*407. FISHING FOR COMPLIMENTS

FISH BE WITH YOU. A belle and her bangus, on the way home from the pampang. Fisheries remain to be an important industry for Kapampangans living in the delta region, c.1915.

Being in the central plains of Luzon, people are sometimes surprised to know that Pampanga, too, has a fishing trade, an industry  associated with coastal places like Navotas, Malabon, and the Visayan islands.

Actually, Pampanga has an area that is heavily watered by the great Pampanga River and its tributaries. In the delta towns of Guagua, Lubao and Sasmuan, as well as in the low-lying towns of Masantol, Macabebe, San Luis and Candaba, fisheries is a source of livelihood.

Fisherfolks catch fish either by the traditional method of setting traps in the water or by building fish ponds, which are a common sight in Macabebe and Masantol, where they are diked and seeded with fingerlings.

Upon maturity, the fish are harvested by letting the waters spill out. Large fishponds also served as swimming holes and picnic sites in the 20s-30s, as they not only had picturesque locations but they also provided an unlimited number of fish for food. Unfortunately, ponds have also become contributors to the worsening of the flood situations in these areas after the silting of major estuaries caused by the Pinatubo eruption. Fishponds have also been blamed for the disappearance of mangroves since their proliferation beginning in the 1970s.

In Candaba,  depending on the season, the swamp serves a dual function. During summer, it is used as an agricultural field to plant rice, vegetables and grow watermelons. But when the wet season arrives and rainwater fill the swamp, it turns into a lake teeming with bangus (milkfish), tilapia, paro (shrimp), ema (crab) and bulig (mudfish). (Tip: the Friday Candaba Market in Clark is the go-to place for the freshest catch of fish, shrimps, crabs, eels and other crustaceans).

 “Asan” is the Kapampangan term for “fish”, but today, when people ask “Nanung asan yu?”, they also mean “What’s your food?”—whether your “ulam” (viand) be made of meat or vegetable. “Masan” is a verb meaning “to eat”, it is specific to eating cooked fish or meat, thus, “masan asan” is “eat cooked fish”. There is hardly a difference between “asan” and “ulam”, as used today, which underlines the importance of fish in the life of the Kapampangan.

 While today’s Kapampangan is familiar with fish like itu (catfish), kanduli (salmon catfish) , sapsap (ponyfish) and talangka (small crabs), our old folks knew other kinds of fish with fascinating names that may sound alien to our ears today. A goldfish was called “talangtalang”, while a “pacut” is a small crab. Another name for kanduli is “tabangongo”, a “talunasan”, an edible eel. A “palimanoc” is a ray fish, a “tag-agan”—a swordfish, and its small look-alike is called “balulungi”, 

Our contribution to the culinary world include fish-based treats that include “burung asan” (using bulig),”balo-balo” (using tilapia, gurami and shrimp), and “taba ning talangka”. We also have our delectable versions of sisig bangus, pesang bulig and rellenong bangus. During Lent, we prepare sarsiado, escabeche, suam a tulya, and seafood bringhi. In our fiestas and holidays, we serve fancy fish dishes like Pescado el Gratin, Chuletas (fish fillet), and Pescado con Mayonesa. For many Kapampangans, there’s never a day without fish on the table.

 “Nanung asan yu?”

*400. A SEASON OF SINNERS AND SAINTS

LA ULTIMA CENA OF ANGELES CITY. Holy Week evening procession, 1950s. 

 Just a few days from now, roads in Pampanga will be crammed with a procession of both sinners and saints—magdarame or flagellants imitating the passion of Christ, and life-like figures of saints, borne on richly carved and brightly-lit carriages, followed by a retinue of candle-bearing devotees.

 Such annual Lenten scenes provide contrasting sights— penitents walking in abject misery, stripped of their clothes, covered with grime and dust, with bodies bruised and bloodied. On the same road, one will also find santos resplendent in velvet vestments, wearing their silver halos, adorned with dazzling lights and flowers.

Though starkly different, these Lenten practices stem from a common personal objective—of fulfilling a vow, a “panata”-- a solemn promise made to God—in gratitude for answered prayers and for favors still waiting for divine intercession: a plea for for miraculous healing, for cleansing of one’s sins, for repentance.

 Both practices---deep-seated in our culture—require days, weeks and even months of preparations. Both have also become highly-organized family traditions. Dressing up santos for the kwaresma (40 days of Lent) involves at least 2 or 3 generations of families, who gather on such occasions to do their share. It used to be that ladies of the house prepared and arranged the images' garments, but now, even men have become adept at dressing manikin santos. 

