*200. A Virgin's Tale: OUR LADY OF PAMPANGA

O, INDU! The original image of Virgen de los Remedios of Baliti, patroness of Pampanga. Ca. mid 1950s.

Perched high up in a home altar in my Ingkung’s room was a framed colored picture of a beautiful Lady that’s been there ever since I could remember. She had a most beautiful face, framed by a halo of golden stars and topped with a gem-encrusted crown. Resplendent in her blue and white satin robes and with a rosary in her hands, she watched over the room together with other plaster cast figures of the Sacred Heart, St. Therese of the Child Jesus and Our Lady of Lourdes. I knew that this particular representation of the Virgin was special, because every so often, we would bring down the picture, put it out the window and lighted candles on its side as a procession went by. I would also see similar pictures of this Lady hanging in other people’s homes around town.

It was only later that I would learn that the Lady in the picture was none other than the “Patroness of Pampanga”—Nstra. Sñra de los Remedios, our “Indu ning Kapaldanan”. It turned out that we not only had her framed picture, but also a big escayola version of the same Virgin, with molded clothes, a plaster crown and a tin halo.

Virgen de los Remedios was the central character in the turbulent post-War events unfolding in Pampanga, when the province was being called “Little Russia”. Many Kapampangans were being turned on to Communism, giving rise to social unrest that threatened to tear the province apart. Then Bishop Cesar Ma. Guerrero conceived of a crusade to bring back Kapampangans to the Catholic fold, and thus was born on 15 April 1952, the Cruzada y Buena Voluntad (Crusade of Charity and Goodwill), under the patronage of Our Lady of Remedies.

The original image was borrowed from a chapel in Baliti and was sent on an uninterrupted pilgrimage to all Pampanga towns (siba-balen) and parishes. Indeed, after a year, our Lady proved to be a true remedy for the turmoil in the province, converting and pacifying people, while bringing back devotion to the Faith.

The next year, when it was time for the image to be brought out again for its scheduled visits, the people of Baliti refused to loan their image. Fr. Generoso Pallasigui, then Baliti parish priest, was quite worried that “blood will flow” if Bishop Guerrero insisted on taking the image away. It was ironical that the image that was meant to bring Kapampangan together, was now causing divisiveness between the cruzada organizers and the “possessive” people of Baliti. (Years later, it was gathered that the people were misinformed about the news they heard about their Virgen de los Remedios—that it was going to be sent for coronation in Rome and then stay there permanently!).

Bishop Guerrero instead, had a replica made—and this new Virgen de los Remedios was the image that was canonically crowned on 8 September 1956 in San Fernando—a full 4 years after the inaugural crusade started in Masantol. Today, there are two other duplicate images that visit the northern and southern towns of Pampanga; the canonically crowned image is kept in the San Fernando Chancery and is brought out once a year for its coronation anniversary. The “Virgen de los Remedios of Baliti” reposes in its own chapel in Baliti, and the place is being propagated as a shrine by the residents who, for many years, had to endure the stigma of being branded as “selfish” community, long after the controversial rebuff.

In the meanwhile, the pilgrim Virgin continues its visits to every nook and cranny of Pampanga towns, moving and touching Kapampangans by the thousands. I, myself, have seen the dramatic effects of the visit in my town most recently. From June to the 2nd week of July, Mabalacat played host to the revered patroness of Pampanga. Townfolks turned out en masse and lined the bunting-decorated streets for the arrival of the Our Lady in Quitanguil. Santos, representing the barangay patron saints, stood on their flower-bedecked carrozas and joined the Mabalaqueños in the warm welcome, complete with band music.

Barangays tried to outdo each other in according the best welcome for the Virgen. In a show of solidarity, people worked together to spruce up their visitas and chapels, hang blue and white buntings, set up welcome arches and streamers to honor our Lady. For days, barangay chapels hummed with the sound of novena prayers, with devotees coming non-stop to join in the festivities.

On an overcast 17 July afternoon, when it was time to send off the image to its next destination--Hensonville in Angeles—hundreds of Mabalaqueños celebrated a festive Mass in the parish church, specially decorated for the grand mañanita. Then, the town residents, pastoral council members, Damas de Caridad and the Caballeros de Cristo formed a long convoy to accompany the image and the Santo Cristo del Perdon all the way to the city, singing and intoning prayers while continuing the tradition of lamak—an act of charity done through the sharing of donated goods, with the sick, the needy and the destitute.

