*388. Our Lady of the Opera: FIDES CUYUGAN ASENSIO

KAPAMPANGAN DIVINE DIVA. Fides Cuyugan Asensio, the leading voice of Philippine Opera, traces her roots to the capital city of San Fernando, from where her father, Dr. Gervacio Santos-Cuyugan hails from.

In the field of musical opera, one Kapampangan who has done most for its appreciation and advancement is the acclaimed diva from San Fernando, Fides Cuyugan-Asensio (b. 1 August 1931). Asencio is considered as an institution in Philippine Opera for the last 5 decades, ranking as one of the most versatile performers in the country.

 Asencio was born to Dr. Gervacio Santos-Cuyugan of San Juan, San Fernando and Jacinta Belza. She took her elementary education at Philippine Women’s University in 1938, where she revealed her love for singing. When it was time to go to college, she stayed on at the Philippine Women’s University which had a good curriculum in Music.

With a diploma tucked under her belt, Fides applied and was accepted at the Curtis Institute of Music in Philadelphia U.S.A. in 1947—the first Filipina to be admitted to the prestigious music school—where she earned an Artist’s Diploma in Voice.

 When she returned to the Philippines, she took time to get married to Manuel “Jimmy” Asensio Jr. in 1954 with whom she had two children, Dennis (a doctor) and Manuel III. Then, she plunged headlong into musical opera, which had long had the reputation as an entertainment form reserved for the elite. Her rich, coloratura soprano voice was fitted to great classical roles, like Adele in “Die Fledermaus”and Lucia in “Lucia di Lammermoor”.

But in addition to that, Fides took on roles in Philippine-created operas that were adapted from historical works. Critics raved when she played the crazed woman “Sisa” in the opera, “Noli Me Tangere” based on Rizal’s opus. She left an indelible impression as Dña. Luisa vda. De Bustamante in “La Loba Negra” and Juana la Loca in the ethno-opera, “Lapu-Lapu”.

 To expand the portfolio of local operatic materials, Asencio, who was also a talented librettist-lyricist, took Nick Joaquin’s popular “May Day Eve”and transformed it into the opera “Mayo-Bisperas ng Liwanag”. One other noteworthy work was “Larawan at Kababaihan, Maskara ng Mukha”.

 She took her advocacy to television, by appearing in the well-received “Sunday Sweet Sunday (aired from 1969-74) where she sang arias, musical theater pieces and opera excerpts, together with husband Jimmy, himself, a known opera perfomer. As if TV and stage were not enough, she also appeared in such acclaimed movies as “Oro, Plata, Mata” (1982), directed by Peque Gallaga, "Aparisyon”(2012) and more recently, “Mana”(2014).

 Her great efforts and achievements were not lost on leading award-giving bodies of the Philippines. These singular distinctions include: 1989 Best of the Philippine Profile of Achievement as Performing Artist; 1990 and 1993 Asia Opera Award, and 1999 Aliw Awards Foundation’s Gawad Siglo ng Aliw Honorees. In 2005, she was the National People’s Choice for “Grand Achievement in Theater Arts”. She was honored by her proud city by naming her as one of the Outstanding Fernandinos in the field of Arts. This was capped by a Lifetime Achievement Award bestowed by Pres. Gloria Macapagal-Arroyo on 7 July 2005.

 Fides Cuyugan Asensio has not rested on her laurels and continues to be a leading voice in local opera. After founding The Music Theater Foundation of the Philippines in 1986, she moved on to music education and is currently a Professior Emeritus of the U.P. Voice and Music, Theater/Dance Dept. and the Fides Cuyugan Asensio Institute of Music and Arts. Her rich, crystalline voice can be heard on the seminal CD of Kapampangan songs, “Pamalsinta Keng Milabas”, singing the classic favorite “Atin Cu Pung Singsing”, a tribute to her roots that she has not forgotten even after years of performing on the world stage.

*351. JESS LAPID: Guagua's Last Action Hero

LIPAD, LAPID, LIPAD!. Jess Lapid Sr., at the height of his career, ranked among the bigtime action stars of the 60s, led by Fernando Poe Jr. and Joseph Estrada. Photo from Philippine Free Press, Ca. 1964.

 “Divina Valencia, 

Stella Suarez, nagbu-burles” 

Sa ngalan ng pag-ibig, 

Fernando Poe’ng makisig, 

Pangalawa si Jess Lapid.” 

 In the more innocent days of the 1960s, children all over the country used to sing this ditty to the tune of the Beatles’ ”A Hard Day’s Night”, as a tribute to the local showbiz’ most-talked about stars. Divina and Stella were obvious picks as they were the leading names that paved the way for “bomba” films in the 70s. Rising star Fernando Poe, was already a name to reckon with in action films, and hot on his heels was Poe’s discovery, Jess Lapid, who was popular enough to earn a line in the lyrics of this nonsense song, which alludes to his handsome-ness, second only to Da King. Indeed, Jess Lapid’s star could have shown brighter in Philippine moviedom, had he not met an early and untimely death.

He was born, Jesus Lapid  (b. 7 Jan. 1934)  in Guagua town; an older brother, Jose, is the father and grandfather of movie stars-turned politicians Lito Lapid (now on his last term as Senator), and son Mark Lapid (former governor of Pampanga and now TIEZA Head), respectively. Jess started as an extra in his first film from Premiere Productions, “Larawan ng Pag-Ibig” in 1961. He then shifted to being a stuntman, after finding out that they earned more than extras.

He rose to become the top stuntman of Premiere, often doubling for more established stars—riding horses, falling from cliffs, getting shot at by villains. He had the good fortune for doubling for Fernando Poe Jr., and soon, the two would become fast friends.

When Poe ventured into film productions, he made Jess one of the regulars in his films, giving him roles that required real acting, rather than choreographed stunt actions. Jess rose to the occasion and proved to be a convincing character actor. He tried him out in “Pasong Diablo”, in 1961.

 It was in the FPJ Productions, “Sierra Madre” (1963) that Poe decided to give Jess the full star treatment—from a more prominent billing to major publicity exposures. But it was Jess himself who pulled it off, by turning in a sensational performance that erased all doubts about his just being a “mere stuntman”.

 It was Tagalog Ilang-Ilang Productions picked him up and eventually made him into a superstar in the movie “Kardong Kidlat” (1964) which became such a smashing success at the box office tills. At the Globe Theater where the movie was launched, a long queue of movie fans lined up around the building just get get in and watch the talk-of-the-town film.

 1964 proved to be a bright and busy year for jess, appearing in movies like “Bilis at Tapang” with Romeo Vasquez and “Deadly Brothers” with Joseph Estrada. He co-starred with Vic Vargas in “7 Kilabot ng Barilan”. In 1968, Jess appeared alongside action movie greats Fernando Poe Jr. and Joseph Estrada in “3 Hari”, an FPJ productions offering.

 As he was raking it in, he invested in his own film outfit, Jela Productions, and began producing his own movies.

 He had just wrapped up the movie “Simaron Brothers”with Jun Aristorenas, when, on the night of 13 July 1968, he was shot to death at the Lanai Nightclub after an altercation between two groups of movie personalities. Persistent reports linked the incident to another Kapampangan actress, Nancy Roman, also his leading lady. A suspect, Mario Henson, gave himself up to the police, and at least one gunman from Angeles was implicated in the crime. Jess was brought to the National Orthopedic Hospital but was pronounced dead on arrival. He was just 35 years old when he passed away.