 The Mercados of Sasmuan, who own a Sto. Entierro in a spectacular calandra (a glass casket) , have organized themselves by assigning specific tasks to family members. One branch of the family is responsible for the upkeep of  the antique silver components of the carroza (processional carriage), while another branch is in charge of Christ’s garments.

 The closely-knit Panlilio family of San Fernando have always taken pride in caring for their Mater Dolorosa (Sorrowful Mother), a tradition that began way back in the late 19th century. Every year, scattered family members make the trip back to their ancestral “bahay na bato” to help in preparing the image’s carroza, and in dressing up the image in her black velvet gown embroidered with gold threads. The family would then earnestly pray the rosary before the life-size image of their dolorous Virgin.

 “Like many traditions,” said one descendant Criselle Panlilio-Alejandro, “the Good Friday procession involving the Mater Dolorosa is more greatly appreciated as one grows older.”

 On the other hand in old Pampanga, to be a magdarame was purely a personal choice, an individual decision based on his relationship with God. It was not uncommon to find a cross-bearing penitent, his face covered in anonymity, trodding down dirt roads all by his lonesome. If, by chance, he meets a fellow magdarame along the way, he joins him quietly in his walk of faith.

 In recent times, more and more people are drawn into this bloody rite—to include whole families--brothers, sisters, wives and friends--who accompany the penitent as they intone prayers, whipping him to inflict more pain, propping him up when tired, providing water when thirsty, and taking occasional photos for posterity.

In Mabalacat, the practice of pamagdarame is organized with clockwork efficiency—the platoon of magdarames who crowd the city streets and the churchyard on Good Friday are dressed in similar Nazareno robes, equipped with professionally-made crosses, all uniformly painted with their designated barangay chapter.

 Times may have changed, but religious traditions endure. The belief in penance and salvation remains, but to many Kapampangans steeped in the practices of their colonizers , there are divergent ways to achieve them. One, is to be unified with Christ in his sufferings, as flagellants do, in an extreme display of physical mortification. The other is to contemplate on the Passion of Christ through staged processional scenes that depict the way of his Cross, involving mourning santos.

 The gory and the glorious. The pain and the pageantry. Sinners and saints. All these merge and converge on Pampanga’s roads once a year, only on Holy Week. May our traditions remind us that we are ransomed not by perishable things—like silver or gold—but with the precious blood of Christ.

 A BLESSED HOLY WEEK TO EVERY ONE!

*362. MUSICUS: The Sound of Our Fiestas!

MAJOR, MAJOR, MAJORETTES. Lovely Kapampangan majorettes pose for a shot before joining the local 'musicus' in their rounds around the town, lending a festive air to Pampanga fiestas. ca. 1950s.

It’s our Mabalacat city fiesta as I write this article---and it’s a pity that I am not there to enjoy the festivities, not to mention the colorful sights, smells and sounds that accompany the yearly February 2 proceedings. You just know it’s fiesta season when blue and white buntings start lining the streets and tiangge stalls begin popping up along the church perimeter, offering all sorts of goods, from the useful to the bizarre.

 But nothing says “fiesta” more than the presence of music-making bands—“musicus”—staples of every fiesta, in every town and barrio of the Philippines. With their gleaming brass horns, cymbals, lyres, trumpets, drums and bugles, uniformed band members--preceded by a bevy of pretty, baton-twirling majorettes—are always a striking sight when they take to the streets, making stirring melodies as they march, with a bit of choreography on the side.

 Evolved from the roving “musikung bumbung” (bamboo bands), today’s bands drew early inspirations from the acclaim gained by the Philippine Scouts Band at the St. Louis World’s Fair in 1904. The band was the largest at the fair, and it had a large repertoire of 80 pieces, against Fredric Sousa’s 65. “They were good and had temperament which the other bands lacked”, wrote one visitor.

 Needless to say, they took the world’s fair by storm, often performing in drills with “Little Macs”—young Macabebe veterans who enlisted for service to fight for the Americans in the Philippine-American War. Certainly, the incredible feat of that Philippine band helped fuel interest back in the islands for organized bands.

Just 4 years after that U.S. triumph, the Philippines had its own national fair—the Manila Carnival—and in 1909, the band from Angeles outplayed its rivals to clinch first place in the musical band competition. It was during town fiestas, however, that local bands gave rein to their musical creativity.

In the Betis fiesta of 1959, a local band—Banda 46—was tasked to march around the town starting on the fiesta eve, from 3 a.m. to 5 a.m.— to rouse people from their sleep—for a period of nine days! The day was capped with musical duel between bands---Serenata ning Musicus—in which Banda Sexmoan 12 played against Banda Sexmoan 31 at the church patio in a test of musical endurance and bravado.