In an age of skepticism, one only has to look at the attendant effects of our Lady’s visit on Kapampangans---you can see a deepening of faith, a return to prayer, a heightened sense of awareness of our social ills, and a strengthening of the will to make a difference -- to conclude that modern day miracles still happen. Our Indu ning Capaldanan has done it again.

*199. ST. MARY'S ACADEMY. Bacolor

AND THE ACADEMY GOES TO... A post-war picture of a class of the Benedictine-run St. Mary's Academy of Bacolor, rehabilitated after it sustained major damages during the war. Dated 1946.

St. Mary’s Academy is one of three Benedictine schools opened in Pampanga, pre-dating Holy Family Academy in Angeles by a few months (although founded by Augustinians in 1910, it was taken over by Benedictine nuns in 1922) and Saint Scholastica’s Academy of San Fernando. Rev. Fr. Pedro Santos of Porac laid the foundation when he put up the Bacolor Catholic School in 1919, which offered free education to all children.

In 1922, the parochial school was turned over to the Sisters of St. Scholastica’s College in Manila. Five nuns were assigned to the school to oversee the education of some 200 students. Fr. Santos remained its Director. In 1923, the school opened a high school department—for first and second year students. However, when St. Scholastica’s College opened its San Fernando branch, the high school was forced to close after only two years. Assumption Academy, as the St. Scholastica branch was then known, absorbed some of the students of St. Mary’s, often transported in school buses bought by Fr. Santos just so they could continue on with their education. After Fr. Santos ended his term, many students dropped out forcing the high school to stop its operations.

In 1925, St. Mary’s Academy was granted government recognition for its elementary course. Much of the school population came from the lower class; those who could pay were charged the minimum monthly fee, probably the lowest among private schools in the country.

St. Mary’s operated without any interruption until the coming of the second World War in 8 December 1941. During the War years, the American Forces used the school as its headquarters on their way to and from Bataan. It resumed operation at the onset of the Japanese Occupation in June 1942, only to be suspended in late 1944 and early 1945—during the country’s Liberation. The school provided sanctuary to refugees and evacuees during those difficult times. Finally, it reopened its doors on 20 February 1945.

Just a year after--in 1946-- St. Mary’s Academy took pride in its course offerings, that included kindergarten and elementary grades, with a total student population of 300 boys and girls. Of this total, 100 students enjoyed free tuition. It had a library, school garden and clinical facilities administered by the Sisters themselves, although it still needed much post-war rehabilitation , including the repair of classrooms, benches its Home Economics equipment. In all, the school suffered damages worth P1,000.

But the worst blow dealt on the school was the 1991 Pinatubo eruption that closed the devastated academy for months. Several alternative venues were used to accommodate students whose education just could not be disrupted--the San Vicente health center, the parish social hall, the Cabalantian Elementary school and even private residences. By 1992, after a year of rehabilitation, St. Mary's was back on its feet, but the year also signalled the end of the Benedictine administration of the school after seven long decades. St Mary's Academy was entrusted to the archdiocese of San Fernando on 6 May 1992.

The school’s distinguished alumni include the internationally well-known cardiologist Dr. Mariano Alimurung, Amparo Villamor (Cabinet Member of Pres. Carlos P. Garcia and Social Welfare Administrator), Rev. Frs. Odon Santos and Generoso Pallasigui, Pasudeco executive and agricultural magnate Gerry Rodriguez, civic leaders Elisa Buyson-Sison, Pilar Villarama and violinist Virgilio Palma. Their exemplary achievements reflect the school's commitment to education excellence shaped by solid Catholic values that it has espoused since the school's inception.

*198. SISTERS ACT

O SISTER, WHERE ART THOU? A cloistered nun is visited by relatives who could only peek through the wooden window slats for a few, precious minutes. They could not even touch her. Monastic rules were designed to be severe to test the faith, will and morale of religious people. But even life in the convent could not prevent early Kapampangan nuns from achieving their highest spiritual goals of serving man and God. Ca. 1920s.