 “Simaron Brothers”was shown post-humously at the Globe Theater, and the blurb capitalized on his sensational death by touting his last movie as a “picture that will project the living image of Jess Lapid in the hearts of millions..”.

 As a belated tribute, nephew Lito Lapid appeared as Jess Lapid in the biopic “The Jess Lapid Story”, released in 1978. He also immortalized the iconic role of Leon Guerrero, first originated by Jess in the 1968 film, “Leon Guerrero: Laban sa 7 Kilabot”"

 Of his 3 children, one went on to follow in his footsteps. His namesake, Jess Lapid Jr. also became a movie actor, and a film and fight director. He appeared in a 1980 spin-off film that made his father famous, “Ang Bagong Kardong Kidlat”. Jess Jr. capped his career with a Best Supporting Actor award for the movie “Lumayo Ka Man Sa Akin” in 1993.

 The senior Jess can very well rest happy with the thought that the Lapid name, through his son, nephew and grandnephews, continue to contribute to the lively art of film-making in the Philippines.

*209. Floridablanca's Muse of Philippine Movies: ROSITA NOBLE

NOBLE BEAUTY. The lovely star of the 50s silver screen with her trademark dimples was born of German descent in the sugar town of Floridablanca. This photo is from an album of Lux Beauties, issued as a premium in the 1950s.

One of the most unforgettable faces ever to grace the Philippine theaters screens belongs to the Kapampangan actress, Rosita Noble. She, with her trademark dimples, had a film career that lasted for just under a decade but her body of work speaks well of her thespic talents that she put to good use in movies ranging from tearjerkers, rib-tickling comedy to action movies.

 Rosita Noble was born in 1933 in Floridablanca, then, a flourishing sugar town. She was the first-born of a German immigrant, Herman von Costenoble, who married local girl—and his lavandera (washerwoman), Maria Panlaqui.

Despite the objection of relatives, their love defied all odds. The couple settled in Lubao where Costenoble had sugar cane fields, and were blessed with 4 children: Rosita, Efren, Ramona and Rita Costenoble.The young Rosita went to Del Carmen Elementary School, a local grade school near the Pampanga Sugar Mills (PASUMIL). 

During the war, Germans--including Herman-- were rounded up and interned in camps, but they were free to work in the Pampanga Sugar Mills. Eventually, Herman was killed in an ambush by Huks who suspected him of siding with the Japanese. The Costenoble family carried on with their lives after his tragic death.

As to how Rosita got into the movies, we have no account, but at age 17, she was cast in the epic film“Sta. Cristina”, under Premiere Productions. This was in 1951, an auspicious year for an ingénue.

 The executives of Premiere must have liked how Rosita registered on screen such that they gave her two more assignments that same year: “Bahay na Tisa” and “Taga-Ilog”. Her serene beauty was perfect for “Kalbaryo ni Hesus”, another movie with a religious theme. Then she shifted to melodrama with “Pagsikat ng Araw” and “Sa Kamay ng Tadhana” in 1953. Her star was at its brightest in 1954, making a record of six movies: “Is My Guy”, “Sa Kabila ng Bukas”, “Agua Bendita”, “3 Sisters”, “Sex Gang” and “Si Og sa Army”, where she co-starred with Mr. Philippines, Jess Ramos.

Costumed action movies were all the rage in the mid 50s (Ibong Adarna, Siete Infantes de Lara, Prinsipe Amante) and Rosita was quickly recruited to make “Anak ni Palaris” in 1955. She had the distinction of being the first leading lady to be paired with an up-and-coming young star—Fernando Poe Jr.

 It was also in 1955 that she appeared in the movie adaptation of “Torpe”, a story written by the prolific Mars Ravelo which was first serialized in Hiwaga Komiks. Rosita played the lead role opposite Carlos Padilla Jr. in this Eddie Romero directed movie produced by Deegar Cinema, Inc.

Her performance was noted as among the best of the year and when the FAMAS Awards season came, she found herself being nominated for Best Actress alongside accomplished actresses Lolita Rodriguez (“Rosanna”), Leila Morena (“Pandora”), Emma Alegre (“Higit sa Lahat”) and fellow Kapampangan Rosa Rosal ( she won for “Sonny Boy”).

 As the 50s decade closed, she moved to Sampaguita Pictures, then a rising production outfit. She made a few more movies there before calling it quits. In all the years she spent as a glamorous movie star, she was a model performer, a true professional who was never embroiled in controversies. 

Like the fairy tale-endings of her films, Rosita found love and married Syrian-Filipino Antonio Basmayor Tani,  from Bacacay, Albay. The couple raised 5 children: Valentine (married to Cesar Canlas), Antonio (+, married to Rosanna Labrador),Christine (married to Greg Parham), Mary Rose (married to Joven Esguerra) and Herbert Costenoble. In 1984, with her showbiz years behind her, Rosita and her family moved to the U.S. and has not been back since. The Tanis spent 57 beautiful years together, until Antonio’s death at the age of 85 in 2008.

 Nowadays, Rosita she spends time with her Bible Study group. She loves tending her garden, and keeping close to her 13 grandchildren and 3 great-grandchildren.

In 2010, Rosita Noble was honored alongside 50s screen icons Lilia Dizon, Delia Razon, Mila del Sol, Tessie Agana, Linda Estrella, Letty Alonzo, Gloria Romero, Rosa Rosal, Lolita Rodriguez and others, with a Gawad Parangal sa mga Ginintuang Bituin ng Pelikulang Pilipino, in celebration of the International Women’s Month—indeed, a noble tribute to the legacy of Floridablanca’s first lady of the silver screen, Rosita Noble.

*193. SABAT SANTACRUZAN

HALT! WHO GOES THERE. A typical Maytime Santacruzan from Central Luzon. The procession topbilled Reina Elena, the Empress who found the True Cross, escorted by her son, Constantine. ca. mid 1920s.

There is no Santacruzan like the Sabat Santacruzan of Pampanga—a religious procession based on an age-old tradition woven around the finding of the True Cross. But this Kapampangan version has a unique, surprising twist, integrating theatrical features, poetical jousts and moro-moro elements for an even more entertaining drama on the streets.

The original Santacruzan as we know it, re-enacts the return journey of St. Helena, mother of Constantine the Great from Jerusalem back to Rome, after discovering the cross on which Christ was crucified in 326 AD. She had stumbled upon three crosses at the crucifixion site, and the real cross was determined by having sick person lie on the crosses; he was instantly cured upon lying on the Santa Cruz (Holy Cross).

Celebrated every 3rd of May with a long procession featuring various incarnations of Elenas, biblical royalties and characters representing Virgin Mary, the festival was introduced by Spain and there was no stopping its widespread popularity ever since.

The Kapampangan version is different in that the procession is halted several times by costumed actors who challenge the Reina Elena in a poetic joust and engage her troop in a swordfight derived from yesteryear’s moro-moros, hence the name “Sabat Santacruzan” (Halt the Santacruzan).