 On 29 December, an exhibition was staged by a bevy of band majorettes, displaying their dancing and baton-twirling skills while band members in their gala uniforms played their best. On the fiesta day itself, 12 bands paraded along the streets, with some, invited from different provinces: Banda Baliwag, Banda Cabiao 96, Banda San Leonardo, Banda Bocaue, Banda Sexmoan 31, Banda Sexmoan 12, Banda Pulilan, Banda Candaba, Banda Duat Bacolor, Banda San Antonio Bacolor, Banda 48 Betis, Banda 26 Betis and the 600 Clark Field Air Force Band thru the courtesy of Mr. Salvador Pangilinan.

The bands then converged to escort the carrozas of the town patrons for the grand procession. The 1939 Lubao town fiesta from 4-5 May, was also made exciting with the presence of 3 “musicus”: Banda Lubao, Banda Sinfonica (Malabon) and Banda Buenaventura (Baliwag). The 3 bands were gathered at the municipio before they set out for the Poblacion, treating Lubeños to a musical extravaganza never before seen in the town.

 A 1946 fiesta souvenir program from Sta. Rita detailed also the arrival of 3 bands that played on the eve of the fiesta, the first one held after the Liberation: Banda Sta. Rita, Banda 31 from Sexmoan and Banda San Basilio. The next day, May 22, they gave it their all at the Serenata ding Banda de Musica. Even a small barrio could very well afford to pay a local “musicus” to lend gaiety to its fiesta.

In 1957, Valdes, a barrio of mostly agricultural families in Floridablanca, had two bands performing for their May 19 fiesta: the popular Banda 31 of Sexmoan which delighted residents in Gasac and Talang, and Banda Juan dela Cruz which came all the way from Cabiao, Nueva Ecija, to play at Looban and Mabical. On May 18, Saturday, a free concert was mounted featuring the two bands, highlighted by a military drill.

 I just can’t imagine a fiesta without a “musicus”. Bands just don’t set the stage and the mood for a celebration. But long after the food, the drinks, the rides, the sideshows and the baratilyos are gone, it is the voice of the band that will live on—inspiring, rousing, uplifting airs, that may as well be the theme music of our joyous lives!

*358. ALDO ATLUNG ARI

WE THREE KINGS OF ORIENT ARE. Young boys play the roles of the gift-bearing Three Kings (or more accurately, the 3 Magi or the Wise Men) in a Christmas school play. Ca. 1920s.

As Filipinos, we pride ourselves in having the longest Christmas season in the world—a period that begins with the 1st day of Simbang Gabi on December 15, and ending officially the liturgical holidays on the Feast of the Three Kings, January 6. It is also known as the Feast of the Epiphany, marking the appearance of Jesus to the Gentiles as represented by the three royals—who wereactually not Kings, but Magis or Wise Men.

 As a school kid in the 60s, I always looked forward to my over-extended vacation for it meant not just weeks of do-nothing days, but it also gave me more chances to receive gifts!! As every ninong and ninang knows, the Aldo ning Atlung Ari gives them the last opportunity to dispense gifts and Aguinaldo to their ina-anaks. The long holiday gives them no excuse to be remiss in their gift-giving duties, lest they are branded as “kuriput” or “makunat”.

 Indeed, it was not just Santa Claus who was looked at as the official purveyor of gifts; the Three Kings too, were regarded in Spain as bearers of generous treats and gifts. After all, the three made the long travel to Bethlehem to present the newborn Jesus with gold, myrrh and frankincense, thus, starting a tradition of gift-giving.

 This tradition is still alive and well in Madrid, where the arrival of Melchor, Gaspar and Balthazar from the East was eagerly awaited by children. Melchor was depicted as a hoary man with a long grey beard while Gaspar was known as the ‘white one’ with his closely-cropped blonde beard. Balthazar, the lord of treasure, was known for his swarthy complexion.

 On the eve of their feast day, the 3 Kings take to the streets of Madrid, accompanied by a cavalcade of soldiers in a parade full of Oriental fantasy, pomp and splendor. The evening procession begins at Retiro and circles the residential areas where kids have placed their shoes on the window sill, in hopes of having them filled with presents the next day. This tradition has caught on in some provinces in the country, particularly in Nueva Ecija where the Three Kings are the acknowledged patrons of Gapan. Children also leave their shoes out so that they will be filled with money or candy. In America, the shoe has been replaced with stockings. 

Club Español, an organization of civic-minded Spanish-descent members and Hispanophiles, has also helped perpetuate this custom in the Philippines by holding its own “Dia De Los Reyes”, capped with a festive parade of the 3 Kings distributing presents to indigent children.