Kapampangan men of cloth figured early in sowing the seeds of the Catholic faith in our Islands. The early Filipino members of the religious orders introduced in the Philippines were mostly Kapampangans: the 1st Filipino Jesuit (Martin Sancho, admitted to the novitiate in Rome in 1593), the 1st Recoleto (F. Juan de Sta. Maria Dimatulac of Macabebe, 1660). Pampanga’s revered pioneers also include the 1st Filipino priest ( P. Miguel de Morales, Bacolor, ordained in 1654) and the 1st Filipino Cardinal (Rufino Cardinal Santos, Guagua, elevated to cardinalship in 1960).

But the pious daughters of Pampanga were equally commendable in their quest to serve the will of their God; and it can be said that their was a more daunting task than the challenges faced by their male counterparts, as they had to over come overcome barriers like gender, class and racial prejudices before they could find their place in the Philippine church.

The first Filipino nun, for instance, Sor Martha de San Bernardo, a Kapampangan whose roots are no lost in history, had to make a great personal sacrifice to be admitted to the religious order of Poor Clares. The order, the first in Asia, had been founded by the Spanish Franciscan nun, Madre Jeronima de la Fuente (now Venerable) in 1621. It barred ‘indias’ like Martha, despite the backing of Spanish nuns who testified to her nobility and virtue. To skirt the Spanish laws that applied to the Philippine colony, Martha sailed for Macau, where, aboard the ship and far from Spanish domain, she was invested with the holy habit. She must have professed her vows in the monastery of the Poor Clares in Macau. Here--even after King Joao IV of Portugal ordered the expulsion of Spaniards in Macau as a result of Portugal’s secession from Spain in 1644-- Sor Martha would stay and serve the order for the rest of her life.

The Franciscan Provincial, after taking note of Sor Martha’s exemplary life and example, relaxed the rules for the next wave of Filipina applicants. Another Kapampangan member of the principalia was admitted to the mother house of the Poor Clares in Manila to become the second Filipino nun. Sor Madalena dela Concepcion received her habit from Abbess Madalena de Christo on 9 February 1636, and professed her monastic vows a year later. For 49 years, this Kapampangan nun led a humble life, performing difficult taskas and abhorring positions of honor until her death on 5 April 1685.

Two persevering sisters with clear Kapampangan roots would work against all odds to found a religious congregation which, in the the 21st century, would find worldwide recognition and acclaim. Dionisia Mitas Talangpaz de Santa Maria (1691-1732) and her younger sister, Cecilia Rosa de Jesus (1693-1731) were born in Calumpit, Bulacan but were half-Kapampangans owing to their paternal grandmother, Juana Mallari and maternal grandfather, Agustin Sonsong de Pamintuan, both from Macabebe. Pamintuan was revolutionary leader in the 1660 Pampango Revolt. Another notable kin is their great granduncle, the saintly Bro. Felipe Sonsong, a Jesuit and a martyr from the same Macabebe town.

The duo founded the Beaterio de San Sebastian de Calumpang in Manila in 1719, the only one founded by Indias among 4 Philippine beaterios (a Chinse mestiza, Mother Ignacia del Espiritu Santo founded the 1st beaterio in 1684, now known as the Religious of Virgin Mary). But they had to overcome great difficulties and oppositions posed by cynical Recollect authorities who stopped their screening of applicants, recalled their habits and expelled them from the convent grounds. Today, the Beaterio is known as the Congregation of Augustinian Recollects, the oldest non-contemplative religious community for women in the Augustinian Recollect Order throughout the world.

Coming from a patriotic and affluent family from Bacolor, Srta. Cristina Ventura Hocorma y Bautista, was born with a silver spoon in her mouth and could have chosen to live a life of ease. But she forsook all these to become a nun of the Hijas de la Caridad (Daughters of Charity) in 1872, only the 3rd Filipina to do so. Using her inherited wealth, she founded the Asilo de San Vicente, a school for underprivileged girls in Paco. She dedicated her lifetime teaching and serving the poor.

Many more holy women of Pampanga followed the path of these early trailblazers. Sor Bibiana Zapanta of Bacolor and a nun of the Beaterio de la Compañia was the 1st beata missionary to Mindanao. In 1875, she was assigned to the mission school in Tamontaca, Cotabato as a principal. Sor Josefa Estrada de San Rafael became the first Filipino Poor Clare in the 18th century. Descended from Lakandula and with roots in San Simon, Josefa or Pepita professed her vows in 1881. Beata missionaries to China included Sor Ana del Sagrado Corazon de Jesus and Sor Pascuala Biron del Sagrado Corazon de Jesus who founded the Asilo de la Sta. Infancia in Fijian.

