*427. ZOILO S. HILARIO: Pampanga’s Polyglot Poet

ZOILO'S ZEAL. The Kapampangan who wore many hats--as  poet, zarzuelista, diputado, Court of the First Instance judge, newspaperman--performed every role he assumed so excellently, that today, he is acclaimed as among the best in both Kapampangan and Spanish writing.Photo: CKS Collection.

The life of Zoilo J. Hilario (b. 27 June 1892/d. 13 Jan. 1963) is so multi-faceted that no no one title could be appended to his name. After all, Hilario was not just acclaimed as one of Pampanga’s most loved poets, but he was also a playwright, a parliamentarian, a newspaper man, a jurist, a researcher, a civic leader and an orator.

The talented poet was also adept in three languages, and was able to write “in poetic fluidity and grace” in both Spanish and Kapampangan languages. Moreover, the multi-lingual Hilario was also capable of writing in English; as  juez de primera instancia, he penned his decisions in that language.

Born in San Fernando to parents Tiburcio and Adriana Sanggalang, Hilario learned his cartilla from the school of Modesto Joaquin in Bacolor.  As a youngster, Hilario always had a way with words. Listening to adults’ conversations, he would versify their ordinary chats in fun. At 12, he wrote his first love poem to a neighbor’s daughter. Unfortunately, the girl’s mother discovered the letter and showed it to Hilario’s mother. Rather than be angry, Dña. Adriana was impressed with her son’s poetic skills, and became his number one fan.

From Liceo de Manila, he enrolled for his law course at Escuela de Derecho, graduated in 1911 and passed the bar thereafter. His studies over, he devoted more time to writing poetry. In 1917, he entered a contest sponsored  by the Casino Español of Iloilo and won, with his poem "Alma Espanola".  Hilario also became an esteemed member of Jardin de Epicuro, an elite literary society founded by Fernando Ma. Guerrero.

His Spanish writings were all published in book forms --Adelfas, Patria y Redencion, Ilustres Varones and Himnos y Arengas. But even as he wrote in Spanish, Hilario also became well-known for his outstanding vernacular poetry in Pampango. In 1918, he topped a poetry competition in Bacolor for his work, “Ing Babai”. Among the members of the jury was the great poet and playwright, Juan Crisostomo Soto. He became a poet laureate in 1920. Hilario was also involved as an editor of the bi-lingual newspaper, “E Mangabiran/ El Imparcial”, and later headed “El Paladin”, another local paper.

In 1931, Hilario forayed into politics and was elected as a congressman. Pres. Manuel L. Quezon named him as one of the first members of the National Language Institute to represent Kapampangan speakers in 1938. As a judge, Hilario was first assigned in Ilocos Sur in 1947, and rose to become a judge of the Court of the First Instance in 1954, based in Tarlac.

After his retirement, he devoted his time to his writings, and his collection of works were compiled in several books: "Bayung Aldo” (New Day) and  “Bayung Sunis” (New Rhythm). The prodigious Hilario also wrote the following plays—“Mumunang Sinta” (First Love), “Sampagang E Malalanat “(Unfading Flower), "Bandila ning Pilipinas" (Flag of the Philippines), “Juan de la Cruz, Anak ning Katipunan”, “Ing Mapamatubu” (The Loan Shark) and “Reyna Ning Malaya” (Queen of Malaya).

He continued his involvement with the government: as a legal adviser to former president  Emilio Aguinaldo and as member of the Philippine Historical Commission, until his death in 1963. He left behind his widow, Trinidad Vasquez of Negros Occidental, and two daughters, Rafaelita and Evangelina. His bust and a historical marker were unveiled on 27 June 1892—his 90^th birthday-- in his hometown San Fernando, as a tribute to his sterling contributions to the province that he dearly loved, and who loved him back. 

SOURCES:

Hilario, Zoilo. Himnos y Arengas: Colecciones de Poesias. Nueva Era Press Inc., Manila. 1968

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

*424. LOOKING FOR MISS PHATUPHATS

AMERICAPAMPANGAN GIRL. A young Pampanga miss in a strikes a pose in her modern Western-style outfit, complete with a hat, white gloves, high heel shoes--all fashionably Americana!

“Ang mga babae’y nagputol ng buhok, nag-alis ng medyas

Nag-ahit ng kilay at ang puting dibdib ay halos ilabas

Ang mga lalaki ay libang na libang sa lahat ng oras

Saan patungo ang ganitong bayan kung hindi ang maghirap…

- Miguel M. Cristobal, poet

Juan Crisostomo Sotto showed us a caricature of what we had become under the Americans through his story character—Miss Phatuphats.  Formerly known as Yeyeng, she had developed an abnormal preoccupation with things American, and sought to erase her Kapampangan-ness by speaking only in English and affecting an air of Yankee  superiority. As a result, she became a pitiful, laughing stock of the town, leading many to question whether the white ‘saxon” culture is truly fit to be assimilated by brown-skinned Filipinos.