The basic plot dramatizes the perilous journey of Elena and her son Constantino to the Holy Land. Her royal retinue is ambushed by heathen ‘moros’ led by Reina Florifis. Elena sends Goy de Borgonia (Guy of Bourgogne, an 11th c. French crusader, hence the ‘sabat’ is also known as “goydo-goydo” in Sapangbato, the only town in Pampanga that continues to stage this folk event) to launch a counter-attack but instead, is smitten by Florifis. Elena asks Carlo Magno of France to help and responds by sending eight of his Doce Pares, namely, Prince Roldan, Oliveros, Reynaldos, Conderlos, Goyperos, Montesino, Galalon and Ricarte.

On her return trip to Rome, Elena gets ambushed yet again, this time by Principe Turquiano, Florifis’ brother. But before he could spirit away the precious relics of the True Cross, Elena pleads eloquently about the significance of the cross to the whole Christian world. The deeply affected Turquiano and his men lay down their arms and are converted to the new religion.

The chief dramatis personae of Sabat Santacruzan are an anachronistic mix of characters, real and made-up, from different periods of history: biblical characters (Methuselah, Queen of Sheba, Judith, the Three Marys), Marian personifications (Rosa Mistica, de las Flores), allegorical figures (Faith, Hope & Charity), plus a band of heavenly angels. Extant scripts of the Sabat Santacruzan written like old Pasyon books are very rare, and one, a prized heirloom of the David Family, is the basis for the May pageant staged in Sapangbato. The roles are filled up after rigid auditions, which puts oratorical talents first above looks.

In recent times, there has only been two stagings of the Sabat Santacruzan, both sponsored by Holy Angel University’s Center for Kapampangan Studies. The last outing in Sapangbato, which was held last 22 May 2010, featured seasoned performers dressed in colorful costumes, faithfully recreated using old Santacruzan and moro-moro photos as references. There is no stopping the Sabat Santacruzan tradition, a pageant of faith rooted in the strong religious convictions of Kapampangan people, at once folksy, festive and true.

*126. GRACITA DOMINGUEZ: Dolphy's Dearest

GRACITA AS GLO-CO BEAUTY. Actress Gracita Dominguez, of Mabalacat, models for Glo-Co Hollywood soap print ad. From a Sunday Times Magazine tearsheet, 1953.

Gracita Dominguez (b. 193?/d. 2007) comes from an old-time family from Mabalacat which counts a hero (Lt. Emilio Dominguez, a Katipunero) among its members. She, too, was launched as a new heroine of Philippine movies by no less than a noted director—“bagong tuklas ni Manuel Conde”. Conde had produced and starred in the 1950 epic, “Genghis Khan” which took Venice Film festival by storm two years later. 

Previous to this, Gracita had done stage and bod-a-bil (vaudeville) shows occasionally, and so it was really hitting the big time when she was introduced in “Siete Infantes de Lara”, a costume movie written by Carlos “Botong” Francisco. Our future National Artist was then working as an illustrator for popular comic books. The stars were Eddie Garcia, Mario Montenegro, Johnny Monteiro among others, while the female leads were Luningning and Africa de la Rosa. Gracita had to be content with a supporting role. 

 A year later, the young ingenue was launched to full stardom, in Fortune Productions Hiwaga ng Langit (Mystery of Heaven) and in 1952, appeared in Carlos Vander Tolosa’s Kalbaryo ni Hesus (Passion of Christ), which featured an American actor, Jennings Sturgeon, as Jesus Christ. Despite these films, Gracita did not quite make the A-List of bankable movie actresses. 

She continued appearing in occasional stage and opera shows and this is where she met Rodolfo Quizon—Dolphy, today's King of Philippine Comedy. Despite opposition from Gracita's parents, she became Dolphy’s partner and when the kids came along—6 in all: Manny, Freddie, Rodolfo Jr., Edgar, Sahlee and Rollie—she decided to quit showbiz altogether to devote her time raising a family, while Dolphy worked abroad as a comedian-performer in Hong Kong. 

 All six of the Quizon children entered showbiz, and three met with varying degrees of success. Thus, what Gracita failed to accomplish, Manny, Salud (Sahlee) and Rollie did. Manny became the manager of his father’s RVQ Productions and did notable films like “Sino si Boy Urbino” and Andalucia. Convent-bred Sahlee dabbled in showbiz in the 1970s, appearing in song-and-dance teen flicks, but found business success in the U.S. West Coast as distributor of Philippine films. Gracita’s youngest son, Rollie, won the 3rd Metro Manila Filmfest Best Actor Award for the film “Burlesk Queen” opposite Vilma Santos. He was most well known as Dolphy’s son in the long-running TV sitcom “John and Marsha”.

Gracita and Dolphy separated in 1963. They, however, remained in good terms for the rest of her life. She passed away in 2007 after a long illness. 

  (*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")

*88.HUK ON FILMS: From Movement to the Movies

DANTE'S INFERNO. Film poster of Kumander Dante's (Bernabe Buscayno) biopic, portrayed by Phillip Salvador and filmed in 1988. Buscayno, founder of the New People's Army in 1969, was a former worker in the sugar plantations owned by the Cojuangcos. The film was directed by Ben Yalung.

The Philippine movie industry began in the early 1900s, and since then, the medium has become one of the more popular sources of entertainment for many generations of Filipinos. Early films about the Philippines were story-less, featuring scenics and events such as Fiesta de Quiapo and Panorama de Manila. Narrative films with patriotic themes like La Vida de Jose Rizal and Los Tres Martires became the vogue in the first 2 decades of the new century.

With the formalization of the studio system, the film emerged as an effective medium for storytelling, with themes that often mirrored the thoughts of the country. After World War II, the local film industry rose from the ashes quickly, with a motherlode of tales from the ruins of the war—the 1st postwar film was Manuel Conde’s Orasang Ginto (The Golden Clock) which pictured graphically the heroism and sufferings of the Filipino guerilla. The mood had shifted dramatically from innocent romance to the harsh realism of violence and criminality.

The end of the war also signaled the start of our independence, but the pervading euphoria quickly gave way to feelings of betrayal as corruption and the struggles of the social class all but erased the gains of our new independence. The Communist HUKBALAHAP (Hukbong Bayan Laban sa mga Hapon) movement had gained grounds and support—providing the film industry with more eye-opening stories to tell about the revolt of the masses. Agrarian unrest, peasants bound to the soil, the heroic lives of Huk kumanders—all these found expressions on the screen, providing the audience a real hard look into the movement and its causes, its often-bloody struggles and its larger-than-life rebel heroes.

A comprehensive list of Huk-inspired films:

BACKPAY. (1947) Plot: Post-war guerrillas, disappointed because of the non-payment of their benefits and failure of the government to implement agrarian reforms decide to join the Huk movement

MGA BUSABOS NG PALAD (1948, Slaves of Destiny). Cast: Leopoldo Salcedo, Gil de Leon, Plot: Guerrillas find themselves jobless and resort to stealing, begging and boxing.

LUPANG PANGAKO (1949, Promised Land). Cast: Leopoldo salcedo, Mila del Sol. Plot: Returning guerrillas find difficulties in adjusting to mainstream life and find unemployment.

CANDABA. (1950) Cast: Tessie Quintana, Teody Belarmino and Tony Santos. Directed by: Gregorio Fernandez. Plot: Agrarian conflict.

TIGANG NA LUPA (1950, Parched Land). Cast: Rogelio de la Rosa and Leila Moreno. Plot: Agrarian conflict.