 The Feast of the 3 Kings has been moved to the first Sunday of January, which caused the instant shortening of the Philippine Christmas break. The present generation barely knows the significance of ”Aldo Atlung Ari”, and elsewhere in the country, it has become a hybrid celebration, known also as “Pasko ng Matatanda”, a day to pay respect to senior citizens.

In Pampanga, the Kuraldal—the famous dancing fiesta of Sasmuan in honor of its patroness, Sta. Lucia-- coincides with the Sunday feast of the 3 Kings, hence the event has been termed as “Kuraldal Atlung Ari”. Also on this day, childless couples in Sasmuan went to church to ask for the gift of fertility so they could have offsprings. For oldtimers though, the spirit of this feast lives on as they still wish one another with the now-incongruous greeting-- “Happy 3 Kings!”—consistent with the observation that holidays are "more fun in the Philippines!". 

*339. EVIL DID I LIVE

ALAK,BABAE, SUGAL. A staged picture of showing the different vices of men--women, alcohol, gambling. Kapampangans had their share of woes and troubles brought about by these abominable excesses. Ca. 1920s.

Kapampangans certainly left indelible impressions on foreign observers and travellers who came to our isles in the 19th century, prompting them to write not just about their virtues, but also their vices, which paint a bi-polar picture of our character, and a culture of extremes that shaped traits and habits that lingers to this day. 

 Writer and traveller Jean Mallat, noted in his opus “The Philippines: History, Geography and Customs” that “the most estimable indios are those in the provinces of Pampanga, Cagayan, Pangasinan, Ilocos and Cebu. They are almost generous, courageous, industrious and capable. Their defects are incessant deceit, and an unbridled passion for gambling, and especially cockfights.” 

 Cockfighting or sabong had always been the traditional gambling sport of Filipinos since the 16th century. Chronicler Antonio Pigafetta wrote about the sport in his “First Voyage Around the World”, noting that the “natives keep large cocks which they never eat, but which they keep for fighting purposes. Heavy bets are made on the upshot of the contest..”. 

 So valued where the fowls that it was said that when a Filipino’s home caught fire, he rescued first, his rooster, then his wife, and children. In 1771, the arch-episcopal palace in Manila ordered the secular clergy to “strive to banish the sport of cockfighting , not sparing any effort to do this..”. Similarly, Gov. Gen. Simon de Anda attempted to ban cockfighting to avoid the upsurge of thefts and robberies—to no avail. 

 After all, by 1779, the game was contributing significantly to government revenues, with earnings of over Php 30,000, even during time of War. As such, sabong operators were given permits to operate even on Sundays. Kapampangans took to the sports like crazy, and their shady reputation as bigtime sabungeros with political clout still prevails to this day. Almost every Pampanga town have their own coliseums, but specially Guagua, Mexico, Lubao and Bacolor are considered as sabong centers of the province today. 

 After cockfighting, the colonial government added in 1849, the loteria (lottery) as an official means to keep the coffers of the government full and to keep the Filipinos hopeful for a richer life. Before that, card games were all the rage in the archipelago, that included “panguingue”, a form of rummy originally from Mexico and “monte”. Then there was the “cuajo”, which was noted to be “favorable among Pampangos”. 

 But nothing was more popular than ”jueteng”, an illegal numbers game that originated in China and which caught on in the province like wildfire. Easy to play, one need only to call on a “kubrador” discreetly as he trod the neighborhood street. One then places a bet (as low as 10 pesos) on a chosen pair of numbers from 1 to 37. 

 Pampanga has often been described as “the Vatican of jueteng”. This was spurred by a political scandal in June 2005 in which relatives of then-President Gloria Macapagal-Arroyo were suspected to have received pay-outs from jueteng operators, led by Bong Pineda of Lubao (husband of incumbent governor) and an alleged jueteng kingpin in 5 regions of the country. 

 Before the advent of San Miguel Beer and “markang demonyu”, Kapampangans in Minalin, and Sasmuan were already making native liquor of all sorts, like tuba and lambanug, all from coconut. Chinese distillers, however, proved to be master mixers, using Pampanga’s molasses from pilones. They supplied outlets with their intoxicating firewater, animating Kapampangans’ social sprees while dazing minds. In the 1930s, one can go to Salva’s Canteen in Angeles to buy all kinds of liquor, including whiskey and beer. 