The turning point in our history, historians say, began with the inauguration of the Philippine Assembly in 1907, and which saw Filipino participation in self-governance for the first time. Fear and distrust for white masters slowly gave way to awe and admiration. Filipinos took to adapting the great American lifestyle and the term “Sajonista” (Saxonist) was used to describe with a sneer, these Americanized natives, the new “modernistas”. They were “young ladies and gentlemen”, products of the public schools, who have taken to addressing each other with “Mister” or “Miss”, and who sought out to differentiate themselves from the common provincianos.

Names were the first to updated to give them a cosmopolitan sound—so Francisco became “Frank”, Jose “Joe” and Lucia, “Lucy”. Kapampangan parents had a heyday naming their babies with American appellations—Henry, Mary Rose, Helen, Charles. The young lads and lasses who went to Manila for their schooling returned home to their towns in their smart drill suits, stylish frocks copied from American fashion magazines and thigh-high stockings.  

For the best in Western-style dresses, the taller de modas of Florencia Salgado, Maria Castro’s “National Fashion”, Sotera Valencia’s “Valencia’s Fashion”,  and Marta Tioleco Espinosa’s “La Creacion” were the go-to places in San Fernando.

Bathing suits were an offshoot of the sporting events introduced by Americans, who were avid sports enthusiasts. Two of the first to wear them in public were Kapampangan sisters Amanda and Luz Abad Santos—daughters of Jose Abad Santos, who were members of the 1934 Far Eastern Games national swim team.

Meanwhile, American sartorial elegance was the promise of  C. Hugo (Gentleman’s Tailor Modernist), Hilario Lapid’s Fashion (Cabildo), I.D. Cura (along Rizal Ave.) and De Leon Bros. tailors (Herran)—all Kapampangan suitmakers.

Young, independent colegialas had their eyebrows shaved,  hair cut short, bobbed, curled and Marcel-waved in modern salons such as the one owned by Rosa Soliman. Their handsome boyfriends in their City Slick, Valentino or Executive hair styles and flared London pants took them out to soda parlors to have ice cream or watch vaudevilles (the “zarzuela” was considered passé) , and basketball games.

By the 1930s, the Philippines was  completely under the American spell. It is said that the boogie-woogie, jitterbugging kids of the Swing Era were probably the most Americanized generation of young Filipinos. An observant few were quick to lament the eradication of our values as Filipinos became enamoured with the American dream with Hollywood movies, the carnivals and  cabarets, the cigarettes and the scotch—providing the cheap thrills of youthful leisure.

Kapampangans’ love affair with America would last longer than most—even with the rise of nationalism in the 1950s, mainly due to the presence of Clark Air Base that was seen more as a boon, to the neighborhood community. For decades,  the base provided thousands of livelihood opportunities, jobs, and, for many Misses Phatuphats among us, a possible ticket to a good life.  

All that would end dramatically and abruptly in 1991, with Pinatubo kicking out America from Clark with finality.  The American absence cleared the air and gave us time and space to reflect on what colonial mentality has done to us, and what we have been missing all these years. After bidding  “adios” to Alice Roosevelt and Miss Phatupats, it’s now time to say “hello” to the rediscovery of our race, our own culture and heritage. 

*385. The Fiery Pen of Flauxgalier: FELIX N. GALURA

POETRY MAN. The newly-put up monument of Felix Galura y Napao, prominent literary figure from Bacolor, who rebelled against Spanish. literary styles and forms. ca. 1920s.

 One of the most prominent and versatile writers at the turn of 20th century Pampanga was the Bacolor native, Felix Galura y Napao. The multi-facetted literary giant did not only wield his pen as a poet, translator ( he translated Rizal’s “Noli” into Kapampangan ), playwright ( “Ing Mora”/The Moor Maiden), editor, religious writer (he composed original Kapampangan prayers and a Pasyon), grammarian (he authored “Gramatica Castellana” and “Sanayan A Malagwang Pipagaralan King Amanung Kastila”) and newspaper man, but he was also a passionate Revolutionist, a military man ( Lt. Colonel under Gen. Tomas Mascardo) and a political leader (Bacolor’s municipal presidente for 9 years).

 Born on 21 Feb. 1866 to Manuel Galura and Carlota Napao, the young Felix was educated in local schools, but circumstances did not allow him to get a college education. But even so, he was a quick learner, with the uncanny ability to absorb knowledge so easily. His close association with the brilliant lawyer, Don Roman Valdes, for example, enabled him to become an expert on law and jurisprudence.

 But writing was Galura’s first love. He assumed the pseudonym “Flauxgalier” (an acronym of his name), and became a regular contributor to the bi-lingual newspaper “E Mangabiran/ El Imparcial” which began publication in 1905. Exposed to Spanish works at an early age, he set about translating prayers, plays and literary pieces into Kapampangan. Galura turned Spanish plays into Kapampangan adaptations like “O, Kasiran” and “Azucena”.

 With Juan Crisostomo Sotto, he wrote the zarzuela “Ing Singsing A Bacal” (The Ring of Steel) which was based on a Spanish play. Galura was led to conclude that the Spanish literary forms available in the country were the main cause of the backwardness of Filipinos. After all, these “comedias” were full of incredible tales of magic, enchantment and nonsensical scenes.