HUK, SA BAGONG PAMUMUHAY (1953, Huks, A New Life). Cast: Jose Padilla Jr., and Celia Flor.

HUK. (1956) A U.S. made movie. Cast: George Montgomery, Mona Freeman. Plot: A plantation owner struggles to fend off native insurrectionists (the "Huks" of the title).

KUMANDER 13. (1956) Cast: Rogelio de la Rosa, Carmencita Abad.

KUMANDER ALIBASBAS. (1981) Cast: Joseph Estrada, Perla Bautista. Bipic of Cesario Manarang, Huk leader from Concepcion, Tarlac.

PEDRING TARUC. (1982) Cast: Joseph Estrada, Ronaldo Valdez. Biopic of Huk leader, Pedro Taruc. The showing of this movie was blocked by the Marcos regime, citing that no outlaw should be made into a hero for a film.

KUMANDER DANTE. (1988) Cast: Phillip Salvador. Plot: Biopic of Bernabe Buscayno, leader and founder of New People’s Army (NPA).

(*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")

*85. INGKUNG DANDO, Zarzuela Star

DRAMA KING. Mabalacat zarzuela actors and actresses in a Kapampangan production of Rizal's "Noli Me Tangere". My grandfather, Gerardo Razon Castro, wearing a derby hat, was cast in a leading role as Crisostomo Ibarra with A. Malig as his love interest, Maria Clara. Circa 1915. From the photo collection of Mr. Daniel Henson Dizon, Angeles City.

We are a family of nervous wrecks, and we shun being in the limelight even for just 5 seconds. Performing in public was never our strong point. At reunions, our family would recede in the background when it was time for those mandatory clan presentations. My Dad would never be caught dead with a microphone, unless he is pumped up with whiskey. In my elementary school days, when I was chosen to recite a poem on the occasion of United Nations’ Day, my knees shook so badly, I flubbed my lines and left the stage with bowed head. Only Big Sis took to the spotlight, winning singing contests in high school--only because she was such a popular campus figure and could get away warbling a song like Vilma Santos.

So it came as a total surprise when I learned from my Auntie Elsie, that my grandfather—Gerado Razon Castro (b. 3 Oct. 1894/d.30 Dec. 1968) or Ingkung Dando—was a stage actor. “He had such a good speaking voice”, my aunt remembered, “and he could recite Kapampangan verses with facility and conviction. He had stage presence! And it’s said in his younger days, he bagged the role of Rizal in a zarzuela…”.

Of course, coming from his No. 1 fan, I took her rave reviews with a grain of salt. I was old enough to remember Ingkung, and certainly, he did not have the classic matinee look required of a performer. Fair complexioned, he was short, had chinky eyes, but I do know he had great sartorial style, cutting a mean figure in his white pants, straw hat and baston whenever he went to Church. I thought my father—his son—was the looker in the family.

Also, I never heard Ingkung recite a poem or sing a song. I doubt if he could carry a tune, although he would entertain us by putting us on his knee and sing..”Kikinaking..kikinaking..”. Oh yes, he’s a good whistler too, which he would often do to summon the breeze, when the day was hot and sweltering. But performing as a lead star in a zarzuela? Unthinkable!

Until a casual visit to the home of local historian Daniel Henson Dizon, a relative, yielded a picture that had me jumping up and down. It was a circa 1915 group picture of a zarzuela repertory in Mabalacat. I instantly recognized Ingkung as he was right smack in the middle of the photo, with a derby hat. He looked exactly like the old portrait we have of him, now lost, that used to hang in our living room.

Tatang Dan quickly filled me in on what he knew about the zarzuela photo from his personal collection. It was a Kapampangan zarzuela, based on the novel of our national hero, Noli Me Tangere, that was mounted by the people in the picture—all Mabalacat residents. The lead performers were Gerardo Castro as Crisostomo Ibarra, A. Malig as Maria Clara and Mariano de la Cruz as Pilosofo Tacio. As there were no local theaters then, the play was staged on platforms constructed near the San Felipe Bridge. The play was directed by J. L. Mendoza.

Could this zarzuela have been based on Juan Elias de Guzman’s translated opus? De Guzman, a Mabalacat resident, is acknowledged as the first known writer in Spanish and Pampango. He translated Jose Rizal's Noli Me Tangere in Kapampangan after the hero's death. When Juan Elias died, it was said that Rizal's portrait fell from the wall at the precise moment of his death . He was the first to be interred in the Municipal Cemetery of Mabalacat, constructed in 1907.

But back to the zarzuela photo. Another surprise awaited me. On the back of the photo were written the individual names of the performers and the roles that they essayed, a chosen list that included : J.L. Mendoza (Director General), S. de la Cruz (Director del Drama), M. de la Cruz (Pilosofo Tacio y Director de Ecsena),Gerardo Razon Castro (Crisostomo Ibarra), A. Malig (Maria Clara), Emilio Dominguez (Padre Salvi), A. de la Cruz (Elias), A. Mendoza (Capitan Pablo), A. Dominguez (Teniente Guevarra), Laureano Angeles (Maestro de Escuela), B. Castro (Padre Damaso), S. Castro (Capitan Tiago), L. Castro (Capitan General), Montoya (Sacristan Mayor), Francisco Siopongco (Alcalde), N. Castro (Padre Dominico), Dizon (El Tulisan), A. de la Cruz (Asistente General), F. Sablay (Directora de Musica)

A zarzuela star at age 21—that’s my Ingkung! I wonder, did he belt a song like a Broadway star? Did ladies swoon whenever he entered the stage? Was he given acting awards? What did critics say of his thespic skills, was the show praised or panned? With so many Castros in the cast, could they have been relatives? Is acting really in the blood?

I would probably never find out, but with thoughts of Ingkung Dando as the ultimate zarzuela idol to warm me, I am now ready to put my stage fright behind--and break a leg!

(*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")

*84. JAIME DE LA ROSA: Brother Act

HIS STAR ALSO RISES. Jaime de la Rosa, matinee idol of the '50s, younger brother of Rogelio de la Rosa, and a member of Lubao's most accomplished family of stage and movie performers who achieved national prominence.

Philippine moviedom was at its brightest in the ‘40s and ‘50s with the luminous presence of one talented family of from Lubao: the de la Rosas. While Golden boy Rogelio de la Rosa and character actress Africa de la Rosa had a headstart in establishing their film careers, it was not long that another brother joined the acting bandwagon and started making his own mark in movies that are now regarded as truly Pinoy classics.

Just like his siblings, Jaime de la Rosa was born in Lubao in 1920. Acting was in the family’s blood: aside from the aforementioned Rogelio and Africa, a sister, Purita, dabbled briefly in the movies too—until ill health and a rising politico named Diosdado Macapagal put a stop to a budding acting career. Then there was an uncle, Gregorio Fernandez, a noted director who had been instrumental in putting Rogelio’s road to stardom. With his debonair looks, Jaime too, was destined to take center stage and follow his own star.

Jaime was studying Law when the silver screen beckoned. Not yet out of his teens, he was first featured in the Eastern Pictures movie, Anak ng Lansangan (Children of the Streets) in 1939, using the screen name Tommy de la Rosa. Making his strong presence felt, he was cast successively in 3 movies as a supporting actor: Cadena de Amor, Bawal na Pag-ibig (Forbidden Love) and Kahapon Lamang (Only Yesterday). Before the war began, he was seen in a musical, Ibong Sawi (Ill-fated Bird).

