*414. Drama in Candaba: TRAVELING THEATRICAL COMPANIES

TAKING CENTER STAGE. Compania Crispelita actors and singers set the mood for their performance with a rousing song number for the barrio audience of Lanang, Candaba. 1957.

Candaba, one of Pampanga’s ancient towns, represent the lowest point of Central Luzon. It is also a good distance away from the capital and commercial cities of San Fernando and Angeles, and from the 1930s to as recent as the 1950s, the town remained far removed from other Pampanga communities. Trips to Candaba were compounded by its marshy terrain, floods and the presence of Huk lairs in the area which made travelling difficult and hazardous.

 Candabaweños, despite this isolation, looked to the occasional fiestas for entertainment, as movies could only be watched in distant urban towns. In some places, the only tenuous link which they have with the stage is the obsolete moro-moro and the dying zarzuela. On this account, artistic and enterprising locals started putting up dramatic troupes, beginning in in the 1920s and which flourished till the post-war years.

 These theatrical groups or companies, went from barrio to barrio to show off their wares, a motley group of actors, musicians, directors, designers and technicians, to stage plays on makeshift stages before enraptured village crowds.

 One of the earliest groups, was the Compania Ocampo, organized in 1923 by Isaac C. Gomez and Doña Concepcion Ocampo y Limjuco of Candaba. Gomez, a prolific poet who even competed against Crissot, wrote his 5-act opus, “Sampagang Asahar”which dealt with the prevailing tenancy problems of the province. He became the resident playwright and director of the company for five years, and the group succeeded in restoring public interest in drama.

Compania Ocampo remained active in the mid 1950s, mounting regular shows often in the town plaza with komedyas and contemporary zarzuelas. Members then included Pons Amurao, Esting Tungol, Curing Mallari, Andres Balagtas, Flor Garcia, and the Manapuls. Providing healthy competition was Compania Paz, a zarzuela company founded by Judge Florentino Torres in the early 1920s.

 In 1961, the eminent writer Jose Gallardo of barrio Gulap, Candaba with Andres Balagtas revived the Compania Ocampo. After the demise of Reyes in 1967, Gallardo reorganized the theatrical group again under his own name. The Martial Law curfew imposed in 1972 made it difficult to stage evening performances, so the group was disbanded.

 In the mid 1950s, the artists of barrio Lanang, led by the noted Candaba poet Jose Pelayo, orangized themselves into a dramatic troupe known as Compania Crispelita. It soon became a village institution, with its travelling shows all around the province.

In December 1957, the company gave a command performance of their play entitled “Calbario ning Ulila” (Calvary of an orphan). The story touched the heart strings of Lanang’s drama fans, as the story was something they have seen in the group’s rehearsals, and, in many ways, actually lived—the tyranny of rich landlords, the oppression of peasants , and the final triumph of good versus evil.

 The show, directed by Agripino Suba and assisted by apuntador (prompter) Jose Pelayo, and Hugo Ocampo, drew crowds from neighboring barrios. Before an enthusiastic audience, the thespians could not, but give an inspired performance. Providing the musical background was a live band of musicians who also got their share of audience appreciation.

 “Our severest critics”, Director Suba said, “are in our own village and if we got their nod, that means we will be welcomed anywhere.

 The era of traveling theater companies is long gone, but the people of Candaba can take pride in the fact that, for a few decades, Candaba’s peripatetic theater groups broke barriers of distance and access to bring their art to their fellow Kapampangans. The era of companias may be long gone, but the legacy of performances of these Candaba artists, playwrights, poets, directors, musicians and stage hands, will always be remembered.

 Sources: 
Drama in Candaba, The Sunday Times Magazine, 29 Dec. 1957,pp. 15-19. 

Cabusao, Romeo C. Candaba, Balayan ning Leguan. pp. 344-345. 

Zapanta-Manlapaz, Edna. Kapampangan Literarture: A Historical Survey and Anthology. Ateneo de Manila University Press, Quezon City, Manila. 1981.pp. 25-26 

Lacson, Evangelina. Kapampangan Writing: A Select Compendium and Critique. 1984

*373. FLORES PARA LOS MUERTOS

BURY ME BENEATH THE DAISIES. Tombs in a Philippine cemetery are decorated with traditional circular wreaths called "coronas", following the traditions of All saints Day. ca. early 1900s.

 One of our more enduring traditions is the honoring of the dead every first of November with prayers, candles and flowers placed on their tombs. Flowers served to honor not just the memory of the deceased, but in the distant past, they were also used to mark and identify places of burial.

 In the West, flowers were imbued with meanings, and were used as forms of non-verbal communication, often to express sentiments of love and affection. Thus, three red roses meant “I love you”, while a bunch of forget-me-nots meant--well, forget me not!

 Conversely, there were flowers that signified remembrance and mourning, of sadness and grief. These often became staples in fashioning bouquets, wreaths and funeral coronas, embellished with black ribbons, with the words “Recuerdo”, also created from tiny blooms.

 Everlasting (Helyschrysum bracteatum) were top favorites as they lasted long and kept their brilliant colors for days. Known also as “altar flowers”, we got our supply from Baguio, through relatives living there. The same relatives also sent bunches of calla lilies few days before the undas, which we kept in the coolest part of the house--the bathroom--to prevent browning. As one knows, lillies stand for holiness, faith and purity—appropriate floral offerings for All Saints’ Day.