 His response was the opus ”Ing Cabiguan”(The Misfortune”), a verse narrative published in 1915, which would become his best-known work. It recounts the ill-fated love of Jaime and Momay, whose planned elopement was thwarted by Rosa, Momay’s mother. This resulted in the imprisonment of Jaime for 8 months. Hoping to reunite with Momay after his release, he finds out that she had died while he was languishing in jail.

 Though his work had a romantic plot, “Ing Cabiguan” was full of jabs against Spanish works. The work was prefaced with a reader’s warning to not expect improbable scenarios (like a duel between a princess vs. a lion) and unrealistic characters (e.g. talking animals) that are staples in Spanish-inspired comedias and curirus. It was Galura’s direct exhortation to readers to break away from these whimsical writing tradition that are insulting to one’s senses, and instead, embrace more realistic forms.

 The first printing of ”Ing Cabiguan” totalling to 500 copies was quickly sold out, and a second edition of 1,000 more had to be rushed on 10 November 2015 to accommodate the demand. Apparently, Galura’s work still had the cloying romanticism that was also the characteristic of the curiru, the same literary forms that he had wanted to replace.

 Certainly, though, it paved the way for Juan Crisostomo Soto to depart fully and truly from the favored Spanish-influenced style. His masterpiece “Lidia”, proved to be very contemporary in every respect, from the use of prose to the modern plot, providing a clear distinction from the metrical romances of old.

 Even as he was writing, Galura continued to run the affairs of Bacolor as the town head from 1909 to 1918. A year after his term, he was hospitalized for pneumonia, an illness from which he would no recover. He passed away on 21 July 1919, at age 53. For his departed friend, the poet Don Monico R. Mercado wrote the elegy ”Ing Bie Na Ning Tau” The Life of a Man) .

 On 24 December 1924, a monument was put up in front of the Bacolor Elementary School by Aguman 33, a band of grateful citizens and friends, dedicated to the memory of a beloved son of Bacolor--“Caluguran Nang Anac Ning Baculud”—Felix Napao Galura.

*297. UMBRELLA SEASON

 SUKLAB KA LALAM NING PAYUNG KU. A Filipina poses with her day's catch while carrying her bilao of vegetables and her umbrella, her one reliable protection from the elements. Ca. 1915.

To brave wind, sun and rain—such is the function of the umbrella—the indispensable “payong” that we bring out, most specially when the rainy season comes along. But of course, the umbrella is more than that as its long history shows—from being a mere shade and sartorial accessory to becoming a part of global pop culture. In Japan, the umbrella is known as koumorigasa, in France—a parapluie. Italians had their ‘parapioggias’ , the Dutch their ‘paraplus’ and the Portuguese toted ‘guarda-chuvas’. 

But long before them, some eleven centuries before Christ, there were the inventive Chinese who warded off the elements by mounting a sort of a pagoda on a stick. These first umbrellas were symbols of honor and prestige, and old prints show them made of embroidered silk. Athens and Rome too, had a similar adornment; poets described umbrellas being used in religious festivals, balanced by hand by priestesses.

Umbrellas were mentioned in Indian writings, and appeared as illustrations in a ancient Codex in 12th century Venice. So prized were umbrellas that Charlemagne was once gifted by the Caliph of Baghdad, Haroun al Raschid, with a fabulous umbrella of purple and gold that inspired awe and dazzled the crowd who bowed before it as if it were a precious relic.

No wonder, the umbrella formed part of the papal regalia and was used in Roman Catholic liturgy; a decorated umbrella—an ‘umbraculum’—covered and protected the Holy Eucharist in short, indoor processions. In France, they were used at the court of Henry II, and in 1650, the umbrella was recognized as a symbol of style in the country. Its manufacture, however, was restricted by a special act. The “Robinson”, which served as a portable shelter for royalty weighed more than 3 kilos and was fastened to the arm by a massive copper ring. Later versions doubled as lightning rods, making them even heavier. 

Credit goes to an unnamed mechanic from Lyons for making the first modern umbrella by replacing the whalebone ribs with hinged steel tubes. But it took an Englishman—Mr. Fox of Sheffield—to take out a patent for a similar invention which he named “Paragon”. It only weighed 400 grams and by the end of the 19th century, it was being used all over the world.

 Spaniards introduced the “paraguas’ to the Philippines, who used accessories such as wide conical hats (turung), salakots, nipa raincoats and even extra-large anahaw leaves for protection against pelting rains. The standard black umbrella came into common use by Filipinos who carried them in bright sunshine or in heavy downpours. Kapampangans, Tagalogs and even their Indonesian neighbors soon had a name for this contraption--“payung”—a shade. Down South, Muslim royalty took umbrellas and transformed them into colorful and bejeweled parasols called ‘payong-a-diyakatan’.

 The ‘payung’, like in European countries, became a status symbol for many Filipinos, and was treated as a fashion accessory. Men and women not only posed for pictures with their feathery fans and handsome walking canes but also flaunted their umbrellas, shown either open or closed. Ladies favored the Japanese paper parasols, delicately pleated and decorated with prints.

 The shape of the "payung”“ inspired names for places, plants and things. “Telapayung” is an alternative term for the almendras (walnut) tree, which sports a thick canopy of leaves that resembles an umbrella’s coverage. There is also a barrio of that name in Arayat, which was either named after the almendras or for its umbrella-like geographical silhouette. Mushrooms in Kapampangan, are called “payung-payungan” (faux umbrellas) and a smaller specie is known as “payung-payungan daguis" (mouse mushroom).