This sudden halt to Jaime’s career did not dampen his spirit. He took time to marry his childhood sweetheart, Beatriz Ocampo Santos with whom he would have three daughters: Betty, Cherry and Rowena. He settled his family in Sampaloc, then invested in prime property in Horseshoe Village a favorite residential village of movie stars) and later, in San Mateo, Rizal.

After the war, Jaime resumed acting, starring with his own brother, Rogelio, in the war movie Garrison 13. Soon, he was starring in lead roles alongside the most famous actresses of his time. With Norma Blancaflor, he did the fantasy movie, Aladin. In the musical Ikaw ay Akin (You are Mine), he warbled with Rebecca Gonzales. He was with Mila del Sol in Romansa, Norma Blancaflor in Tanikalang Papel (Paper Chain), Delia Razon in Shalimar, Rosa Rosal in Biglang Yaman (Instant Riches), Nida Blanca in Korea and Charito Solis in Nina Bonita.

But two roles were set to etch Jaime’s image in the hearts and minds of movie fans forever. He was cast in the 1st ever Darna movie, starring Rosa del Rosario, as the lead’s love interest. And, in 1953, he was Fredo, the human lover of the fabled mermaid beauty, Dyesebel, played by the unforgettable Edna Luna.

The ‘50s decade can be considered as Jaime’s heyday, with a string of solo starrers and hit movies like Satur (sci-fi movie) , Galawgaw (a role identified with Nida Blanca) , Hamak na Dakila (A Scorned Great), Anak ng Pulubi (A Beggar’s Child) , Taong Paniki (Bat People) , Kabalyerong Itim (Black Cavalier), Medalyong Perlas (Pearl Medallion) and Faithful. In 1956, Jaime was nominated for the Best Actor FAMAS award his gritty performance in the movie Kumander 13. (Trivia: The term FAMAS, considered as the Philippines’ Oscars, was coined by Jaime himself, a Filipinized version of the word “Fame”).

When television was introduced in the Philippines, Jaime became one of the new medium’s pioneers, hosting ABS-CBN’s Caltex Star Caravan. He put his knowledge to good use by directing TV shows and acting as program consultant, even providing his services as a liaison officer for the Australian movie, The Year of Living Dangerously, in 1982.

All the while, Jaime never forgot his Kapampangan roots. As daughter Cherry recalled, her father had a sweet tooth and relished Pampanago dishes like buro (fermented rice) and kamaru (mole crickets). And, just like his brother, Jaime could not resist entering the world of politics. He served as a councilor of Manila and eventually became the city’s Vice Mayor. He died in service, on 18 September 1996, and, in every sense of the word, a true Kapampangan idol.

(*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")

77. IT'S SHOWTIME!

THAT’S ENTERTAINMENT. A traveling band of performance artists such as this group, made the rounds of Pampanga towns, especially during town fiestas, to mount kumidyas and sarwelas for the entertainment-hungry public. Sta. Rita, Pampanga. Dated 24 June 1915.

Show me a Kapampangan who does not like to perform before a crowd. At the drop of a hat, a Kapampangan will sing, dance, act and perform feats of daring, without so much encouragement. A natural born performer, a Kapampangan loves basking in the spotlight, making it a point to maximize his enjoyment of his 15 minutes of fame when called onstage. That has been true for the last hundred years or so, when colonial entertainment, which consisted largely of plays with roles essayed by actors, musicians, dancers and poets, became a national past-time.

The idea of leisure in old Pampanga was to socialize and gather together to fill up free hours. And so, to the poblacion or town center the whole family congregated. Here, they were treated to spectacular didactic plays culled from the epics of Medieval Europe or inspired by the life of the town’s patron saint. This was the kumidya—a play in verse that dazzled the local audience with choreographed battle scenes, stylized acting and fabulous costumes. Plays that carried royal themes were also called moro-moro, and soon, scores were being written in Kapampangan, led by Padre Anselmo Jorge de Fajardo (1785-1845). This Bacolor-born religious, a product of the University of Santo Tomas, wrote the famous kumidya Gonzalo de Cordova, based on the real-life story of the Spanish royalty and his affair with the Moorish princess, Zulema.

Moro-moro plays were often carried out after the Mass, thus guaranteeing a captive audience. Stories often told of controversial courtships between a Catholic princess and a princely moor, with the latter converting to Catholicism to win the princess’ hand. Characters like moros, cristianos and reinas wore expensive colorful costumes complete with jewelry, thus providing the crowd with a fantastic visual treat. Favorite parts of the moro-moro included scenes involving magia—or special effects: moving animals made of bamboo and abaca, manipulated from underneath the stage. Music was provided by a brass band which played marchas, pasodobles and Himno de Riego for war scenes.

Just as mesmerizing were the musical zarzuelas derived from the Spanish theater. Unlike the kumidya, the zarzuela dealt with reality-based themes such as family issues and romantic conflicts. Mariano Proceso Pabalan holds the distinction of writing and mounting the first vernacular zarzuela in 1900, with the presentation of Ing Managpe in Bacolor. Pampanga’s leading zarzuelista of course was Juan Crisostomo Soto, who wrote the frequently staged “Alang Dios”, last performed at Clark Air Base in 1998.

Pampanga was among the first provinces to have theatrical companies with resident actors, playwrights and directors. Artists received anywhere from P4-P15 per show while the author got P100. Travelling professional groups like the Bacolor-based Compania Sabina (named after Ceferino Joven’s spinster-sister) toured Pampanga, Tarlac and Manila performing the works of zarzuelistas like Pabalan, Gutierrez-David and Soto.

Other popular entertainment events include tertulias, intimate socials often held in large mansions, with hours of music, poetry and free-wheeling conversation. Bodas, on the other hand, were held during weddings, marked with dancing, orations and poetry recital. Schools on the other hand offered more professional theatrical performances called veladas—music and literary programs with rich production design.

The Kapampangan’s love for the performance arts shows no sign of waning. Turn on the TV, tune in to Channel 7’s Starstruck and you’ll find a Kapampangan star finalist there. Then change the dial to the other channels, and chances are, you’ll find another Kapampangan singer-contestant belting his heart out in those popular star searches. Open a playbill and you will encounter the names of Lea Salonga, Andy Alviz, Yolanda Tolentino—all Kapampangans—lighting up the marquees of Broadway and the world’s best entertainment circuits with their formidable talents, providing relief and momentary diversion to a country in turmoil. For these gifted Kapampangan performers--despite coup talks, peso devaluation, increased criminality and economic crisis--the show must go on.
( 6 December 2003)

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)

62.ROGELIO DE LA ROSA: Golden Boy of Philippine Cinema

ROGELIO’s RISING STAR. Lubao’s native son rose to become the brightest male star in the Golden Age of the Philippine Cinema (1940s-50s), best known for his team-up with Carmen Rosales. After retiring from the movies, he entered politics, got elected as a Senator, ran for Presidency and became an ambassador to Sri Lanka, Cambodia and The Hague, Netherlands. He is shown in this extremely rare, autographed picture at the peak of his career, ca. late 1940s-early 1950s.

