where Bentot earned a CAT Award nomination, the Philippine counterpart of the TV Emmys.

Bentot would remain active for through the 70s, passing away in 1986 due to heart failure. His son, Bentot Jr., attempted to carry on his father’s legacy by joining the movies also as a comedian, and reprising the same role that his father had so successfully popularized, a character that has become one of the classic icons of Philippine film and television history.

*241.CREATURE COMFORT FOODS

CUT AND BASTE. A woman prepares a bayawak for what would be another exotic Kapampangan adobo dish. This picture's provenance is attributed to Pampanga, ca. 1911. Many years ago, a roadside restaurant was put up along the highway between the Bamban-Mabalacat boundary, that specializing in exotic delicacies: dishes made from deer venison, wild fowls and snakes. It created quite a stir when it opened, catering to a niche market with the taste for the strange, the bizarre and the unusual. Indeed, Kapampangan cooking has often been described as a cuisine of extremes. In times of plenty, a cook will spare nothing to come up with the most lavish creations using the finest ingredients he can find—from lamb chops to imported turkey, quezo de bola, olives and expensive canned creams. But in times of profound want, he will eat anything that’s available out in the field, the forest or even his own backyard--be it something that crawls, croaks, slithers and flies. True, Kapampangans have made dishes out of bugs, insects, mollusks, beetles, woodworms, amphibians, snakes and reptiles. But these creatures also appear in the food specialities of other countries, prized for their taste and valued for their nutritional benefits. Arabs, like Kapampangans, feasted on sun-dried locusts—but they served theirs with milk. Jamaicans and Native Americans ate roasted beetles. New Guinea natives supplemented their diet with lizards and mice. Vietnamese restaurants offered snake dishes in their menu, which were believed to enhance male virility. At the Chatuchak weekend market in Thailand, I have seen some large species of cockroaches sold by the glassful as some sort of a protein food. Closer to home, Igorots, like Kapampangans, also ate dog meat---there was even a lively dog trade in Baguio in the early part of the 20th century. However, it is on the Kapampangans that the dogeater label got stuck, a reputation that has become permanent—and quite legendary. In Macabebe, a sweet and spicy dog stew known as “Kubang Asu” is a favorite pulutan of beer guzzlers. Similarly, the Stone Age Tasadays of Mindanao ate tadpoles and frogs, but I am pretty sure not in the same manner that the finicky Kapampangans prepared them—stuffed with ground meat and spices, then deep-fried. My father used to recount how he relished “ebun pau” (turtle eggs) which were collected by the dozens under mounds of sand near rivers and streams. When boiled, he said, the eggs had a soft toothpaste-like consistency, almost runny and with a taste that's creamier, more 'malinamnam' than chicken eggs. Rarer than these amphibious treats however, are the reptilian delicacies, which are challenging to prepare and perhaps, even more daunting to eat. Topping the list is the ‘barag’ (monitor lizard) which also goes by the name “banias” among Kapampangans. “Ali ya manenaya ing barag keng burak nung ala yang panenayan tugak" (The barag will not lie in wait in the mud if no frog awaits him), so goes a Kapampangan saying. But the barag’s patience can also be his undoing, with the hunter unwittingly becoming the hunted. Barags were captured with live baits of chicks, frogs or birds. Thus trapped, they were slit by the neck, skinned, disemboweled, beheaded and chopped into small pieces for cooking. Barags were often cooked like caldereta or adobu. The meat is first marinated with soy sauce, garlic, vinegar, salt and spices then boiled with water until the liquid dries up. It is then stir-fried with oil and is served as a main dish or as a pulutan. The taste is said to be akin to that of chicken, except more flavorful. All these Kapampangan exotica have been met with a mix of delight and disgust, shocking the faint of heart and fascinating the adventurous few-- which just goes to show that, taste—like beauty—is relative, an acquired preference brought about by circumstances of culture, history and the whims of nature. Kapampangans, however, have brought their own special flair in cooking these creatures, turning them into unique, delectable treats. Today, a few of these dishes have gone mainstream, like the adobung kamaru and tugak betute. Who knows, the pest that you see crawling under your house today may be the next big thing on your plate. One man’s vermin, may yet be another man’s viand. When that happens, you will most likely have a creative Kapampangan kusinero to thank for.

*240. GALO B. OCAMPO, Champion of Philippine Arts & Culture

GALO B. OCAMPO, as Director of the National Museum. The multi-talented artist was a painter, sculptor, scenographer, writer, teacher, columnist, museum curator, cultural-activist and a proud son of Sta. Rita, Pampanga. ca. 1960s.