 In folklore, the ‘payung” has found its way into our riddles, and it is the answer to this cryptic puzzle: “Inyang minukyat ya ing senyora, mibukadkad ya ing sampaga” (When the señora climbed up, the flower bloomed). When Rihanna’s song “Umbrella” took the country, literally by storm, a Kapampangan version composed by Jason Paul Laxamana and sung by the girl-band Mernuts, became an instant favorite: “Ngening atiu ne ing kauran/ Pangaku e kakalinguan/ Suklab ka lalam ning payung ku/ Suklab ka lalam ning payung ku/(Yung ku yung ku eh eh eh)/ Lalam ning payung ku/ (Yung ku yung ku eh eh eh)/ Lalam ning payung ku..”

There are so many umbrella variants today, like the “Chamberlain”, with its trademark long and slender handle; the “Tom Thumb”, a small folding umbrella that can be operated by one hand. There are dome-shaped umbrellas, square umbrellas, made of plastic, nylon, oil cloth. Some outfitted with electric fans, others come with drip-dry tips. And, of course, there are fantasy umbrellas designed to double as weapons of attack and deadly espionage devices, thanks to Hollywood spy movies. But they have never ceased to retain their original purpose. Once the typhoon season sets in, it will be time to get the trusty ‘payung’ ready again and start singing in the rain!

*249. THE REDEMPTION OF FR. JOSE C. DAYRIT

ONCE A PRIEST. Fr. Jose Dayrit left the priesthood to marry and raise a family, leaving his Kapampangan community in turmoil. He became a researcher and a college dean after turning his back on his profession. This picture is from his Sapangbato days where he served as a chaplain. Ca. 1936.

The post-religious life of Fr. Jose Cunanan Dayrit is no different to the experience of many former priests who left their holy vocations and struggled to get back into mainstream society. While there are many reasons for leaving priesthood—disillusionment, internal squabbles, inability to live by the rules, human frailty (especially when it comes to matters of the heart), such rude awakenings are often met with disapproval by a harsh and judgmental community, leaving former priests stigmatized as they try to fit back in.

Jose was born on 12 September 1908, the youngest son of Eligio Dayrit and Eduviges Cunanan. The Dayrits were an enterprising family—Eligio’s brother, Felipe, was the first pharmaceutical chemist of Mabalacat town. Jose shared this brilliance, and after finishing his early studies in the local schools, he heard his religious calling. A month before turning 15, Jose entered San Jose Seminary on 12 August 1923. As a seminarian, he excelled in his studies and became a full-fledged priest on 5 April 1935, earning the distinction as the first ordained priest from Mabalacat.

Fr. Dayrit was first assigned to Sapang Bato, which was close by the military camp and which already had a thriving populace. He served the Holy Cross Parish from 1936-41. For convenience, he was likewise assigned as a chaplain of Fort Stotsenburg. He next move to the Immaculate Conception Church in Guagua, where he finished a one year term (1938-39). Even if his stay in the parish was only for a short span of time he was also well loved because he was regarded as a kind and good priest.

In 1937, Fr. Dayrit’s shining moment happened in that 33rd International Eucharistic Congress held in Manila—a first for Asia. The more popular events were the Philippine sectional meetings officiated by regional leaders. The meetings for Pampanga delegates were conducted at the San Agustin Church in Intramuros, and Fr. Jose C. Dayrit of Sapangbato was chosen as one of the speakers during the 2-day gathering together with Rev. Frs. Jose Pamintuan (Sampaloc) , Cosme Bituin (Guagua), Vicente de la Cruz (Mexico) and Esteban David (Minalin)

But alas, a bitter feud with his Bishop ensued—a disagreement that must have been so painful and profound so as to cause him to resign from priesthood. Fr. Dayrit found himself fallen from grace, so he retreated to Manila and never looked back, to pick up the pieces of a shattered life and start anew.

Calling on his entrepreneurial skills, he opened and operated Malayan Restaurant on busy Raon St. (now Gonzalo Puyat St.) near Avenida. It was while working here that he met Maria Paras, a kabalen from Angeles. After a short courtship, Fr. Jose Dayrit married Maria who gave him three children.

Fortune dealt him a cruel blow as the children came one by one. His food business was not enough to support his family though. He accepted a job at the Southern Luzon Colleges in Naga City and became the Dean of the College of Arts and Sciences. There, his new-found career blossomed, and he put to good use his gift of language (he knew Latin, Greek and Spanish) by translating Jose Rizal’s Noli Me Tangere into Kapampangan (“E Mu Ku Tagkilan”). For the rest of his life, he would embark on exhaustive researches at the National Library and continued his passion for writing.

When Fr. Jose Dayrit finally died in the 60s, he was almost ignored by his town—only a handful attended his wake held at Our Lady of Grace, the main church of Mabalacat. But surely, that would not have mattered to him; it is the triumph of the human spirit despite adversities that will long be remembered and rewarded not by Man but by His Maker.