Whenever I hear the strains of the song “Maalaala Mo Kaya?” on TV resurrected as a theme song for a hit serial, I feel myself transported to the days of black and white cinema, when the most popular scenes involved young swains and provincial lassies in some idyllic barrio setting, cavorting behind trees and flirting from haystack to haystack. More often than not, these movies featured the most recognized love team of the 40s and 50s, Carmen Rosales and a handsome actor from Lubao, Rogelio de la Rosa. His star would remain on top of the showbiz firmament for over 3 decades, peaking at a period in the 1950s that has come to be known as the Golden Age of Philippine Cinema.

Rogelio was born as Regidor de la Rosa on 12 November 1916 to Feliciano de la Rosa and Rosario Lim. His siblings took quite an interest in the performing arts as younger brother Jaime (real name: Tomas) and sisters Africa and Purita were all involved in the movies in different capacities. Purita eventually became the 1st wife of Pres. Diosdado P. Macapagal, while Jaime made a name for himself as another matinee idol of note.

But it was Rogelio who undoubtedly reaped the most success in a career that spanned the years of silent films and the talkies. It was a kabalen, Gregorio Fernandez, the noted director, who introduced the strapping 6-footer to film mogul Don Jose Nepomuceno in 1929. His launch movie in 1932 was with a Filipina-European mestiza, Rosa del Rosario (the 1st high-flying Darna) , entitled Ligaw na Bulaklak. Other early works included Diwata ng Karagatan for Parlatone Hispano Family (1936) and Bituing Marikit, Sampaguita Pictures (1937).

Over the years, Rogelio worked with the most renown directors of Philippine movies—from Vicente Salumbides, Lamberto Avellana, Gregorio Fernandez, to Carlos Vander Tolosa and Susana de Guzman. The handsome actor was paired with the most beautiful leading ladies of the silver screen: Elsa Oria, Mila del Sol, (mother of Jeanne Young), Lilia Dizon (mother of Christopher de Leon), Tessie Quintana, Corazon Noble, Emma Alegre, Cecilia Lopez, Norma Blancaflor (“the girl with a perfect face”) and his most famous on-screen love interest—the reclusive Carmen Rosales. He would star with her in blockbuster films like Señorita, Colegiala and Lambingan. In real life however, Rogelio chose a fellow Kapampangan to be his wife—Lota Delgado of Angeles.

In 1939, he put up his own RDR Productions, a co-venture with Placido Mapa and J. Amado Araneta. Its initial offering was Ang Maestra, with Rosa del Rosario. The next year, he did Anong Ganda Mo with Norma Blancaflor and Caballero, with Miss Luzon of 1936, Amparo Karagdag. The war years did not stop his rising star, and, in 1949, he starred in Kampanang Ginto, a reunion movie with Carmen Rosales. Post-war, he assumed sole ownership of the production outfit and came up with Irisan, where he teamed up with his wife, Lota Delgado.

Just like today’s movies, Rogelio’s films spawned memorable theme songs that millions of star-struck fans hummed and sang along with: Sarung Banggi, Ang Tangi Kong Pag-Ibig, Katakataka, Bituing Marikit, Tayo Na Sa Antipolo and of course, Maalaala Mo Kaya?.
His most acclaimed role yet was in the 1955 movie Higit sa Lahat, directed by Gregorio Fernandez. He not only earned a Famas Best Actor Award for his role, but also won the 1956 Asian Film Fest Best Actor Award in Hong Kong. True to his roots, he starred in a Pampanga-themed movie, “Pampanggenya”, with Linda Estrella in 1956.

It was also in 1955 that he entered politics and won a seat as a Senator. He could have been our first movie star president had he continued his run for Presidency in 1961. Rogelio withdrew his candidacy to give way to his brother-in-law, Diosdado, who subsequently was elected to the highest office of the land. Nevertheless, he was rewarded with an ambassadorial position in Sri Lanka and Cambodia. His last assignment was in The Hague, Netherlands, a post he held until his death on 10 November 1986. The loss of the Philippines’ most admired and most important male star was clearly Heaven’s gain.

FILMS: Dalawang Daigdig, Garrison 13, Tagumpay (1946), Sarung Banggi (1947), Hampas ng Langit, Sword of the Avenger (filmed in Hollywood with Duncan Renaldo, released locally as Ang Vengador), 1,000 Kagandahan (1948), Kidlat sa Silangan, Kampanang Ginto (1949), 48 Oras, Tigang na Lupa, Sohrab at Rustum, Doble Cara, Prinsipe Amante (1950), Prinsipe Amante sa Rubitanya (1951), Sa Paanana ng Bundok (1953), Ikaw ang Buhay Ko , May Bukas Pang Lumipas (1954), Tangi Kong Pag-ibig, Iyong-iyo, Sonny Boy, Pandanggo ni Neneng (1955), Lydia, Pampanggenya, Apat na Kasaysayang Ginto (1956).
(23 August 2003)

48. PAMPANGA ALL-STARS

TOP ROW: GRACITA DOMINGUEZ of Mabalacat; this young ingenue, “bagong tuklas ng Manuel Conde Productions”, was launched in the costumed epic “Siete Infantes de Lara”. She got stellar billing in Hiwaga ng Langit (1951). Her children with comedy king Dolphy also entered showbiz, Sahlee and Rolly Quizon. GREGORIO FERNANDEZ of Lubao, started as an actor before making a successful transition to movie directing. He directed Asahar at Kabaong (1937), Señorita (1940) and Higit sa Lahat (1955), which won for him the Best Director Award at the 1956 Asian Film Festival in Hong Kong and also at the FAMAS. His descendanst include action star Rudy “Daboy” Fernandez, whose present wife and ex, are both Kapampangans (Lorna Tolentino, Alma Moreno) . PATSY. “Patsy Patsotsay”Mateo often portrayed the role of a bumbling confidante or alalay who would spew out Kapampangan lines in moments of panic. Later, she became a host (together with Lopito) of the long-running Tawag ng Tanghalan, a singing competition on TV sponsored by manufacturing giant, Procter and Gamble PMC. The contest spawned winners like Pepe Pimentel, Edgar Mortiz, Jose Yap and Nora Aunor. BOTTOM ROW: ROGELIO DE LA ROSA of Lubao, came from a very artistic family. His siblings also made a name for themselves in the movies: Jaime de la Rosa (star of Dyesebel, Aladin and Engkanto), sisters Africa (a scriptwriter) and Purita (occasional actress who became Diosdado Macapagal’s 1st wife). He married Lota Delgado, an Angeleña who also became a prominent actress in the 1950s. After retiring, he was elected to the Senate and became an ambassador to Cambodia, Sri Lanka and The Hague, Netherlands. CHUCK PEREZ of Mabalacat, comes from a showbiz family which includes director Elwood Perez. After winning Face of the Year, a modelling competition, he was launched in the action-fantasy movie “Bagwis”. Later, he tried the stage, essaying the role of Tony Javier in “Portrait of an Artist as a Filipino”.

My earliest exposure to movies was via those popular, mid-morning 1960s programs --Mga Aninong Gumagalaw or Pinilakang Tabing—which featured re-runs of black and white classics such as Darna, Anak ng Bulkan, Sawa sa Lumang Simboryo, Ang Senyorito at ang Atsay, Munting Kerubim, Bondying or Og. I leaned toward fantasy films like Dyesebel (with Edna Luna as a mermaid) and grand costumed epics like Ibong Adarna. The older members of the family favored weepy, romantic stories moreso when the movie starred Carmen Rosales and a dashing young swain named Rogelio de la Rosa. I was often told that he was Kapampangan, but that did not surprise me as I knew early on that we Kapampangans are inherently malagu and masanting!