The title of “most multi-facetted artist of the Philippines” may very well belong to Kapampangan Galo B. Ocampo, who, in his lifetime, was a painter, muralist, art professor, heraldry expert, scenic designer, museum curator, writer, cultural activist and one of the Thirteen Moderns who revolutionized Philippine Art.

Ocampo first saw the light of day in Sta. Rita, on 16 October 1913, from a religious family that counts a number of priests and nuns as members. He studied in local schools before enrolling at the College of Fine Arts at the University of the Philippines in 1929. After graduating in 1934, he began his long career as an artist of note, starting as a muralist with fellow artists Victorio Edades and Carlos “Botong” Francisco.

Joining forces, the trio painted the first Philippine mural at the Capitol Theater in 1935, and another one for State Theaters. On his own, Ocampo executed the mural “Hispanidad” for the University of Santo Tomas. His works with the Edades Studios during the Commonwealth years reflected his new aesthetic sense that ran counter to art conservatism taught in academes.

Ocampo went on to make another first—conceiving the first painted image of the “Brown Madonna” in 1938, a Filipinized version of the Blessed Virgin, which would become a popular theme for other painters to follow. That same year, he also held his first exhibit in tandem with Diosdado Lorenzo in Baguio. He would continue experimenting with colors, lines and decorative distortions, consistent with his modernist leanings. His ethnic painting “Moro Dance” reflected this then non-traditional approach, characterized with flattened objects and spaces that made the painting look more like a tapestry.

Ocampo turned to his other muse—writing-- even as he continued painting. In 1937, he published a book about church art in 1937, entitled “Philippine Churches and Other Scenes”. He became a prolific contributor of art articles for some of Manila’s leading dailies, including Sunday Tribune. Twenty years later, in 1957, he co-authored the pioneering book, “The Art of the Philippines”, the first coffee table book to trace the history of the country’s art from the pre-colonial to the contemporary times.

In 1940, he took on a teaching job at the UST College of Fine Arts. His career as an educator would continue through the 70s, even assuming the deanship of the Department of Fine Arts of the Far Eastern University in 1971.

The War years briefly put a halt to his rising career; he joined the guerrilla movement and attained the rank of a captain. He put his brush to good use by becoming a scenographer for the stage productions of Fernando Poe, Sr., a cover he used for his underground activities.

After the War, Ocampo went to the United States to take a special course in Heraldry in Washington D.C. (1947) and art studies at the Museum of Modern Art in New York (1948). He put his learnings to good use in art competitions, winning a number of prizes for his works, including “United Nations” (2nd prize, UN Art Contest, 1949), “Pounding Rice”, “Igorot Dance” (2nd prize and Honorable mention, Art Association of the Philippines Contest 1951), "Bayanihan" (1st Rotary Golden Anniversary Award, 1955).

His art took on a different turn in the 50s, infusing the haunting images of doom that were part of his war experience. Flagellants became his signature subjects, starting with “Ecce Homo” (Behold the Man), that showed a hooded, bound Christ, crowned with thorns and surrounded by warplanes, smoke trails and parachutes.

In 1956, Ocampo was granted a scholarship to study Genealogy and Heraldry in Madrid, Spain, becoming the only Filipino member of the International Institute of Genealogy and Heraldry. The next year, he was sent to Rome under the sponsorship of Cardinal Rufino Santos, to study Liturgical Art at the Instituto Internasionale de Arte Liturgica (he would design the stained glass windows of Sto. Domingo Church) . Because of his expertise, Ocampo was commissioned to create the coat of arms of the Philippine Republic and the personal seals of the President, the Vice President, as well as those of the Archbishops of Manila.

In 1959, the professor undertook a major project for the Archdiocese of Manila, saving and collecting church antiques for an ecclesiastical art museum housed at the Manila Cathedral. When Macapagal was elected president in 1961, he named his kabalen as curator of the Presidential Museum in Malacañang and then as National Museum Director. In 1964, Ocampo was honored by the City of Manila with a Patnubay ng Sining at Kalinangan Award for his achievements in the field of art and culture.

At the advanced age of 59, Ocampo finally held his long overdue first Solo Exhibit at Galerie Bleue in 1973, entitled Anthropographic Designs, which paid tribute to the early Filipinos. A retrospective exhibit was held in 1982 at the Museum of Philippine Art. Three years later, on 12 September 1985, Galo B. Ocampo, the consummate Kapampangan artist who helped enrich and transform Philippine art, passed away in Arlington, Virginia.