*155. ZOILO GALANG, Kapampangan Encylopedist

ZOILO GALANG. Filipino encyclopedist and the 1st English-language Filipino novelist.

When I was a student, it was my most ardent desire to own an encyclopedia set. In our school library, I would spend hours poring over the pages of an encyclopedia, delighting in the wealth of facts, photos, charts and colorful illustrations that accompanied each entry as I did my special assignment. But sadly, I could never bring a volume home. I remember also the feeling of envy whenever I visited the homes of my cousins who owned volumes of “The Book of Knowledge”, kept in glass-covered cabinet case. Though I could borrow them—one book a a time—I knew I could never own a similar set, given our financial situation at that time.

Then, to my great surprise, in my second year high school, I received from my parents, a brand new 12-volume Collier’s Encyclopedia set, beautifully bound in black and red, and lettered in gold. What a thrill it was to hold a book in my hands, the latest 1969 edition to be exact, crammed with so much information from A-Z, and sure to satisfy the bookworm in me with endless hours of reading pleasure. My father bought the Colliers’ on installment, paying 50 pesos monthly for a year, a hefty sum that certainly jumbled the family budget. I recognized this big sacrifice by promising to take care of my Colliers’, wrapping them in plastic and storing them in a newly-built open cabinet in my room where they would remain at all times, when not in use.

While the British have their “Encyclopedia Brittanica” and the Americans have their “Encyclopedia Americana”, the Philippines, too, has its own encyclopedia thanks to a Kapampangan who single-handedly produced the 10-volume set first published in 1934.

Zoilo Galang was born in Bacolor on 27 June 1895 and his young life was spent in that bucolic town, famed for its writers and artists. He went to school at the Bacolor Elementary School and then went to Manila to study at the Escuela de Derecho, the country’s eminent law school where he graduated in 1919. A self-starter, he learned typing and stenography in English and Spanish all by himself. Attracted to the English language, he took special courses at the University of the Philippines in 1925, then went to Columbia University for further studies in Literature.

He was soon writing books of fiction, biography and philosophy, and his output was prodigious. His early poems saw print on the Kapampangan paper, “E Mangabiran". He authored “A Child of Sorrow”, the first English novel written by a Filipino. This was later made into a movie in 1930. Other notable works include "Nadia", "For Dreams Must Die", "Springtime", "Leaders of the Philippines", "Glimpses of the World", "Life and Success", "Master of Destiny", "Unisophy" and "Barrio Life".

But his greatest opus undoubtedly is the Encyclopedia of the Philippines, which began as a 10 volume set when first printed. Galang himself, edited and wrote entries for the book set which covered Philippine literature, biography, commerce and industry, art, education, religion, government, science, history and builders of the new Philippines. The Encyclopedia of the Philippines came with a general information and index.

A second edition, destroyed by fire, was published in 1948. So positive was the response to Galang’s work that the encyclopedia project was expanded to 20 volumes in a later 1949 printing. There has been no new printing since 1958.

The age of internet has definitely made information search easier than looking up an encyclopedia’s bibliography. An engine search like google and a click are all it takes. Then there’s the Wikipedia, with information content contributed by readers. Online, one can not only add, update and correct information but also post a variety of visual references. At the rapid rate information is changing, printed encyclopedias may just become obsolete in the future. But whatever, I will always treasure my old encyclopedia books, still complete and intact after all these 40 odd years, a valued part of my education, in a time when books were held dear by the hand and not read on screens.

*136. IN FINE PRINT: Kapampangan Periodicals

ALL THE NEWS THAT’S FIT TO PRINT. A young Kapampangan man peruses a newspaper for the news of the day. Ca. 1920s.

Every day, as sure as the sun rises, most of our daily reads come in the form of national newspapers and tabloids that carry the latest bad news, showbiz chismis, sensational crime stories and political exposés. The big three, in terms of readership and circulation, include PDI, Manila Bulletin and Star. National magazines are even more varied and target specific—there’s a magazine for him, for her, for cuisine fans, for Manila’s 400, for entrepreneurs, call center agents, advertising people and even pet lovers. Whatever your interest, there’s a publication today that is certain to appeal to you.

Just a little over a century ago, Kapampangans only had one local newspaper that they read from cover to cover. El Imparcial/ E Mangabiran (The Impartial) was the first bi-lingual Spanish-Kapampangan newspaper that came out in the region, published by Mariano Lim in 1905. The local paper, it was said, was an offshoot of a national conference of newspapermen that was held in Bacolor the year before. Some contend however that the paper was circulated to boost the gubernatorial ambitions of the publisher.

E Mangabiran was a 4-page publication that came out thrice a week. The Spanish section had Jose Maria Rivera of Tondo as its first editor, while the local section was edited by well-known Kapampangan men of letters that included Crisostomo Soto, Felix Galura and Aurelio Tolentino. It is no wonder that literary pieces were included with regularity on the pages of E Mangabiran. The prose narrative, “Lidia” of Galura, for instance, was serialized in the said paper, delighting its loyal readers who were titillated by the love triangle of Lidia, Hector and a secret admirer known only as F.D. In 1912, the publication of E Mangabiran was transferred to Manila and it was around this time that Justice Jose Gutierrez David joined the editorial board.