 The illicit sale of liquor became widespread when the American population in Clark started to grow. A “Rum Row”existed in Clark as early as the 1930s, in which local entrepreneurs made rum for illegal sale to Americans. Homesick military men, out for a cheap, good time, took to heavy drinking, often resulting in some unfortunate accidents. For instance, on the night of January 23, 1938, five drunk officers figured in a car crash that resulted in the death of four; only the driver survived. Where wine is, a woman can’t be too far behind. 

 The lure of the flesh was another “evil” that Kapampangans find irresistible. A safe destination to meet girls in the Commonwealth years was the Amusement Palace Cabaret, operated by Juan Cortez in Angeles, which would soon be a hotspot for carnal knowledge. One of the rites of passage male teens dare to undergo is to hie off to the notorious “Area”, a place where one can have himself devirginized in a jiffy. Angeles was once described as “an amazing pattern of brothels, gin mills and dance halls” , during the heyday of Clark. 

Things appear to be unchanged if one were to believe eyewitness online accounts: ”Balibago is a non-stop drunken revel 7 days a week, every day of the year. Recreational sex is the sport of choice. If you are looking for a new friend for the night, you can almost certainly find a young lady to suit your taste..” 

 Alak, babae, sugal. For many Kapampangans, life is too short to go without a bisyu. Lead him not into temptation…he will find his way.

*307. OF TREES, TOWNS AND TOPONYMS

BUT ONLY GOD CAN MAKE A TREE. A whole forest of balakat trees shade a camping site at sitio Mascup, a favorite resort of domestic tourists in Mabalacat, Pampanga. The tall, hardwood tree gave the town its name. Ca. 1920s.

The names of Pampanga towns are among the most unique in the Philippines—and leading in intrigue and mystery would be, to my mind, Mexico and Sexmoan. Mexico’s name, for instance, has always been a source of puzzlement for toponymists—researchers who study of place-names. One fanciful version has it that Mexicans (Guachinangos of Northern America) actually lived in the town and gave it its name. More controversial is the name of Sexmoan, which has, though the years elicited gasps of disbelief from visitors, due to its seeming sexual overtones.

No wonder, the town has reverted back to the local version of its name—“Sasmuan”—a meeting place—as it was known to be an assembly point for people around the area whenever Chinese insurgents threaten to overrun the region. Of course, there were other ways of naming towns, and the more common would be to name them based on their distinct geographical and natural features, including flora and fauna typical of the place. It was in this manner that many towns in Pampanga got their names.

 Apalit, for instance, got its name from the first class timber called ”apalit” or narra (Pterocarpus indicus Willd.) that grew profusely along the banks of Pampanga River. Betis was named similarly—after a vary large timber tree called “betis”(Bassia betis Merr.) that grew on the very site where the church was constructed. It was said that this particular tree was so tall that it cast its shadow upon Guagua town every morning. Another border town, Mabalacat, derived its name from the abundance of “balakat” trees (Zizyphus talanai Blanco) that grew around the area. The balakat tree is known for its straight and sturdy hardwood trunk that were used as masts for boats and ships of old.

The riverine town of Masantol owes its name to the santol tree (Sandoricum koetjape Merr.) , a third class timber tree. It may be that the place had an abundance of these popular fruit-bearing trees but another story had it that local fishermen bartered part of their catch with the tangy santol fruits carried by Guagua merchants that plied the waters of the town. Santol was the favourite souring ingredient of the locals in the cooking of “sinigang”, and soon, the town was overrun by santol fruits.

A tall rattan plant gave Porac its name, as we know it today. The red Calamus Curag can grow up to 8 feet and is known locally as “Kurag” or “Purag”, later corrupted to Porac. Nearby Angeles City was once known as Culiat (Gnetum indicum Lour. Merr.) , a woody vine with leathery leaves that once grew wild in the vicinity. Not only while towns, but countless barrios and barangays were named after trees, shrubs, hardwoods, plants and vines—Madapdap, Balibago, Cuayan, Pulungbulu, Mabiga, Sampaloc, Baliti, Bulaon, Dau, Lara, Biabas, Alasas, Saguin, Camatchiles, to name just a few.

Some of the trees that grew so thickly in different parts of our province are now a rare sight, with some considered as bound for extinction. For many years, the only balakat tree that could be seen in Mabalacat, were two or three trees planted in the perimeter of the Mabalacat church. Culiat is listed as an endangered plant and a few examples could be found in Palawan and in U.P. Los Baños, Laguna. Sometime in 2003, Holy Angel University in Angeles City made an effort to collect plants and trees that gave their names to Pampanga towns and barrios. Today, these can be seen growing in lush profusion around the school atrium. By saving these trees, we also save histories of towns for the next generation to learn, to value and to appreciate.