The life stories and achievements of these nuns, sisters, beatas and mystics are incredible testaments to Kapampangan women power, providing inspiration to both the laity and Philippine clergy. Shoulder to shoulder, they stand as co-equals alongside the Kapampangan men who preceded them, in their unyielding pursuit to serve Man and God.

(Source: Laying the Foundations: Kapampangan Pioneers in the Philippine Church 1592-2001, by Dr. Luciano P.R. Santiago. Holy Angel University Press © 2002)

*197. APUNG IRU’S LIBAD BANGKA

OL' MAN RIVER. A grand pagoda bearing the antique ivory image of Apalit's "Apu Iru" wends its way on the Pampanga River, accompanied by a fleet of bangkas, bearing devotees and fiesta revelers in the annual fluvial procession. Before the advent of motorized boats, the Libad Bangka of Apung Iru was a quieter affair. Ca. 1965.

Every year, on the 28th of June, the ancient town of Apalit becomes a showcase of unabashed Kapampangan religiosity and revelry as it celebrates its 3-day fiesta in the grandest, wet and wildest manner. The Feast of the town patron, Saint Peter, fondly known here as Apung Iru, is marked with the usual religious rituals, capped by a colorful fluvial procession—Libad Bangka—that takes devotees on a raucous and even dangerous 6-hour journey of faith along the waters of Pampanga River.

The principal figure of veneration is an age-old ivory image of San Pedro, once a plain fisherman by the name of Simon Peter, who became one of Christ’s apostles and later, the first Pope of the Catholic Church. The seated image, based in Capalangan, shows St. Peter as a Supreme Pontiff, robed in papal regalia. It dates to the second quarter of the 19th century. In 2002, a fire razed its shrine, destroying the saint's original accessories —gold and silver keys, tiara, pectoral cross and emerald ring. But the image remained unscathed, and this fortuitous event was hailed as a miracle by residents.

The Apung Iru image is associated with the old Arnedo family, having been passed on to Dña Maria Espiritu de Arnedo, wife of Macario Arnedo y Sioco, who brought Apung Iru to Capalangan. To ensure that the cult is perpetuated, a corporation known as St. Peter’s Mission was put up by the Espiritu-Arnedo-Gonzalez-Ballesteros-Sazon families, which designates an official caretaker of the image--a camadero/camadera . Augusto “Toto” Gonzalez III is the current camadero of the precious heirloom santo.

The Libad Bangka was said to have been organized by Don Pedro Armayan-Espiritu in 1844, shortly after obtaining the image from his aunt. But such riverine rituals were not unknown in pre-colonial times, often undertaken by natives to appease angry river gods.

The traditional ritual process observed today starts with the “Pamandakit”, where Apung Iru is fetched from his Capalangan shrine and brought to the dome-shaped Apalit Church. Here, he stays for the duration of the fiesta, to be brought out in a land procession (“limbun”) led by the Knights of St. Peter. At Gatbuca, near Calumpit, the image is transferred to a small pagoda to shouts of “Viva Apu Iru!” by revelers on boats and along the banks of the river.

The first leg of the journey begins until the mini-pagoda, escorted by a fleet of brightly decorated boats, reaches the mouth of the great Pampanga River. The image is once again transferred to a grand “plancha” or pagoda float, already filled to the brim with avid devotees. More boats join the fluvial procession, until they number in hundreds, and as the water parade gets into full swing, revelers douse each other with water from the river. As the procession progresses, the atmosphere grows even more festive and wilder: in a state of frenzy, devotees shower each other with fruits, cooked foods, candies and viands in plastic bags, and more water.

The libad ends at twilight, and in Barangay San Juan, Apu Iru is conveyed back to the church through another “limbun”. A display of fireworks and an applauding, jostling crowd welcome back the image, born on the shoulders of the Knights of St. Peter. An all-day, all-night feasting follows, with Apaliteños opening their homes to guests and pilgrims to partake of their special menu of asado, menudo, embutido and other Kapampangan delicacies.