E Mangabiran lasted until 1916, but another local paper, Ing Catala (The Parrot) took its place and became the most popular newspaper of Pampanga from 1917 to the 1940s. The independent weekly paper was published in San Fernando under the editorship of Atty. Serafin de Ocampo. Another paper that came out of Bacolor was Ing Alipatpat (The Firefly), which made a brief appearance from 1917-1919.

By the 1930s, Pampanga had seven newspapers—indicative of the intellectual activity and literary bent of the people. Aside from Ing Catala, there was also the weekly Ing Katipunan of publisher-owner Pedro Sison. Ing Katiwala, another weekly, was also published in San Fernando with Justino A. David as managing editor.

Angeles had its own Ing Cabbling, a weekly newspaper edited by Jose F. Sanchez. Ing Catimawan (1929-1940) was the first know Pampango magazine that came out fortnightly. It was published in Manila by Faustino Pineda Gutierrez. With a huge circulation of 10,000 copies, it was Pampanga’s answer to the popular national magazine, Liwayway. Ing Catimawan was the first to introduce writers’ fees as a favorite section of the magazine includes contributed literary materials from reader-writers. Also coming out from the presses of Manila were Timbangan, a vernacular paper published twice monthly, and Ing Capampangan, a fortnightly paper edited by E. Y. Cunanan.

The war put a halt to the publication of Kapampangan newspapers, but in 1957, The Voice of Central Luzon was established by Armando Baluyut, husband of renown poetess Rosario Baluyut. Today, it still is in print, known simply as The Voice. The late Fyodor “Ody” Fabian was one of its most recent and most fiery editors. The Observer is another popular tabloid in English published in Pampanga. In 1974, a Kapampangan magazine—Ing Campupot—was launched. The national newspaper chain Sun.Star launched Sun.Star Clark that eventually became Sun.Star Pampanga.

The rekindled interest in Kapampangan culture in the new millennium gave rise to a host of publications with pure Kapampangan slant like Pampanga Magazine and the more recent K Magazine, with Elmer Cato as Founder-Publisher. K Magazine folded when diplomat Cato was assigned to the United Nations in New York. In its stead came Singsing, the official magazine of the Center for Kapampangan Studies of Holy Angel University, which continues to enjoy local, national and international following, with feature articles ranging from light to scholarly reading.

“To read is to lead”, one contemporary adage says, and there is no better time to pick up a Kapampangan newspaper or a magazine than now. It is not just about getting updated about current events, but it is also a special way of rediscovering the beauty of our language, the tie that binds us as one Kapampangan nation.

*125. MOON OVER MEKENILAND

BY THE LIGHT OF THE SILVERY MOON. The crescent moon serves as a clever prop for a Kapampangan girl to pose in. Circa mid 1920s.

Man has always been fascinated with the Moon—that disc of light that illuminates the heavens without fail, every night. Like the Sun, the Moon has figured in the myths and cultures of people all over the world—from the Greeks who believed it ruled by goddesses Selene and Phoebe, to the Hindus who hold festivals in honor of Chandra, the Moon. In contrast, Mesopotamians and Egyptians worshipped male lunar gods—Sin and Thoth, and many ancient pagan religions centered their activities on the waxing and waning of the moon.

A full moon rising has given rise to the folk belief that this induces bouts of “lunacy “—a term derived from “Luna”, the Roman moon goddess. Another belief, although a more recent one, belief involves werewolves or lycanthropes, who were said to draw their power from the moon.

Ancient Kapampangans too, subscribed too, to the mysteries of the moon, using it to explain complex concepts of time, space and eternity. They believe that the heavens was half of an orb that covered a flat, fixed earth. “All that is contained under the vault of the sky”, they described as “meto a sicluban banua”, or “meto yato” (one earth). On this imagined domelike cover, the sun and moon “pierced the sky”—hence the term for the sky—“sucsucan ning bulan”, a spot where the moon rises and sets daily.

Our ancient forebears also used the Moon to reckon time and periods of the day. “Bulan” denotes a month—the period from full moon to full moon. “Dulum” is used to describe the waning of the moon, same with the more graphic “merunut ya ing bulan”—the moon is worn out. The moon disappears as soon as “muclat sumala”—as the day dawns.

Ancient witnesses to lunar eclipses have also assigned a local term to this dramatic phenomenon in which the Moon passes through the earth’s shadow, causing it to darken: “lauo”. There is now word to describe a solar eclipse, perhaps due to its rare occurrence. (There is an existing Philippine myth that explains eclipses: Bakunawa, a monster deity, was said to swallow whole the many moons created by Bathala, until only one remained. The act of eating the moon causes eclipse.To frighten Bakunawa and prevent him from devouring the moon, people would go out and make noise.)

While the Moon has spawned beliefs that border on fear and mystery, its imagery has also been used by folk poets, musicians and artists to fire up their Muses. A composer was clearly moonstruck when he wrote this romantic song that described a beloved as a “malagung capilas a bulan”, the beautiful half of the moon: Malagung capilas bulan/ Matang mapundat maglalawe /Batwin ca ngening cabengian /Ing pusu cu aslagan me /Ing bie cu macapanaya /Qng caburian mu banding sinta /Queca ya'ing caladua cu /Bandi meng lubus susumpa cu. (My beautiful half of the Moon/ With alluring eyes that stare/ Tonight, you are the Star/ Illuminate my heart/ My life awaits / Whatever you desire you’ll own, my love/ You have my Soul / You will have it all, this I promise you)

My favorite, however, is this old juvenile rhyme, which I used to recite as a kid with my playmates.