*239. THE ART OF THE KURAN

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

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

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

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

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

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

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

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

*158. Shall We Dance?: TERAK KAPAMPANGAN

TAKE THE LEAD. A folk dance presentation by San Simon Elementary children nattily dressed in Maria Clara costumes and barong tagalog. Ca. 1930s.

One of the most horrifying experiences to happen to a student with two left feet is to be picked as one of the folk dancers in a high school day presentation. I not only remember the moment of selection, but also the title of the dance—it was a strangely-named dance called “Pandanggo Buraweño". Thank God, we didn’t have to wear funny costumes like the “Manlalatik” dancers and their ‘coconut bras’ or use unwieldy props like the sticks for “Sakuting”. It was just a simple dance that we practiced after school hours, and our performance was just as simple and forgettable.

Our Philippine dance tradition started long before the Spaniards reached our shores. When Magellan arrived in Cebu, chronicler Antonio de Pigafetta took note of the song-and-dance entertainment provided by the natives. Ritualistic dances such as those done by babaylans and the hunting dances of ethnic tribes are raw expressions of the Filipino soul.

Indeed, there were dances for just about everything—birth, courtship, wedding, religion, death—and the coming of colonizers further enriched the choreography of our dances. From Spain came the jota, pandanggo and habanera while the French contributed the rigodon and the minuete (minuet). In Ilocos, a dance called Ba-Ingles was obviously adapted from Americans.

Kapampangans with their nimble feet and love for music and rhythms have also taken to dancing early on. Our few signature dances have not reached the level of national awareness the way the “tinikling”, “singkil” and even the fairly new “itik-itik” have, which had the benefit of being performed by professional troupes the world over----not yet, anyway. But with the recent exposures of our local festivals on television, Pampanga’s dances are becoming hit attractions.

No other Philippine dance is as frenetic as the kuraldal, a dance originally performed in Sasmuan on Dec. 13 to honor its patron, Santa Lucia. They say it’s Pampanga’s counterpart of the Obando fertility dance—in kuraldal, people dance not only for good health, but barren women also ask for babies. But kuraldal is wilder, characterized by swaying and jumping to the beat of kuraldal music. People dance non-stop, and the infectious beat can sometimes have a hypnotic effect on the participants, who enter a trance-like state while dancing for hours. The kuraldal practice has also spilled over to other Pampanga towns like Betis, in which the 24 handpicked participants are expected to teach the dance to their children.

The origin of kuraldal is not really known; it may have originated from tribal dances that eventually melded into Christian rites. Or the Augustinian missionaries may have introduced it as part of their para-liturgical rituals in bringing the faith from inside the church to the outside community.

Another dance performed in Pampanga is “katlu”, which is also known in nearby Bulacan and Nueva Ecija. When hardworking lads came to help the rural lasses pound their palay on the mortar (asung) and pestle (alung), a new dance was born, with couples moving to the beat of pounding rice. “Katlu” was quickly transformed into a courtship dance ritual.

Then there’s the “sapatya”, originally presented by farmers during the harvest season. Characterized by graceful steps and hand movements, it is believed to have been derived from the Spanish, “zapateado”, or shod with shoes. Sapatya has evolved into many versions, and there is one, performed in Bacolor on the Pasig-Potrero river, where ladies, wearing buri hats, dance precariously on a bangka. In Porac, the dancing of sapatya is accompanied by the singing of pulosa, further living up the moment.

Dancing has come a long way since, and through the years, the influence of global pop culture has changed the way we move on the dancefloor. Through the years, we have waltzed, tangoed, boogied, jerked, shimmied, elephant walked, salsa-ed, and spaghetti-ed our way to fun, fitness and frenzy. That is all very good, but once in a while, when your twinkletoes are in the mood to learn something new—try learning something old. Like the kuraldal. Or the sapatya. Or katlu. It’s a step towards perpetuating our rich tradition for the next generation to appreciate. I can’t think of a better move.

Let’s dance to that!

*98. BELLEZAS PAMPANGUEÑAS: Miss Pampanga 1933 Candidates

ARO KATIMYAS DA DENING DALAGA!. The official candidates for the Miss Pampanga title in the 1933 Pampanga Carnival Fair and Exposition, San Fernando, Pampanga.

In 1933, Kapampangans held their grandest event ever, to celebrate the progressive stride made by Pampanga in the two previous decades. From 22 April to 6 May 1933, the Pampanga Carnival Fair and Exposition—“the greatest concourse of people on the island of Luzon”--was held at the Capitol grounds in San Fernando.