*239. THE ART OF THE KURAN

GONE TO POTS! Clay pots sold by street hawkers in a neighborhood market, a common sight in rural villages all over the Philippines, including Pampanga. Utilitarian earthenware vessels were indispensable staples of everyday life, used primarily in cooking and storing food and water. Ca. 1910.

A favorite plaything from our childhood was a set of little clay kitchenware consisting of a small kalang (clay stove), kuran (cooking pot), tapayan (water jar), banga (water pot) and matching clay plates and tumblers. “Kurang-kurangan”, we called these glazed, functional ware—we actually used them to cook rice and simple viands when we played house in my sister’s ‘bale-balayan’. These earthenware toys were found for sale everywhere—in front of the big church after Masses, in public markets. But to my mind, the best ‘kurang-kurangans’ were those sold during fiesta time, which came in all sorts of colored glazes and finished with painted designs. There were more pieces to choose from, and I remember building an extensive set which we kept in the ‘banggera’ of our play house.

Making pottery was an early art adeptly practiced in old Pampanga. Earthenware vessels were known in our pre-colonial history, and shards have been found in Porac, Lubao, Guagua and Candaba that date back to the 13th to 16th centuries, a period of active trade with our Asian neighbors. Some have been dated to the Metal Age of Philippine pre-history. Indeed, places like Balanga (Bataan) and Iba (Zambales) were derived from pottery terms—and at least one barrio in Mabalacat bore the old name of “Iba”—which, according to local history, was the home of many “maniba”, or clay pot makers.

The basic pot that Kapampangans know is called “kuran”, used for cooking rice. Variations of this vessel include the “balanga”, which has a wider mouth and is used for cooking dishes. For storing water or other liquids, the "banga” is used which has a higher rim. There were, of course, other creations of clay that were used for other purposes like the bibingkaan (round clay deep dishes for cooking rice cakes), pasu (flower pots), tuliasi (2-handled pot), tapayan (water dispenser), oya (rimless jars) and lariu (bricks). In all cases, the same ‘kuran’ technology is employed in their manufacture.

The process of making these earthenware vessels is long and tedious, with many steps involved. First, clay (pila) and sand material had to be sourced from swamps (pinac), open clay fields, riverbanks or even termite mounds. The materials are mixed by hand, foot or by machine. A lump of clay is then prepared for molding, which could be done in several ways—by tampi or pukpuk (by paddling, for ordinary kurans), gilingan ( by foot-powered turntable, ideal for tall vessels) and by moldi (by casting, as in the case of bricks).

Finishing involves incising designs, cleaning, smoothening the surface of the pot and slipping, in which a fine solution of clay and sand is applied to the pot to give it a distinct color (e.g. black sand or ‘kapalangan’ mixed with clay will give the inside of pots a desirable black color, while ‘balintawak’-red pottery is a result of using a red-slip solution of fine red earth and water. When the pots are dried, they are ready for final polishing (buli) using a whetstone or a shell. The last step is firing, through an open fire pit (dapugan) or a closed kiln (tamban). The pots are then dried on a bed of hay, away from direct sunlight.

Today, the art and technology of the kuran is slowly vanishing. Gone are the days when you could find pottery stalls practically everywhere in Pampanga—from Calibutbut-Telabastagan to the barrios of Floridablanca, Sasmuan, Lubao and Tabun in Pampanga. Even the ‘kurang-kurangans’ of my childhood past are getting harder to find—the last time I saw a set was in this year’s Mabalacat fiesta, offered by a vendor whose wares came from Pangasinan. The pieces were very crude and garishly painted with lacquer—which meant that you could not possibly cook in them lest your guests die of lead poisoning!

Happily, the town of Santo Tomas still maintains a flourishing pottery industry, unlike nearby Apalit which once had a dominant pottery business. True, there are more decorative pieces of pottery now than kitchen earthenware—made obsolete by metal pots and pans—but the creative mangkukuran of Sto. Tomas should still be given credit, for in their deft hands, the traditional art of the ‘kuran’ survives.

*238. THE GILS OF PORAC: Acting is All in the Family

ROSEMARIE'S BABIES. The Gils, a family of actors led by mother Rosemarie and children Michael, Mark and Cherie Gil, hail from Barrio Pio, Porac. Their Spanish bloodline is courtesy of Don Felino Gil, founder of the first trade school of Asia and a Spanish military man who became a hacendero in Porac. ca. 1963.