Bulan, bulan, (Moon, Moon)
Balduganan mukung palang. (Throw me down a blade)
Nanan me ing palang? (What will you do with a blade?)
Pangutyud keng kwayan. (I’ll use it to cut bamboo)
Nanan me ing kawayan? (What will you do with the bamboo?)
Yang gawan kung bale. (I’ll use them to build a house)
Nanan me ing bale? (What will you do with the house?)
Lulanan keng pale. (I’ll use it to keep my palay).

Clearly, while the Moon makes people do strange things, it makes a beautiful inspiration too!

(*NOTE: Feature titles with asterisks represent other writings of the author that appeared in other publications and are not included in the original book, "Views from the Pampang & Other Scenes")

69. MUSIC TO OUR EARS

MAKING BEAUTIFUL MUSIC TOGETHER. Music runs in the family of Felicidad David and Dionisia Ayson of Bacolor as evident in this photo that shows them with their children and their musical instruments they: bajo, violin, flauta and clarinet.Ca. late 1900s.

Kapampangans have an affinity to music like no other. Just listen to the soaring vocals of international star Lea Salonga (Angeles City). Or that of comedian-singer Nanette Inventor (Macabebe), Rico J. Puno (Minalin), an exponent of OPM in the late 70s, and Mon David (Sto. Tomas). Earlier, in the ‘50s and ‘60s, the golden voices of Cenon Lagman, Tawag ng Tanghalan champion, Fred Panopio, Flor de Jesus (Joni James of the Phils.) , operatic star Fides Cuyugan-Asensio and Dario Fajardo (Harry Belafonte of the Phils.) ruled the airwaves. Kapampangans today continue to illuminate both the national and global stage with their gift of music in all its genres—pop, classical, folk—from Ysagani Ybarra of Mabalacat who uses his music for his advocacies and young singer Antoinette Taus to Leventritt Gold Medallist pianist Cecile Licad and Angeles-born Conrado del Rosario, a former student of composition of Lucio San Pedro, and winner of a Young Artist Foundation Grant who now conducts and concertizes in Europe.

Our love for music is deeply rooted in our culture. A turn-of-the century American historian observes: “Music with the Filipinos holds a high place in their esteem. And it is music such as we know that particularly appeals to them…The native has an inherent passion for music, a fact which stands as a guarantee that there is more good than evil in his composition..”.

Kapampangans have always been singing their hearts out long before the Spaniards came. Our forebears sang basultos, folk songs which contained unusual, metaphorical and paradoxical themes. Goso is a song that contains a moral message, while a pamuri, like a paninta, is a paean to love. A Kapampangan peasant also sang songs that talked of the toils of his labor or kantang pang-obra. Juvenile songs like “Sisingle, sisingle, or Bulan, Bulan, balduganan mukung palang..” were sung or chanted by children at play.

When the Spaniards came and organized colonial schools, Music, along with Latin, Rhetoric and Divinity subjects, was incorporated in the curriculum. Young women were taught in both instrumental (mostly piano, harp) and vocal branches of the art. American educators kept music as a basic subject in schools. Two years after the University of the Philippines opened its College of Music in 1916, three Kapampangans enrolled in the music course. During the schoolyear 1923-1924, Kapampangan students of music numbered 6.

The flourishing of Filipinized zarzuelas or musical plays, also deepened many a Kapampangan’s love for music. Pablo Palma of Bacolor organized his own band, Orchestra Palma, that composed the music for Juan Crisostomo Soto’s “Alang Dios”. Local bands, in fact, were staples of Pampanga town fiestas, with itinerant musicians making the rounds of balens, adding their distinct sounds to the festivities. During the re-opening of the Escuela de Artes y Oficia of Bacolor in 1893, for instance, all the towns of Pampanga were required not only to build decorative arches but also to field their brass bands to welcome the Governor General and the Archbishop of Manila.

Soon, Kapampangan bands were making their presence felt in national competitions. At the 1909 Manila Carnival band competition, the 32 member-band from Angeles won First Prize for its stirring rendition of Crème de la Crème by Tobani, under the patronage and care of Don Mariano Cunanan of Mexico. Previously, the band was under the successive batons of Prof. Higino Herrera of Angeles, Jose del Prado of Manila and Lucino Buena of Baliwag, Bulacan. The band’s instruments were all imported from Paris, France. Another band of note was the Banda ’31 founded by Temang Mangio who co-founded this famous Bacolor band with husband Pepe Baltazar of Sasmuan.