On the last day of the fiesta, Apung Iru is returned back to his Capalangan shrine, in a ritual known as “Pamanatad”. The riotous revelry on the Rio begins again. On land, the bunting-decorated streets leading to the Capalangan shrine are filled with people waiting to get a glimpse of the returning image. Emotions run high as Apung Iru makes its way to the shrine, with people clapping and cheering his name. Gradually, the din subsides, the town settles down as the devotees make their way back home, basking in the glow of another successful Libad Bangka, while counting the blessings bestowed by one who never fails them, their high and mighty patron, Apung Iru.

*196. EDDIE DEL MAR, Kapampangan 'Rizal' of the Silver Screen

MI ULTIMO RIZAL. Eduardo "Eddie" del Mar gave such a stirring and unforgettable performance as the national hero in the movie "Ang Buhay at Pagibig ni Dr. Jose Rizal", that his name has become permanently linked with that prized role. This is a small, giveaway photocard of the Kapampangan actor, ca. 1950s.

The life of our national hero, Dr. Jose P. Rizal has been the subject of many Philippine movies through the years. The first Rizal biopic was entitled “La Vida de Jose Rizal”, filmed by theater-owner Harry Gross in the first decade of the 1900s. Honorio Lopez, a writer-actor, got the plum role of Rizal. Gross would later make the first film adaptations of the hero’s novels, “Noli Me Tangere” (1915) and “El Filibusterismo” (1916).

Many actors have essayed the role of Rizal since— Joel Torre, Albert Martinez and Cesar Montano are but two contemporary actors who have won acclaim for portraying him. But the one movie star most famous and identified with the prized role of Rizal is none other than the Kapampangan film great of the 50s and 60s, Eduardo ‘Eddie’ die del Mar.

Eduardo Magat was born on 13 October 1923 in Candaba , Pampanga, the son of Albino Magat and Benigna Sangalang. After finishing his Associate in Arts course, he enrolled at UST to study medicine, but the war intervened. He was set to join the ROTC contingent bound for Bataan but became a guerilla fighter intead, almost losing his life for his underground activities.

After the War, he resumed his medical studies--until a classmate of his, Lucas usero, a relative of the Veras of Sampaguita Pictures, brought him along to a party at the Vera residence. Mrs. Dolores H. de Vera offered to screen-test him under Gerry de Leon's direction. He passed the test and became a featured player in "Kapilya sa May Daang Bakal" (The Chapel by the Railroad) starring Oscar Moreno and Tita Duran. Directed by Tor Villano, he was intridyced as 'Eduardo del Mar'. He was next cast in “La Paloma” (1947), directed by Tor Villano, with Paraluman, Fred Montilla and Lilian Leonardo as lead stars. He was unbilled in that movie, but he made quite an impression that his star was soon on the rise.

In the next few years. Eddie was kept busy doing movies not just for Sampaguita but also for the Nolasco Brothers, Liwayway and Lebran Pictures. He made his mark in such movies as "Lumang Simbahan" (1949), "Kilabot sa Makiking", "Huramentado" (1950), and Lebran’s first anniversary movie presentation, “The Spell”, which was in English. It was at Premiere Productions that he renewed acquaintance with director Gerardo de Leon with whom he made his most memorable film "Sisa" where he took on the role of Crisostomo Ibarra. Again, his performance generated much buzz and an acting nomination, overshadowed only by Anita Linda's, who was named Best Actress that year. The 1951 film itself won the top "Maria Clara Award". Thus began his association with "Rizaliana movies".

In 1952, he played the title role of “Trubador”, a Filipino folk hero who was a rig driver by day and a protector of the oppressed by night. He did “Bandilang Pula“ in 1955 for which he would receive his first Film Academy of Arts and Sciences (FAMAS) Best Actor nomination. Suddenly, Eduardo delMar found himself among the big leagues of Philippine moviedom.

It was his 1956 film, “Ang Buhay at Pag-ibig ni Dr. Jose Rizal” that would change his showbiz career forever. Produced by Balatbat and Bagumbayan Production, this movie that dramatized the romances of our national hero. He was joined in this movie by Edna Luna, Corazon Rivas and Aida Serna, under the able direction of Ramon Estela. Eduardo, in the title role, was so effective and memorable in his portrayal of the national hero that, in the minds of moviegoers, he and Rizal were one. This was not lost on the FAMAS jury who gave him the Best Actor Award for 1956, a highlight of his career. This role would influence his movie project choices for the rest of his life, mostly with patriotic and heroic themes.