 The fragrant ilang-ilang (Cananga odorata) meant “paglingap a tapat” (loyal care), while azucenang dilo or romantically called ‘caballero de europa’, stood for greatness. On the other hand, palomaria, locally known as bitaog (Callophylum inophyllum) symbolized care.

 The pink and purple pensamiento (pansy, of the viola family) sent a message of “atiu ka lagi keng isip” (you are always on our minds). Butones (locally known as botong, Barringtonia asiatica (linn.) kurz) , especially the purplish ones siginified “kapayapan”—peace and tranquility. Inclusion of white chrysanthemums or manzanillang puti in the flower arrangement meant a casual greeting of “komusta na ka”(how are you?).

 Perfumed jasmines presented at the tomb meant separation, but its variant—milleguas—or Tonkin jasmine, leaves a promise of “e mawale ing kekang ala-ala” (your memory will not fade away.) The passion flower—pasionaria—represented holiness, while the white adelfa meant, “magpasyal ku”—I will visit.

Orchids expressed profuse love, while sampaguita, profound sentiment. Used in context, the laurel signified a triumph over death. Of course, today, not much thought is given to the concept of floral philogy, or the language of flowers, which was all the rage from the 1920s-40s.

All that is lost in the bewildering variety of foreign-bred flowers now available to the florist (Malaysian mums, Holland tulips, stargazers) and in recent innovations in flower arranging (the use of mixed fruits-vegetable- flowers, artificial blooms of paper and plastic, why, even castaway driftwood!)

 True, there are many ways to affirm our love for our dearly parted, who will always remain sacred to our memory. But none as special as expressing that feeling with the “flowery” language of flowers!

*343. DAYS OF DELUGE

THE RAIN STAYS MAINLY IN THE CENTRAL PLAINS. The Philippines is a flood-prone country and not even its central plains are spared from inundation, Pampanga included. In 2013, the Provincial Disaster Risk Reduction and Management Council (PDRRMC) identified yesterday 223 barangays in 14 towns and one city of Pampanga as high-risk areas for floods.

Pampanga has a long history of flooding owing to its proximity to great rivers and waterways. Which means that every wet season, low-lying towns get submerged, precipitating calamities of unimaginable proportions. Indeed, Pampanga’s townscapes have been permanently altered through the years because of great floods. Magalang, for example was founded by Augustinians in 1605 at Macapsa. Because of the Malong uprising, it was moved to San Bartolome in 1734. But the great flood of 1863 caused by the overflow of the Parua River destroyed the town, and Magalang had to be re-established again in Barrio San Pedro in 1863.

 The location of the town of Minalin was also adjusted by the founders of the town, who had originally reserved a place called Lacmit, renamed as Santa Maria. Lumber had already been stacked to erect a church there, when flood waters overran the new town and swept away the logs to another site called Burol. There, the church was finally built to mark the new town. Because the site moved, the community was named “Minalis”, subsequently changed to “Minalin” due to a clerical error made by town head, Diego Tolentino.

 The famous Candaba Swamp located southeast of the great Pampanga River catches much of the river overflow and the flood water that comes down from western Sierra Madre. The 250 square meter basin is under water for most of the wet season (July-September), and dries up during summer.

 Floodings of the Pampanga River Basin were recorded in July 1962, May 1966, May 1976, October 1993, August 2003, August 2004, late September-October 2009, and August 2012. The catastrophic flooding that occurred in September 2011 caused by Typhoon Pedring nearly swallowed the Province of Pampanga as well as southern Bulacan.

 But in recent memory, nothing compares to the 1972 flooding that inundated almost all of Central Luzon. So extensive were the floods that they covered 14 provinces in Ilocos, Pangasinan, Central Luzon, Southern Tagalog provinces and Manila. The Pampanga River Basin and the Agno River Basin converged over Tarlac, making the Central Luzon and Pangasinan plains one whole waterworld from July to August of 1972.

 When then -President Ferdinand Marcos made a report to the nation, he announced, “For the first time, the waters of Manila bay linked up with those of Lingayen Gulf..”. Seen on the map, Central Luzon looked like it was about to be engulfed by the China Sea.

 To make matters worse, alarmists began spreading news of doom and gloom: that Laguna Lake and even Taal lake were on the verge of overflow; and that Angat and Caliraya, the fearful reported, were close to bursting.

 So devastating was the calamity that international aid poured in to help and save the people in the country’s richest agricultural region. The Philippine Marines, under the command of Col. Rudyardo Brown, were deployed to the worst-hit provinces—Pampanga and Bulacan—to distribute relief goods and assist the sick, feed the hungry and pluck the homeless, often found clinging on trees and swimming alongside floodwater debris. Schoolchildren gave part of their allowances—from 50 centavos to 1 peso—to help raise funds. Student groups volunteered to deliver relief packages in flood-stricken areas, while medical students and interns ministered to the sick.

 They say that the recent floods spawned by the monsoon and typhoons were the worst to hit the country, all wrought by global warming. That may be so, but for Kapampangans who survived and who lived through those 40 days of deluge, the great floods of Central Luzon in 1972, have no parallelm wherem as one magazine reported, “it was as if the heavens had fallen on the Philippines, and instead of fire and brimstones, came down water, water everywhere."