Even in the dark days of our colonial past, music kept Kapampangan heroes’ spirits up. Agapito Conchu of Guagua, executed as one of the 13 Martyrs of Cavite, played the church organ and taught music in that province. And it was said that the last request of famed revolutionary Kapitan Isabelo del Rosario before his execution was for him to play his violin one last time. His wish granted, he picked up his violin and played “Danza Havanera Filipina” while tears streamed down his eyes. When the last strain of the song faded, he smashed his violin to smithereens and calmly walked to the gallows to his death in 1901. Indeed, for the Kapampangan, music is not just in his heart, but in his blood.
(11 October 2003)

66.AURELIO TOLENTINO and his Literature of Sedition

PENNING PATRIOTISM. Aurelio Tolentino’s rare copy of “Napun, Ngeni at Bukas”, Nobelang Kapampangan, (September 1914, by Limbagang Noli, Sampalok Manila). The blurb on the front page non-chalantly proclaims: Ing dramang Napun, Ngeni at Bukas yaping kesukul na ning ginawa, at miatulan king apat a kasalanang sedicion, conspiracion, rebellion at insurreccion laban king gobierno Americano”.The booklet was priced at 30 centavos.

Few Kapampangans are familiar with the life and times of Aurelio Tolentino, playwright, poet and patriot. Ask a student of local literature, and chances are, only his dramatic and controversial opus in Tagalog --“Kahapon, Ngayon at Bukas”-- will be top-of-mind. The fact is, one third of his total output (a total of 69 literary pieces known to date) were written in Kapampangan; the rest were in Tagalog and Spanish. Despite his being prolific, only a smattering of Tolentino materials are available in local libraries and schools. Which was why, when a slim 1914 work entitled “Napun, Ngeni’t Bukas” was offered to me, I quickly bought this rare Kapampanganiana without hesitation.

The man who would land in jail for being the author of a play that tended “to incite and suggest religious conspiracies against the United States”, was born in Santo Cristo, Guagua, Pampanga to Leonardo Tolentino and Petrona Valenzuela on 15 October 1868. At age 5, he was privately tutored until he was old enough to go to regular school in nearby Malolos, Bulacan at the Escuela de Latinidad run by Angelo Gimenez.

Transplanted to Manila, the young college-age Aurelio enrolled at the Colegio de San Juan de Letran and earned a Bachelor of Arts degree. His reputation as a literary savant grew as he kept on winning poetry contests one after the other. So versatile was Aurelio, that he signed up for courses as varied as Law, Philosophy and even Surveying at the University of Santo Tomas. His studies had to be cut short with the death of his father. Returning home, he landed a teaching position in the private school of Don Tomas Gamboa.

When he came back to Manila 5 years later, it was to work as an official in Tondo’s Court of First Instance under Don Francisco Polanco. This led to his meeting with Andres Bonifacio, who, together with Teodoro Plata and Ladislao Diwa, founded the Katipunan on 7 July 1892. Aurelio Tolentino had the honor of being one of the first ten pioneer members of this secret society. He was one of those seized by the Spaniards in the Revolution of 1896, and was jailed for a period of 9 months.

Tolentino’s literary genius shone forth during the American regime. He wrote everything from novels, plays, stories, essays, poems and articles—in 3 languages—mostly with nationalistic themes. His most famous play that would bring him notoriety among the colonizers was “Kahapon, Ngayon at Bukas”, first staged to a jampacked house on 14 May 1903 at the Teatro Libertad (later Zorilla). The allegorical play centered on the triumph of Inang Bayan (Philippines) against its colonizers Haring Bata (China), Halimaw (the Friars), Dilat-na-Bulag (Spain) and Bagong Sibol (U.S.). A key battle scene called for one Tagalog performer to bring down the American flag and then trample it, but the actor froze when he saw a number of Americans in the audience. Tolentino ascended the stage and did the act himself, to the horror of the Americans who saw it as an act of sacrilege against their Stars and Stripes. Arrested, charged and found guilty of “scurrilous libel’, Tolentino was promptly imprisoned.

The works of Tolentino in his mother tongue, Kapampangan, are rich and much varied. He translated classics such as the Count of Monte Cristo and Quo Vadis in Kapampangan. In 1911, he wrote “Daklat Kayanakan” (Guide to Youth), a series of didactic lyrics poems that instructed the young on how to achieve good behavior, sense of urbanity and prestige. He was also at home in zarzuelas, writing “Ing Poeta”, a comedy of errors revolving around the exploits of poet Augusto and how he won the hand of Maria, after successfully staging a merry mix-up of a play in response to Maria’s father’s challenge.

The short drama published in booklet form as shown in this article—Napun Ngeni at Bukas (Larawan ning Balen), is another one of Tolentino’s allegorical works. It is the story of Raxa Lakhan-Balen (Country) who was betrayed by Samuel ( who obviously, represents the new colonizer, Uncle Sam) and left to die in a ravine. His widow, Kalayaan (Freedom) and child Diwa (Inspiration), while keeping vigil on his grave, were taken captive by Samuel, promising material rewards like new bridges, schools and roads. In the end, Lakhan-Balen was resurrected and reconciled with Samuel, with the former, restored to his sovereignty of the country.

Aurelio Tolentino’s writings mirrored his fiery revolutionary spirit, penning words that are seemingly lyrical yet brimming with satire and laced with acerbic humor, all in the name of country and mankind. The poet, playwright and patriot passed away on 3 July 1915.
(20 September 2003)