There were no movie stars in the earliest films produced in the Philippines. Produced by foreigners, most of these were historical movies , showing scenics or events like Panorama de Manila and Fiesta de Quiapo. The 1st Filipino-made feature film however starred a legendary zarzuela queen named Atang de la Rama, who appeared in Dalagang Bukid, produced by Jose Nepomuceno in 1919. In the 1920s-40s, Filipino entrepreneurs cashed in on the growing interest on local films and began churning out pelikulas like Tatlong Humbug (featuring the 1st screen kiss and starring Elizabeth “Dimples” Cooper), Zamboanga (a Fernando Poe Sr. starrer first shown in the U.S.) and Ibong Adarna ( 1st movie in color). Even Pampanga businessmen caught the movie bug; a movie outfit was established in Angeles with Jose Ganzon directing Prinsesa sa Bundok, an initial film offering produced by Joaquin de Guzman.

Local filmdom soon saw the rise of brilliant Kapampangan talents, directors, cinematographers, writers as well as glamorous artistas who lorded the silver screen with their luminous presence. One of the earliest actors was a Lubeño named Gregorio Fernandez who successfully made the leap to directing via his 1937 debut movie Asahar at Kabaong.

Without a doubt, however, it was Rogelio de la Rosa (born Regidor de la Rosa in Lubao on 12 Nov. 1914) who made the most indelible impression in the golden years of Philippine cinema, with a career that spanned over 3 decades. The dashing 6-footer was introduced by his kabalen Gregorio Fernandez to movie mogul Jose Nepomuceno in 1929. His launch movie was 1932’s Ligaw na Bulaklak with Rosa del Rosario, but it was his pairing with Carmen Rosales that immortalized an enduring love team, appearing with her in such blockbusters as Camelia, Maalalaala Mo Kaya? , Lambingan and Colegiala. In 1955, he won Best Actor award in the 1956 Asian Film Festival in Hong Kong, for his acclaimed movie Higit sa Lahat. After retiring from the movies, he was elected as Senator in 1955 and later became an ambassador to Sri Lanka, Cambodia and The Hague, Netherlands where he died on 26 November 1986.

The list of Kapampangan movie talents in varying degrees of incandescence is endless: Actors: Vilma Santos (Bamban), Rosita Noble (Floridablanca), Letty Alonso (Lubao, wife of Mario Montenegro) , Gracita Dominguez (Mabalacat), Luis Gonzales, brothers Ramil and Pepito Rodriguez (San Fernando, Stars ’66 members) , Tony Ferrer (a Laxa from Macabebe) , Rafael Yabut, Bernard Belleza (Macabebe), Ben David, Alma Moreno (Vanessa Laxamana, Macabebe), Paquito Diaz, Liza Lorena (Elizabeth Luciano Winsett, Magalang), Lorna Tolentino, Chuck Perez (Mabalacat), Patsy, Nanette Inventor (Macabebe), Eddie del Mar (Macabebe), Jon Santos , Dante Rivero (Floridablanca), Lydia Montanez (Arayat), Hilda Koronel (Susan Reid, Angeles City), Edgar Mande (Dau), Melanie Marquez, Joey Marquez (born in Mabalacat), Maricel Morales, Judy Ann Santos, Antonette and Tom Taus (Angeles); Directors: Artemio Marquez, Elwood Perez; Writers: Racquel Nepomuceno-Villaviciencio (Angeles), Agnes de Guzman (Mabalacat); International Artists: Donita Rose, Lea Salonga.

Pampanga’s very own, Gov. Lito Lapid, was, as we all know, already a well-known action star (together with his other famous relations, Jess Lapid and Jess Lapid Jr.) before his foray in politics. His latest accomplishment was winning the Best Actor Award for the movie Lapu-Lapu from the controversial 2003 Film Academy of the Philippines. And lastly, there’s the First Son himself, Mikey Arroyo, who has put his thespic talents to good use in a number of action-comedy movies. Indeed, for political wannabees who want to fast-track their ambitions, there’s no business like showbusiness!
(17 May 2003)

39. HON. JOSE GUTIERREZ DAVID: Supreme Court Justice

HIS HONOR. Supreme Court Justice Jose Gutierrez David, was not just a distinguished name in the country’s judicial system, but also an ardent Kapampangan language and literature advocate. Like his father Mateo, an original signatory of the 1896 Malolos Constitution, he was one of the signers of the 1935 Philippine Constitution. He is shown with daughter, Perla, upon her graduation from medical school. Circa early 1940s.

During summers, when I wanted a free swim, all I had to do was to look for my aunt, Imang Perling, at her popular Del Rosario Compound Swimming Pool at the foot of the Abacan Bridge in Balibago. Usually I would find her in her well-tended garden, and upon being acknowledged, I would just come in ahead of the paying customers. Imang Perling was married to Tatang Dadong del Rosario, the lawyer-brother of my mother. I was often told that Mang Perling had an impeccable lineage, born to a distinguished family of means, and a daughter of a justice of the Supreme Court, but of course, in my youth, that didn’t register much; I was too preoccupied with enjoying the summer perks given by my generous aunt. Not until I read her father’s name in books did I realize her family’s important place in Kapampangan political, literary and cultural history.

Jose Gutierrez David was born in Bacolor on 19 January 1891, from the union of Mateo Gutierrez Ubaldo and Gabriela David, youngest in a brood of 9 (4 brothers, 4 sisters). His father was one of the signatories of the historic Malolos Constitution, signed on 29 November 1896. Raised in San Fernando, the young Jose studied his caton and cartilla at home, then entered the school of Don Modesto Joaquin, the most prestigious in the province. He grew up amidst a very cultured milieu: his father had an ardent interest in zarzuelas while brother Amado composed music for these plays. Often, their spacious house served as rehearsal halls for zarzuela productions. It was no wonder then that Jose showed his literary flair at an early age, writing poems often dedicated to his sweetheart, Concepcion Roque. His first ever published poem, written at 17, was dedicated to her --“Tuqui Ka Baculud” (Come to Bacolor) , appearing in the March 1908 issue of Ing Bandila (The Flag). After his graduation from Pampanga High School in 1912, he married Concepcion with whom he had 7 children, all college graduates: Perla (my Imang Perling) Jose Jr., Leonardo, Felicitas, Amaury, Alice and Irma.

In 1914, as a journalist, he teamed up with playwright Juan Crisostomo Soto to edit “Ing Balen” (The Town) and “E Mangabiran” (The Impartial), both noted Kapampangan papers. He also wrote plays like “Migdusang e Micasala” (The Guiltless Sufferer) and “Ing Independencia” (The Independence).

Jose completed his law degree at the Escuela de Derecho in Manila, emerging first in his class in 1915. After passing the bar the next year, he began his law practice and proved to be an outstanding trial lawyer, but opted to join the judicial court system of San Fernando as Auxiliary Justice of the Peace from 1918-20. He then entered the political arena by becoming a councilor for 10 years.