Another unforgettable opus would come 5 years later in the movie adaptation of “Noli Me Tangere” of Bayanihan-Arriva Films. The film was made to commemorate the birth centenary of Rizal in 1961. “Noli” was megged by the brilliant Gerardo de Leon, and in this Rizal masterpiece, Eddie del Mar copped the role of Crisostomo Ibarra, with Miss Philippines Edita Vital as Maria Clara and Leopoldo Salcedo as Elias. Eddie actually conceptualized this ambitious project, and when it was premiered at the Galaxy Theater on Avenida, it proved to be a blockbuster hit, grossing over P100,000 in its first week of showing alone.

In the 10th FAMAS derby that year, he found stiff competition from his co-star Leopoldo Salcedo, who edged him out for the Best Actor award. “Noli Me Tangere” would win the top award for the evening as the “Best Film” of the year, with its director, Gerardo de Leon, earning another Best Director trophy. But what Eddie cherished more was his being named as a "Knight of Rizal", during the 99th birthday of Jose Rizal, a distinction he received in Calamba, Laguna.

Eddie continued his winning streak by appearing in “Sino ang Matapang” in 1962, for which he was nominated again for Best Actor. Gerry de Leon’s “El Filbusterismo” also was released the same year with Eddie conspicuously absent from the star line-up. As if to showcase his versatility at portraying roles of opposing character and temperament, he appeared as the revolutionary hero, Andres Bonifacio, in the 1964 epic, “Andres Bonifacio (Ang Supremo)”.

Eddie del Mar disappeared from the movie scene in the 1970s, but resurfaced as part of the cast of the popular hit, “Tinik sa Dibdib” in 1986. A son, Louie Magat, briefly dabbled in showbiz, assuming the screen name, Eddie del Mar Jr. to honor his father. Eddie del Mar died on 8 November 1986, but his memory lives on in his films, most especially his Jose Rizal movie classic, that not only immortalized the talent of this Kapampangan screen luminary, but also brought back to our consciousness, the life and loves of our national hero.

*195. ROSA ROSAL: The Vamp with a Heart of Gold

BAD GIRLS GO EVERYWHERE. Rosa Rosal aka Florence Lansang Danon, made her mark in Philippine cinema playing vampy roles that were a far cry from her real-life persona. She credits her Kapampangan mother, Gloria Lansang of Sta. Rita, for molding her into the successful achiever that she is today. This postcard documents her foray into the new medium of Radio, as a singer for Purico Radio Show in the 50s.

On screen, she smoldered as a sexy siren, the scheming contravida, the “other woman” who toyed with men’s hearts, the thorn in many a movie heroine’s side, wrecking homes and romances. But once the camera stopped, Rosa Rosal’s real persona surfaced, a woman of substance who set her heart to doing public service, a role that would be her passion all her life, leading to Asia’s most noble recognition of all—the 1999 Ramon Magsaysay Award.

Rosa Rosal came from a multi-cultural background, but it was her indomitable Kapampangan spirit fired by her mother’s example that saw her through her life’s darkest hours, emerging as one of the most accomplished movie stars of our time. She was born as Florence Danon y Lansang on 16 October 1931. Her father, Julio Danon, was already a fiftyish French-Egyptian when he met Gloria Lansang, an 18 year old Pampangueña from Sta. Rita. Before she was 5, Florence lost her father; her mother remarried, this time to Ruperto del Barrio, who had a buy and sell business in the busy Sta. Cruz district of Manila. This union produced 3 daughters and two sons, and in the small apartment where the Del Barrios lived, Florence took command as the “ate” of the house.

“Don’t allow God to wait for you”, was Gloria’s oft-quoted reminder to her children, and they grew up attending Mass, eating their meals together and openly showing their affection to each other. At the Antonio Regidor School where Florence studied, she extended her sisterly role, protecting classmates from bullies, while excelling in declamation contests.