Rosemarie Gil, Cherie Gil, Mark Gil, Michael de Mesa, Sid Lucero, Ryan and Geoff Eigenmann---who has not heard of this talented family of Kapampangan artists who left their marks in acclaimed movies and TV serials like “Oro, Plata, Mata", "Gaano Kadalas ang Minsan", "Bituing Walang Ningning", "Grazilda", “Batch ‘81”, "Miss X", "Pasan Ko Ang Daigdig", "Palabra de Honor", "Unfaithful Wife" and "Selda".

Two generations of Gils continue to liven Philippine cinema arts today and credit should be given to the one who started it all—Rosemarie Gil—who traces her Hispanic-Kapampangan roots from Porac. Though Manila-born (b. 9 March 1942), Rosemarie’s family comes from Barrio Pio. She is directly descended from Don Felino Gil (1804-83), a Spanish military man who was assigned to Porac to prepare the area for the coming friar missions as well as to secure the forests which were a chief source of lumber for the projects of the Spanish government. Gil impressed his Spanish superiors and was rewarded with large tracts of lands which he converted into a profitable sugar hacienda.

Don Felino Gil went on to found the Escuela de Artes y Oficios de Bacolor, the oldest vocational school in Far East Asia, now known as Don Honorio Ventura Technological State University. He married Carlota Aguilar, and his great-great grandson would turn out to be Carlos Gil, Rosemarie Gil’s father.

Rosemarie Gil, like her daughter Cherie, was known for her rich socialite-villain roles, but surprisingly, she was introduced in a religious movie in 1958, in the title role of “Santa Rita de Casia (Patrona ng Imposible)”, opposite Lauro Delgado, who portrayed the saint’s wayward husband. This movie turned out to be a hit, but in the 60s, she married Eddie Mesa (Eddie Eigenmann, in real life), putting her stardom on hold, while her husband, known as the Philippines’ Elvis Presley, enjoyed a flourishing career as a singer and actor. The couple would eventually settle in the U.S., separate and then reconcile

Rosemarie went back to make movies for international release in the 1970s, starting with “Manda” (1970), “Night of the Cobra Woman” (1972), “Master Samurai” (1974), and the remake of “Siete Infantes de Lara” (1973). It was in 1977 that she made her presence felt in the 1977 critically-acclaimed “Burlesk Queen”, starring Vilma Santos. For her role as Virgie Nite, Rosemarie earned a Gawad Urian nomination the following year.

In the 80s thru the 90s, Rosemarie continued to appear in dramatic movies such as “Problem Child”, “Dear Heart” (1980), “Bata pa si Sabel” (1981), “Bagets” (1984) and in the HBO-produced mini-series inspired by the 1986 People Power Revolution, “A Dangerous Life” (as Tingting Cojuangco). In 1990s, she was in blockbuster hits like “Anak ni Baby Ama” (1990), “Maging Sino Ka Man” (1991), “Mulanay” (1996) and “Wansapanataym: The Movie” (1999). Rosemarie was also seen in telenovelas such as “Anna Karenina” (1996), “Sa Puso Ko, Iingatan Ka” (2001) and “Hiram” (2004).

Meanwhile, her children were also making their own mark as actors of note in dramatic movies. Cherie Gil (b. 12 May 1965) is undoubtedly one of the best contravidas of Philippine movies, best known for making life miserable for megastar Sharon Cuneta in the movie, “Bituing Walang Ningning” (1985). As the villainess Lavinia Arguelles, she spewed out the often-quoted put-down line, “You are nothing but a second-rate, trying hard copycat!”, while dousing Sharon with a glass of water. Siblings Mark Gil (b. 25 Aug. 1961) and Michael de Mesa (24 May 1960) are also seasoned actors on TV, stage and the silver screen. The next-generation Gils, led by heartthrob Geoff Eigenmann, continue to thrill Filipino fans on TV and Film.

The Gils have since upped and left Porac—only the controversial Pio Chapel—part of the Gil hacienda constructed in 1861, remains of their once vast homestead. This property has since been sold. The Gils may have already uprooted themselves from Pampanga, but in movies, stage and films, they continue to shine and make their presence felt, in the same league as the Dela Rosas and Fernandezes—actors, thespians, singers, dramatists, zarzuela stars, Kapampangan performers all--who once ruled the golden age of Philippine cinema.

*237. ATBU, ATBP.