In 1933, he was named Director of the Pampanga Carnival. The next year, he ran and won in an election to determine Pampanga’s delegates to the Constitutional Convention. Just like his father before him, he was one of the original signers of the 1935 Philippine Constitution. He then accepted the offer of Secretary of Justice Jose Yulo to become a Judge of the Court of the First Instance. Appointed by Manuel L. Quezon, he was assigned to different districts such as Baguio, Cavite and Manila. His next stints were as Judge of the Court of First Instance in Manila (appointed by Sergio Osmeña), Associate Justice of the Court of Appeals (1946, by Manuel Roxas), Presiding Justice of the Court of Appeals (1956, by Ramon Magsaysay) and Associate Justice of the Supreme Court (1959, by Carlos P. Garcia), a position he held until his 1961 retirement.

He also served as Chairman of the Philippine Bar Examination in 1960 , a member of Pampanga Masonic Lodge 48 and Board of Censors for Philippine Motion Pictures from 1962 to 1964. The pioneering graduate of Pampanga High headed the 1962 Golden Jubilee Homecoming as Chairman of the Executive Committee, which gave the Most Outstanding Alumni Award to then Pres. Diosdado Macapagal. Jose Gutierrez David passed away on 27 March 1977 in Quezon City. It is but fitting that his last poem, “Misan Pa” (Once More) was dedicated to his beloved Concepcion.
(15 March 2003)

28. PANUNULUYAN: A Christmas Drama

KNOCKING ON HEAVEN’S DOOR. The cast of this Panunuluyan in Sta. Rita includes the Narrator, the 3 Kings, a choir of Angels, Shepherds, town children, Jose and Maria, carrying a celluloid doll Jesus. Dated 1924.

In schools all over the country, one of the highlights of Christmas is the dramatization of the birth of our Lord Jesus. On stage, we are treated to charming performances of kids with cotton beards and wings, paper mache props, all swathed in colored fabrics taking on the roles of shepherds, kings and angels. The best roles were that of Mary and Joseph’s, and the prettiest girl and the meekest boy in class were often chosen for the honor. Always, a plastic baby doll on a hay-strewn manger stood in for the Child Jesus. Back in my elementary school days, when teachers started casting for the roles, I would wish I would land the role of Joseph, which I would have played with aplomb worthy of an Oscar, but, alas, I was too short, so I had to be content being a shepherd, a bit player, destined to blend with the painted scenery the background.

Christmas dramas have always been part of our rich holiday tradition since the Acapulco galleons reached our shores in the early 19th century, bringing the practice of religious theatricals, or posadas. These were later modified and transplanted by Spanish friars into provincial parishes, transformed into live street procession-performances known as Panunuluyan.

The Panunuluyan dramatizes the search for lodging of the Holy Couple, Jose and the very pregnant Maria. Originally, the images of the two, atop decorated carrozas, are processioned on Christmas eve and taken from house to house, in re-enactment of that event in Bethlehem. The images are preceded by altar boys bearing ciriales (cross and candles on poles) and devotees. Eventually, real people, instead of santos, were cast to assume the roles of Jose and Maria, almost always respectable citizens of the town. The dramatis personae expanded to include the 3 Magis, Melchor, Gaspar and Baltazar and even a Narrator and a Koro, a Chorus of singers who sang and delivered verses for the Holy Couple.

Four or five houses are selected as “inns”, to be visited by the Holy Couple, who either walked on foot, rode a gareta (bull cart) or in some cases, rode the back of a large animal like a carabao or donkey. The yards and balconies were often spruced with Christmas décor like lights and lanterns. At the first house, San Jose begs the “innkeeper” for a room, chanting the verses in octo-syllabic quatrains. The “innkeeper” sings his response, claiming his house is full, thus turning the couple away. The couple moves on to the next house, and then to the next, meeting the same cold response. Finally, the procession winds back to the church plaza, where a stable has been constructed. It is here that Maria delivers Jesus, amidst the ringing of bells and the celebration of a Misa de Aguinaldo, the last of the Simbang Bengi (nightly Masses).

Biblical dramatizations such as the Panunuluyan often were enacted to teach catechism and caton during the Spanish times. Pampanga too, adopted this seasonal custom, although in this day where religious rites and instructions are broadcast on TV daily, the quaint but colorful Panunuluyan has become a rare sight to see in most Kapampangan towns.

MASAYANG PASKU AT MASAPLALANG BAYUNG BANWA!

(28 December 2002)

3. THEATER OF THE MIND

A street zarzuela with a Spanish colonial theme, performed by Kapampangan students, circa 1920s.

Zarzuelas, characterized by music and dance, were the favorite theatrical amusements of Spain beginning in the 16th century. Soon as our colonizers introduced their concept of theater, it naturally blended into our local moro-moro or kumidia tradition, with royal and religious elements coming into play. However, the zarzuela remained Spanish in form, and many Filipino playwrights wrote them using Spanish language, music, characters and themes.

Pampanga was the first province to try the vernacular zarzuela. As Mariano Proceso Pabalan Byron (1863-1904) observed after watching performances of visiting zarzuela troupes, “True enough, Spanish is sweet and soft; Kapampangan is hard and stiff. But is it only Spanish that can be set to music?”

And so, a whole legion of Kapampangan playwrights began experimenting with zarzuelas in the local language. The pioneering Pabalan wrote “Ing Managpi” (The Patcher), a play revolving around a “patched” or spotted dog and Sianang, the maid who helped patch up her masters’ domestic squabbles. Amado Gutierrez David provided the musical score for this play.

On 13th September 1900, the play made its debut at the Teatro Sabina and was met with thunderous acclaim. Teatro Sabina, Bacolor’s 1st theater, was named after the aunt of Don Ceferino Joven, the first civil governor of Pampanga during the American regime. A repertory of performers, Compania Sabina, often rehearsed at the spacious house of Don Mateo Gutierrez, father of Jose Gutierrez David, himself an accomplished zarzuelista. Don Ceferino put the Compania under the supervision of Juan Crisostomo Soto with Pascual Gozun as the stage manager.

Teatro Sabina supposedly had three water-filled wells dug at the rear to improve stage acoustics. VIPs had their own private entrance leading to their bleachers facing the main stage, while the hoi polloi sat at the sides, necks craned at an angle. On this venerable theater, renowned Kapampangan zarzuelas were stage including Crissot’s “Ing Paninap ng San Roque” (San Roque’s Dream, 1901) and “Alang Dios” (There is No God, 16 Nov. 1902). Pabalan also read his moving Kapampangan version of Rizal’s “Mi Ultimo Adios” here on 30 Dec. 1901.

Aside from Teatro Sabina, there was also a Teatro Trining in Guagua, where a 3-act zarzuela, “Ing Mangaibugan” (The Greedy One) by Jacinto Tolentino was staged in 1901. Naturally, a whole slew of drama troupes were established as interest in theater grew. Among these were Compania Paz, Compania Ocampo in Candaba, Compania Dramatica in Bacolor and Compania Lubeña in Lubao.

The zarzuela tradition ended with the arrival of the great white American culture which taught that English should only be the language for literary use; anything else is inferior. It cannot be denied however, that in the long and colorful history of the Philippine theater, Pampanga led the way in shaping the golden age of the country’s performance arts with its pool of homegrown actors, playwrights and directors, who, with their boundless creativity and sheer talent, were always imitated but never equalled.
(29 June 2002)