The simple, idyllic life of the Del Barrios was disrupted by World War II, forcing Florence to quit her studies at Arellano High School. When the Japanese occupied Manila, Florence, barely in her teens, found employment as a news reader in an Escolta radio station. When a Japanese sentry found her listening inadvertently to an illegal broadcast, Florence was forced to leave the station and flee Manila. By then, the whole family was ready to evacuate to Laguna, but in Bacoor, they were caught in a crossfire between the Japanese and the Americans. Her aunt perished and her mother was seriously injured. While staying in the hospital, Florence saw the horrific consequences of war, and it was here that she saw her first blood plasma, an image that would haunt her for years.

When the war was over, Florence landed a job at the National Chest Center under the management of Dr. Sixto Francisco. She just didn’t do clerical work but also learned to operate the X-ray machine and helped out in the radiology department. One evening, while walking home, she chanced upon a film shoot happening on a street. A caster took note of this exotic gawker, and she was immediately signed up as an extra in a group scene, even meriting a brief close-up. When the film producer, Luis Nolasco saw Florence’s fleeting exposure, he sought out Florence and offered her a contract. He cast her immediately in the 1946 film, Fort Santiago. The next year, the sixteener played a sexy villain in Kamagong, alongside Leopoldo Salcedo, a film which proved to be a blockbuster.

At the cusp of stardom and a new career, Florence regretfully ended her work with Dr. Francisco, who gave her his blessings. Florence gained her now-famous screened name in one banquet for a visiting Hollywood producer. The tables featured floral centerpieces of gardenias (rosal) and roses, and when Florence picked up a ‘rosal’, Luis Nolasco saw the similarity and gave her the name—Rosa Rosal.

Soon, every studio wanted Rosa Rosal to join their stable of stars. Her meteoric rise to stardom was capped by her winning the “Queen of the Philippine Movies” title in 1948. LVN Studios, under Dña Sisang de Leon successfully wooed her away from Nolasco Brothers and Premiere Films with the promise of a fat paycheck, a house and a car. Indeed, at LVN, she made her most memorable films.

She had started out as a contravida, but now wanted to step out of her comfort zone. In 1950, she appeared as a sweet girl with no mean bone in the movie Biglang Yaman with Jaime de la Rosa. Then, Rosa landed the female lead in the historic movie Anak Dalita, a love story between a Korean war veteran and a prostitute, directed by Lamberto Avellana. Anak Dalita emerged as Best Film in the 1956 Asian Film Festival in Hongkong while Rosa Rosal earned a presidential citation from Ramon Magsaysay. The following year, Rosa did Badjao, a story about a noble Tausug princess and her marriage to a pearl diver. Dña Sisang was reluctant in giving the role to Rosa as she did not look ethnic at all; but Rosa pleaded, got the part and the movie went on to win 4 major awards in Tokyo.

Her other noteworthy acclaim was the classic Biyaya ng Lupa, where she played the lead, a farmer’s widow coping with her husband’s murder and a daughter’s rape. She was totally made unglamorous for this part, a far cry from her sultry image as a vixen in a slinky gown, bangles and dangling earrings. Rosa lost the Asian Best Actress Award by half a point when it was entered in the 1960 edition of the festival. In 1976, Rosa once again reprised her role as an oppressed sugar plantation worker in the controversial movie, Sakada.

She would also dabble in Radio as a singer, and appeared on TV in sitcoms (Yan ang Misis Ko, with Ronald Remy) and as a public service host (Kapwa Ko, Mahal Ko, Damayan) in the 70s. These appearances spotlighted her legendary spirit of volunteerism for Red Cross, an obsession that began way back in 1948, when American Ray Higgins took Rosa along to one of his blood donation drives under the auspices of the Red Cross. She saw a comatose young girl revived to life at the Philippine General Hospital after a successful blood transfusion. This life-changing experience led Rosa to become a volunteer for Red Cross on 4 July 1950.

Rosa was indefatigable in her work with the Philippine National Red Cross. She sought out funding for new blood testing equipment and for the improvement of Red Cross facilities, organized blood letting drives (Operation Dugtong Buhay, Operation Purple, Operation Blood Brother—with American donors from Clark Field), went on mercy missions even during the height of Martial Law and People Power Revolution and helped in establishing blood programs like blood testing, collecting and the commemoration of Blood Donors’ Month in July.