SACCHARINE SMILE. A country girl shows of her healthy sugarcane crop that's ready for harvesting in this posed picture. Pampanga's sugar industry powered the provincial economy and made it a force to reckon with during the American regime. Ca.1912.

Give a child a fresh stick of atbu (sugarcane), and he will keep quiet for the rest of the day. For some reason, munching on a piece of sugarcane-- ‘mamangus atbu’—has a calming effect on us kids. Maybe because it took much skill, so we had to focus on the laborious task at hand, using just our teeth to strip off the bark, chewing on the tough cane fiber to extract the sweet juice, and spewing out the sapal (husk) later. Biting the hard, tasteless node off, we then move on to the next juicy part, until we finish the whole footlong sugar cane stick.

Mamangus atbu was a true test for teeth and gums, but the mouthsores I occasionally got were worth my sugarcane taste experience. I’ve always preferred the purple sugarcane variety, cooled in the icebox for an hour before munching. These, I would find readily available in the makeshift stalls lining the way to my elementary school. Another way to get ‘atbu’ free is to run after hauler trucks or bagun (cargo trains) en route to the mills and try to pull a stalk from its harvested sugar cane load.

As my lolo was a modest hacendero with some rice and sugarcane fields, we grew up with the sight and smell of sugarcane. It was a staple product around the house, and I remember using arnibal (thin muscovado syrup) to sweeten our coffee, prepared by my ever so frugal mother. But I guess this was the same familiar scene in many Kapampangan households where, for a time, sugar held such prominence in the province’s economy.

In its heyday, especially from 1925-1927, Pampanga led Luzon in sugar production, with the Del Carmen Sugar Mills leading the way with an output of 45,000 tons annually, followed by Calamba with 16,000 and San Fernando, just slightly behind. Pampanga Sugar Development Company (PASUDECO), controlled by the Philippine National Banks, would later be expanded, becoming the fastest growing Central among all bank Centrals and further improving its output.

Interestingly, of the four varieties of cane originally cultivated in the Philippines, once came from Pampanga—the Pampanga Red or Encarnada de la Pampanga, which produced canes smaller than the other varieties: Cebu Purple (Morada de Cebu), Luzon White (Blanca de Luzon) and Negros Purple (Morada de Negros). Nevertheless, this hardy cane plant had excellent purity and yield, topped only by Cebu Purple, and cementing the province’s reputation as a major sugar producer for the country and the world.

The pleasures of sugar from our “dulce caña”, of course, we enjoyed at every opportunity. Parents could easily fix a quick treat for their kids by boiling extracted sugarcane juice in a vat until it turned into molten molasses. A dollop is ladled into a basin of cold water, turning the molasses into a brown, gooey, malleable mixture called “inuyat” which we ate with our hands. With rice drowned in carabao’s milk, “inuyat” becomes an instant ulam (viand)!

A fancy Makati restaurant once offered sugarcane juice coolers in its menu, matched with a fancy price. But we’ve been drinking ice cold sugarcane juice ever since I can remember--and it certainly didn’t cost that much! Maybe bartenders can take a tip from Kapampangan farmers who squeezed cane juice into their alcoholic drinks for a perfect happy hour treat after a day’s hard work.

Goodies made with cane sugar can be had cheap at every corner sari-sari store. We developed cavities eating five centavo ‘balikutsa’, a kind of sugar taffy so sticky delicious. Another favorite is the panutsa, which technically speaking is solid brown sugar sold in ‘baos’, but it has come to mean a kind of peanut brittle mixed with coarse brown sugar and sold with brown paper linings. The same unrefined sugar also found its way into our fiesta desserts like “yemas”—milk pudding balls encased in caramelized brown sugar. In Arayat, a centerpiece in every feast or banquet is the ‘samani’—in which white peanuts dipped in caramelized brown sugar are used to construct an edible sweet basket, a virtual eye candy to foodies of yore.

Of course, it’s not just us that benefitted from the amazing ‘atbu’. Leftover ‘sapal’ was fed to pigs and hogs. To make an instant feeder and a perch for pet insects like ‘uwang’ (rhinoceros beetle), a length of fresh sugar cane was tied on both ends and hung on the porch.

It used to be so common to see cut sugarcane for sale-- piled high like pyramids on fruit stands and sidewalk stalls, especially during the summer months. Nowadays, apples and grapes, it would seem, are even easier to find. Maybe so, but those fruits—so way beyond our reach-- never impressed me the way a stalk of ‘atbu’ could—it’s always ready to eat and ready to please—the sweet stuff that many a childhood pleasures are made of.