The much-awaited selection of Miss Pampanga 1933 provided the climax of the fair. Pampanga’s leading muses, most from socially prominent families. First, each town had to select its own “Miss Municipality” to compete in the provincial pageant. Socio-civic and youth groups like Mountainside, Circulo Escenico, Kayanikan ning Kuliat and Aficionados Baculud helped in drawing up a beauty list from which the loveliest was chosen. Not unlike contemporary pageants marked by sourgraping and backstage dramas, the Miss Pampanga search had its share of controversies.

First, the selection criteria was put in question. Following the Manila Carnival style of selection, Miss Pampanga was to be chosen based on newspaper ballots cast in her favor. A leading Kapampangan newspaper, “Ing Cabbling”, put out an editorial that cautioned using “social influence”, rather than physical beauty , as basis for judging. It even went as far as recommending an ideal mix of judges to make the selection truly impartial and objective, a panel to include a painter or sculptor, a poet, a high society lady, a professional and a respected elder from the province.

Then there was the case of a town muse who, in the voting, was boycotted by her own town mates because of her perceived snobbishness and haughty demeanor. In one tabulation, she gathered zero votes. Despite these minor issues, the contestants had a great time as they were feted and paraded about in motorcades. In the end, it was the slim and svelte Miss San Fernando, Corazon Hizon who romped off with the title.

The titled town beauties included the following:

MISS ANGELES, Maria Agustina Pilar Nepomuceno. (b. 13 October 1911-d. 5 June 1995) Daughter of Gonzalo Mariano Nepomuceno and Gertrudes Ayson y Cunanan. Not much is remembered about her reign or the circumstances of her victory. Later married noted doctor, Conrado Manankil y Tison. They have 4 children, one of whom—Marieta Manankil (now Mercado)—continued the tradition of beauty in her family by becoming Miss Angeles 1955.
MISS APALIT. Lina Espiritu
MISS BACOLOR. Luz Sarmiento. (b. 23 July 1914-d. Aug. 1988) to Laureano Sarmiento and Ines Lugue. Studied at the local St. Mary’s Academy, then attended Assumption Academy in neighboring San Fernando for her higher education. Became Pampanga’s entry to the 1934 Manila Carnival. After the contest, settled down as wife to Jose Gregorio Panlilio y Santos-Joven, in April 1934. An only child, Jesus Nazareno a year later. The couple made their home in their beloved Bacolor, where Luz propagated a lifelong devotion to Nuestra Sñra. del Rosario.
MISS CANDABA. Marina Reyes
MISS GUAGUA. Quintina Lapira
MISS LUBAO. Cornelia Flores
MISS MABALACAT, Pacita Sese. (b. 1916-d. 21 Aug. 2004) Daughter of the town treasurer, Andres Sese and Justina de Guzman. Graduate of Instituto de Mujeres. Married Mauro Feliciano of San Fernando.
MISS MACABEBE. Paciencia Gomez
MISS MAGALANG. Belen Gueco. Daughter of Lorenzo C. Gueco, a successful doctor, sugar planter, business man and PASUDECO stockholder and Elena Aquino. Her elder sister Paz was also a noted town beauty. Schooled at St. Paul’s Institute, Manila. She was an active and popular member of Rho Alpha and Nucleo Solteril. Her candidacy was supported by the Mountainside Club, headed by Jose Luciano, but pulled out of the provincial contest after some controversy. Nevertheless, she was feted house-to-house by her proud kabalens, who were rumored to have withdrawn their support for her. Later married Jose Tinsay.
MISS MASANTOL. Maria Guinto. Later married Artemio Manansala with whom she had 7 children, mostly U.S. based. Died 1969 of cancer.
MISS MEXICO. Candida Nuqui. A student of Sta. Rosa College in Manila when elected as town beauty.
MISS MINALIN. Benita Mercado
MISS SAN FERNANDO. Corazon Hizon (WINNER). Daughter Corazon Hizon of San Fernando, the daughter of Maria Paras and Jose Hizon. After her reign, the lovely Corazon, the toast of the Pampanga Carnival, married Marcelino Dizon also of San Fernando. They settled in the town they loved best and raised 9 children, all daughters—Monica, Maria Teresa, Maria Corazon, Lidia, Encarnacion, Concepcion, Maria Asuncion and Josefina. Monica’s daughter with Marcelino Enriquez, Maria Lourdes, continued the beauty tradition in the family by becoming Bb. Pilipinas- International 1987.
MISS STA. RITA. Juana Amio
MISS SEXMOAN. Marta Pinlac

(*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")

7. Maningning a Virgen: SASMUAN'S STA. LUCIA

MANINGNING A VIRGEN AT MARTIR: Imagen de Santa Lucia, V. y M., que se venera en la Parroquia de Sexmoan (Pampanga). From a 1907 novenario, “Santa Lucia: Macasariling patulunan ding malulula mata”, Imprenta de Santos y Bernal, Sta. Cruz, Manila.