Rosa has dedicated over half her life to public service via her strong ties to Red Cross, leading to high profile recognitions both here and abroad. Aside from the prestigious Magsaysay Award, her other achievement is daughter Toni Rose Gayda, also a TV personality, her only child with American pilot Walter Gayda whom she met in Hong Kong in 1957. Her incredible career run is far from over, and this half-Kapampangan who started as a showbiz contravida has become a larger-than-life heroine with a heart of gold, joining the ranks of the most admired and most accomplished Filipinas in the country today.

*194. THE OTHER MURDERS IN THE CLOISTER

FR. VICTOR BALTANAS DE LA VIRGEN DEL ROSARIO. Briefly worked during the term of a more famous predecessor, Fr. Gregorio Bueno before being assigned to Escalante in Negros. There, he met his untimely death with the involvement of a prominent family— echoing the circumstances of Fr. Bueno’s earlier murder.

There has been so much focus on the gruesome murder of Fr. Gregorio Bueno, and his infamous curse on Mabalacat, that it all but overshadowed the cases of two other Mabalacat frailes who died in almost the same violent and controversial fashion. By strange coincidence, both priests served as assistants to the more well-known Fr. Bueno.

Fr. Juan Herrero1 was Fr. Bueno’s compañero for just a period of 5 months in 1885. From Mabalacat, he was sent off to Cavite where he became the manager of “Compania Fomento de La Agricultura”. He, together with 9 other Recollect friars, were holed up in Imus, Cavite where they were shot to death by passionate Revolutionists.

The other unfortunate victim was Fr. Victor Baltanas de la Virgen del Rosario 2. Fr. Baltanas was born on 17 November 1869 in Berceo, La Rioja Spain. After becoming a Recoleto on 24 October 1886, he left on board the steamer Isla de Panay, and sailed to Barcelona. He continued his journey to the Philippines, arriving in Manila on 21 October 1891. No sooner had he unpacked when he was assigned to Mabalacat in late October 1891.

He was sent to Mabalacat as a young deacon to learn, strangely enough, Tagalog basics. Indeed, an examination of extant canonical books confirmed his presence in the town, assisting Fr. Bueno in his daily ministerial grind —from administering holy oils and chrisms to performing sacramental rites. His assignment was not permanent though, and he was shuffled from Mabalacat to Manila (where he received the Holy Order of presbyterate in 1892), Palawan (1894-1895), San Nicolas priory in Intramuros (1899-1902), back to Taytay, Palawan and then finally to Valencia, Negros Oriental where he served as assistant priest to Fr. Eusebio Valderrama. Finally, in October 1907, he became the parish curate of the Roman Catholic Church of Escalante town.

It is here in Escalante town that he was hacked to death in the head by an Aglipayan assassin, Mauricio Gamao, on the night of 15 May 1909, succumbing to his wounds the next day. The murder, motivated by the schism between Aglipayans and the Roman Catholic Church involving church property, was planned in connivance with the town head, Gil Gamao—Mauricio’s relative, who was subsequently convicted an American judge of the Court of the First Instance, Albert E. McCabe after a 3-month trial in Bacolod. Mauricio Gamao, as well as his cohort Gil Gamao, were sentenced to life imprisonment.

Fr. Baltanas died a martyr of the faith. Fr. Francisco E. Echanojauregui, parish priest of San Carlos who attended to his dead fellow Recoleto in Escalante described him in a 1909 letter to the vicar provincial: “Americans, Spaniards and Filipinos all assure me that he was an authentic priest, a zealous curate with unblemished repute…Everyone attests to me that Fr. Victor was incapabale of raising his voice—not even to his boy-servant....his life was well ordered like that of a convent..This is to say he was an excellent person, as an individual, as a parish priest and as a friar”.

The martyr of Escalante was interred in San Carlos, but his bones were exhumed in 1995 due to acts of vandalism and robbery in the cemetery. These were then kept at the Colegio de Santo Tomas-Recoletos.

Two Mabalacat padres—Fr. Juan Herrero and Fr. Victor Baltanas thus shared the same sad fate as their superior, Fr. Gregorio Bueno, meeting their hapless deaths in the hands of Filipinos in an uncanny parallel manner-- all happening in the heat of the Revolution and religious schism, and with influential families involved.