Venite all’argine
Barchette mie
Santa Lucia, Santa Lucia!

Days here are heavenly
Nights are pure ecstasy
Santa Lucia, Santa Lucia!

Long before Perry Como was crooning this song tribute to Sta. Lucia, the people of Sasmuan have been singing praises and prayers to this Sicilian virgin-martyr whom they have taken to their hearts as their very own. The singular devotion to their patroness must have been so widespread and profound that it merited the printing of novenarios or novena booklets. A 1907 example is poetically entitled “Novenario Qng Maningning a Virgen at Martir Santa Lucia, macasariling patulunan ding malulula mata” (Novena to the radiant virgin and martyr, St. Lucy, personal patron of those with afflictions of the eye). The 9-day novena, to be started on 5 December and to end on the saint’s feast day, 13 December, was designed to answer the requests of devotees seeking cures for various sicknesses, specifically those with vision problems (…Ya icabus no qng angang catagcuan at paquiabutna qñg alanangang pacalulu ning Dios ing nanu mang calam, macasarili ing panimanman ampon ing pangaulu na saquit; qñg uliniti patulunan yang macasarili caring mabubulag)

The invocation of St. Lucy against eye problems stemmed from her dramatic, but largely legendary life. Lucy was the daughter of noble parents. As a young virgin, she dedicated her life to helping the poor, giving up wordly goods in the process. She had quite a number of pagan admirers so she disfigured her looks by plucking out her eyes to discourage them. Miraculously, her eyes were restored to her and this started her patronage. In another instance, she was forced to work in a brothel, but she was rendered immobile; the guards could not move her. Finally, she was martyred in Syracuse, Sicily under Emperor Diocletian by having her throat cut. Lucy’s name is associated with the Latin word for light—lux—further bolstering her patronage. Sta. Lucia is one of the few female saints whose names occur in the canons of Saint Gregory, where special prayers and antiphons are recited in her honor.

The image of Sta. Lucia, enshrined at the Sasmuan Church of the same name is of wood, carved in the round or de bulto. It shows a young crowned santa, of no more than 14 years, and standing on a base, dressed in girdled robe and red mantle. She carries her traditional emblems: the palm of martyrdom on her right hand, and two eyes on a platter on her left. In other parts of the world, Sta. Lucia’s emblems include a sword, the instrument of her martyrdom and a lighted lamp, evocative of her name. Gaspar de San Agustin records in his Conquistas de las Islas Filipinas, that the image of Santa Lucia has been “venerated since long ago”. At the very onset, since the construction of the first church by Fr. Jose Duque in the latter part of the 17th century, the parish had always been placed under the advocation of the virgin saint. Stylistically, the santo has a folksy quality, and may have been carved by a local artisan in the late 18th to the early part of the 19th century.

There is a counterpart image of this Sta. Lucia in the church of Sta. Lucia, Ilocos Sur. In contrast to the one in Sasmuan, this 18th century Sta. Lucia is of the de vestir type, clothed in a dress completely filled with hundreds of silver ex votos, tiny representations of body parts in metal, affixed by devotees seeking cure for particular body ailments. The bewigged santo’s face has blackened through centuries of worship and exposure to candle fumes.

While Scandinavian countries observe St. Lucy’s Day with a quiet festival of lights, Sasmuan celebrates with an infectious, frenetic beat. During the town’s January 6 fiesta, Kuraldal, a mass rite characterized by non-stop, frenzied dancing is held, graced by the presence of Sta. Lucia. In this one big dancing party, palm-wielding townfolks, like some wild men possessed, jump, wiggle and shake as they scream out repeatedly: “Viva Sta. Lucia! Puera sakit!” Favor-seekers do not just include those with eye problems, but also barren women. Interestingly, Sta. Lucia is also invoked against other diseases like throat infections and hemmorhages (Lucia’s mother suffered from hemmorhages, cured after praying over the tomb of St. Agatha).

The veneration of the age-old image of Sta. Lucia in Sasmuan reflects the solid faith of the Kapampangan people even in the midst of adversities, steadfast in the Christian belief of divine intercession through the supplications of saints and of a God who never sleeps. So when the time comes for him to seek, so shall he find—surely and without fail-- with help from Sta. Lucia: …"nung ating pagnasan ayabut nanu mang macasarili qng Dios uli ning pamamilatan nang Santa Lucia”
(3 August 2002)